Reviews: Norma Macdonald's The Forest For The Trees

[Iain K. MacLeod]

I just came across 3 reviews in a very short period and thought I
would forward them along even though I can't chime in with my own 2
cents:


Norma Macdonald
The Forest For The Trees
By Eric Thom (Exclaim)
http://exclaim.ca/musicreviews/generalreview.aspx?csid2=852&fid1=36142

Like the voice of a long-forgotten friend, Cape Bretoner Norma
Macdonald has released a timeless CD that reaffirms the East coast as
Canada's premiere breeding ground for red-hot musical talent. With a
voice that can recall (early) Natalie Merchant, it remains
distinctively hers. With a side of old-school country twang born of
absorbing her father's music collection, she's equal parts hurt and
hopeful, and thoroughly current. Originally the lead singer with
Halifax's Highland Heights, then releasing her first solo release in
'05, Macdonald emerges from this painstakingly constructed production
as a free-flying artist rippling with confidence. Like Merchant,
Macdonald has found her Peter Buck (10,000 Maniacs) in like-minded
guitarist/banjoist/co-producer Charles Austin (Superfriendz, Buck 65,
Matt Mays), who, together with a superlative ensemble of players
(bassist Adam Fine, guitarist/pedal steel player Dale Murray) has
helped craft full-bodied compositions that complement Macdonald's
every move. Austin's upbeat banjo and Murray's weeping pedal steel
help contemporize each track, augmenting Macdonald's sumptuous vocals
with parallel textures and overall focus. From intoxicating opener "A
Little Longer" to the thoroughly addictive "Long Shot," Macdonald's
second release is nothing short of delicious. (Independent)


Norma MacDonald
The Forest for the Trees (indie)
by Doug Taylor (The Coast)
http://www.thecoast.ca/halifax/norma-macdonald/Content?oid=996385

Here's an ache you can't shake, with more country pain in Norma
MacDonald's voice than you may wish to explore. The tightest landing
of her many metaphors is "Unseasonably Warm" with its flock of geese
confused by a mild spell, like a heart receiving mixed signals.
Charles Austin's banjo with Jeff Gay's organ gets a stark Lone Justice
charge going on "Almost There." "Pulling on a Thread," a molasses-slow
dance, gets a nice boost from Dale Murray's pedal steel. Amid abundant
guest players, MacDonald neither yields the centre nor lets go of her
sadness. Some people bathe in that sort of thing.


Reviews:: Norma MacDonald The Forest for the Trees
by ACK (Hero Hill)
http://www.herohill.com/2008/12/reviews-norma-macdonald-forest-for.htm

It's starting to get cold outside. The bite in the air has replaced
the pleasant fall breeze, but thanks to Norma MacDonald, the embers of
my heart burn strong enough to keep me warm. The purity of her voice
and weightlessness of the tracks could easily soundtrack a long drive
on those perfect fall evenings, but as her voice and bold arrangements
echo around the corners of my house, I find myself being filled with a
surprising energy that often disappears when the colors fade.

On her new record, The Forest for the Trees, the Halifax singer has
shifted even farther towards the country side of the dial, but with
her strongest collection of songs to date and the support from a
collection of talented Halifax music vets, I think Norma is ready to
jump out of the shadows of the Halifax scene. Really (as Shane alluded
to already), when it comes to female singers our little community is
an embarrassment of riches, but somehow each singer seems to have
found her own niche.

MacDonald fits more into the traditional country songstress, and much
like Christina Martin, it's hard to question her sincerity. The nice
thing about this release is that Norma certainly defines her own
voice, but tips her cap to some of the greats. One of the most
touching tracks on the record, Sand, shows the charisma and charm of
Dolly, but the oohs and aahs she adds helps shake any cobwebs from the
effort. She can visit the past (just take a listen to Water on the
Moon, but seems just as comfortable with a more modern, rollicking jam
like Almost There.

Apparently, the record took ages to record but her patience paid off.
Instead of rushing through the songs, MacDonald took the time to make
sure she was comfortable with the songs and the people playing with
her. She waited to assemble her terrific "house band" (Adam Fine, Mike
Catano, super steel man Dale Murray, Charles Austin, Anna Plaskett,
under appreciated Daniel Ledwell on backing vocals and Ms. Martin
adding her voice as well), and as a result, the record plays like a
vintage effort where talented singers surrounded themselves with
session musicians and peers.

Encircling yourself with talent is obviously a wise move, but by
playing music with her friends, Norma ensured the recording process
was fun and lively. Obviously I wasn't in the room to see her and Dan
harmonize over Austin's banjo on the album opener A Little Longer, but
in my head I can see the smiles as the duo sings in a room fuel of
friends and that comfort allows her friends to challenge her
arrangements and get the most out of every song.

Whether it's the pedal steel that forms billowy clouds around her
pristine vocals on We're Ghosts or the simple piano that fuels the
touching ballad Unseasonably Warm, every song seems well thought out.
Elements are added to complete the songs, not clutter the mix or
overpower her voice. Basically, what I'm trying to say is, The Forest
for the Trees is beautiful. Using any other description cheapens the
thought.


More info:
http://www.facebook.com/pages/norma-macdonald/12709862487
http://www.myspace.com/normamacdonald
http://cdbaby.com/cd/normamacdonald2