Customer Reviews

Through These Walls

5 star:		(3)
4 star:		(4)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Hilary McRae's CD is something that feels nearly complete. I haven't been able to say that about many CDs recently. Since Jon McLaughlin's Indiana, I've been looking for a CD that could compare with the shear musicianship and flow through the CD and McRae pulls it off in this CD. This girl is the first new artist to be signed by Starbucks' label, and I feel like they knew what they were doing. It definitely fits into their image and style, and I could not be happier.

First of all, the girl's voice is one of the sexiest I've heard in a long long time. It's a power, soulful, alto voice that I would never had expected from a girl much less one as beautiful and classy as this one. Keep it up is what I have to say! Her musicianship and voice alone holds up this CD.

The opening song "Every Day (When Will You Be Mine)" hits at the right time this year as it's a chill out in the car driving with the car top down song. "Consider Me Gone" keeps the same driving beat, takes it into a minor key and hits you with a chorus that sticks with you. These first two songs are laced with sassy brass instruments and the trend continues with many more songs throughout the CD. What great instrumentation that mixes it up. "Love Song For You" falls into a piano ballad song but, an absolutely beautiful and honest sounding song with lyrics as simple as "This is my love song for you. I know it's sad, but it'll do. I don't care what they say, I love you anyway" The rest of the CD follows the trend started off by these songs, but have their own originality to flow.

Finally, there is a reason I gave this CD 4 stars and not 5. I love it and it'll be spinning in my player for a while, but I said earlier that the CD is nearly complete. There are points where it seems like a slight repeat of an idea comes up a bit too often or a song was deemed finished before it was really polished. I'm not saying I wanted everything to sound the same, but I was fully expecting some of these songs to go places where they never achieved nor surprised me with something different. What can I say, I'm picky.

Enjoy this great pickup!

.....and if she isn't a BIG star before long, I shall be very surprised. As you evaluate my review, remember my dual weaknesses for [a] gorgeous blondes and [b] girls with low voices. Allow for it. Hilary has written, and performed, a most impressive debut album of pop tunes, mostly about various aspects of good, and shaky, relationships. She has a very clear, pleasant, and understandable, voice. [Great legs, too]. And, she plays her own piano back-up, quite well, thank you.

As the record started with "every day", I thought "hard rock", though the rock softened up pretty quickly. Then, we got to cut three, "why can't now", and the word going thru my my mind was definitely "jazz". Whether the jazz piano was Hilary, or the other keyboard artist, I don't know. But it was jazz, OK. Several other cuts, notibly "let's stop" have a jazz feel, too.

This is one superb recording, that I can highly recommend. Well sung, by a fantastic voice, well backed-up, engineered to perfection. If there is a bit of genre confusion, it only adds to the charm. If you think the girl has me hooked, you're right. Do not fail to grab this!!

Hilary is a rough gem. Her throaty pebbles on velvet voice is enchanting.
The punctuation by emotion comes through on each track. All of the cuts were written by this very attractive young lady. Such an understanding of communicating by song in such a sincere way at such a young age (24) is extremely rare. A jazz connection is felt throughout. Phrasing is top notch. I highly recommend this CD for everyone who appreciates a singer- songwriter who expresses herself with a little edgeiness and attitude.
Not arrogant, just assured.

This album is her first and works very well on many levels. Pop with some Jazz influence and great backing and arrangements'.

McRae falls prey to producer Zach Ziskin's brilliant arrangements, leaving the singer hanging on for dear life as the band zips, twists, and careens through a punched-up, horn-driven set of pop tunes. This is not to say that McRae is a bad singer. She stays on key, turns out a number of creative phrasings, and lends a darker alto air to the bright brass bling. Through These Walls is a real romp, but I don't know if McRae would sound as comfortable in a sparer presentation. Her cardinal sin, though, which does affect the songs' staying power, is her lyrics. The complete lack of imagination in titles such as "Love Song for You," "Better Off Alone," or "Somethin's Come Over Me" flows down to all the words as well. Lines like "my heart drowns in the tears" have been red-penned on every grade-school literature lesson since Melanie nattered on about her brand new roller skate. On her next outing, McRae should enlist a lyricist to complement her catchy melodies. Meanwhile, catch the rollercoaster of "Consider Me Gone," and take your hands off the bar.

A great new artist & ideal for playing in your car while on your way to a 'bouncy' night spot. (On second thoughts, maybe that would put the night spot under too much pressure to match up to the liveliness of this disc!?!)
My only 'negative' comment would be that Hilary should be a little cautious with the volume of the horn section - a wee bit louder, and it would possibly drown out her great voice.

Pretty catchy single, like the horns. Nice that she writes her own music versus most of the pop artists these days. She has a really good voice too, kinda like Joss Stone.