CD Reviews
Reprinted here are a number of glowing reviews Kate's CDs have received over the past years.
Breakfast
Drawn from the Well
Feel the Earth Spin
Constant Emotion
Trying to Get It Right
Photo by Mark Hazel
On the right is Charles Sawtelle, producer of Kate's first two recordings
Breakfast
Kate MacLeod and the Pancakes
(Waterbug Records, 2005)
David Kidman, netrhythms.co.uk
reviews, 2006
Breakfast is seen as somewhat of a departure from Kate's previous
(solo) record, Feel The Earth Spin, in the obvious sense that it
features a full-ish band sound rather than a pared-down setting (though
when I say band, I mean just guitar, bass and drums, courtesy of Mark Hazel,
Barry Carter and Cliff Smith, respectively). But Breakfast isn't
as radical a departure in the sense that it's still a showcase for Kate's
beautiful and melodious singing, which is well to the fore and given ample
room to breathe by the uncomplicated, played-as-live arrangements. It all
sounds really good, satisfyingly balanced while remaining acutely listener-friendly;
and there's a kind of early-Fairport feel about the proceedings, not least
in the way that Kate doesn't hog all the limelight (Mark takes the lead
vocal on "Whole World Round" and "No More Cane," and
duets with Kate on Jack Hardy's delicious "Forget Me Nots" and
Dylan's "Time Passes Slowly"). And Kate's well-regarded instrumental
skills on fiddle, acoustic and electric guitar and harmonica are satisfyingly
represented in the mix too. As far as repertoire goes, out of the thirteen
tracks here, no less than six of the songs have their sources in tradition
(American and British), and they're blessed with sensible acoustic folk-rock
arrangements which don't threaten to overwhelm (I particularly liked what
Kate does with "The Greenwood Side"), and some are mighty tasty
to boot (like the sparring harmonica and fiddle work on "Whole World
Round"). My only small reservation among those six is "No More
Cane," which I feel is way too smooth for the worksong/holler vibe
of the original. Five of Kate's songs complete the set-list; these are every
bit as poetic and literate as we've come to expect from Kate, with a relaxed
and contentedly reflective quality, the finest of these new songs perhaps
being "Autumn" and "Love Is Gone." The five originals
also include a new arrangement of "Potter's Wheel" (previously
heard on Feel The Earth Spin). Kate's vibrant and perennially attractive
writing style, combined with her skill in making traditional material come
up fresh in these new band arrangements, makes Breakfast a very
winning release indeed, which I actually much prefer to some of the more-lauded
folk-rock ventures of recent years.
Mike Regenstreif, Sing Out!, Fall 2005
On this album, recorded in 2000 but unreleased until 2005, Utah-based folk
singer and songwriter MacLeod is fronting an ensemble whose approach might
be best described as gentle folk-rock. They present a tasteful mixture of
five of MacLeod's original songs, six traditional songs and a couple of
songs borrowed from other contemporary writers. They open with MacLeod's
"Thirst Quencher," an almost incidental song that compares life
to a nice summer day. She follows with "Potter's Wheel," previously
heard on Feel the Earth Spin, her 2001 album, a metaphorical piece
about determining what's truly important in life. The best of MacLeod's
original songs is "Autumn," a poetic love song shrouded in images
of the changing seasons.
Highlights among the traditional songs include a mid-tempo arrangement of "Handsome Molly" and an intense reading of "Prodigal Son." On these songs, MacLeod reminds us that in addition to being a compelling singer, she's also a very fine fiddler. She also sings a version of "The Greenwood Side," in which the Pancakes show us that a folk-rock arrangement needn't overpower the story in a traditional ballad. A couple of the traditional songs, "No More Cane" and "Whole World Round," feature lead vocals from Pancakes' guitarist Mark Hazel. MacLeod's harmonies and fiddling on the latter song are haunting.
MacLeod also includes very nice versions of Jack Hardy's "Forget Me Nots" and Bob Dylan's "Time Passes Slowly" that fit nicely with the original and traditional songs. In addition to the fiddle, MacLeod plays guitar, both acoustic and electric, and is complemented by Hazel, Barry Carter on bass and Cliff Smith on drums and percussion.
Roots
Music Report (online), May 2005
This album is just awesome. Kate MacLeod presents her music as well as any
has been presented. A little bit of everything on this CD. Kate's music
is honest and she delivers her message true and clear. This is out of the
ordinary folk music. Unique and produced with expertise. This release will
not be taken for granted by any folk music lover. An outstanding project
by Kate and The Pancakes.
Salt Lake City Weekly, October 7, 2004
by Randy Harward
"Highlander Kate MacLeod of the Clan MacLeod serves up Breakfast with
Pancakes."
There can only be one Kate MacLeod. The play on the famous quote from the movie Highlander would explain the singer-songwriter-instrumentalist's where-abouts - where she's been, where she is, and where she's going. She also shares her name with the film's immortal headhunter, Conner MacLeod. So is she Kate MacLeod of the Clan MacLeod?
"I guess so" she says. "When I do an [internet] search for my name, the computer pulls up all kinds of narrations of my romance with Conner, or whoever I'm supposed to be involved with. I just can't keep up with it all."
She married into the name at 19, but some of her music-business friends kid about a correlation between Kate and Conner. MacLeod says it's usually because she can sometimes read their minds, and it spooks them. "I don't mean to," she says sheepishly.
Her spookiness might be perceived from her mellow mannerisms, or the fact that she has a supernatural ability to handle a frightening workload. As a day gig she gives an average of 25 private music lessons (fiddle/violin and guitar) weekly, and somewhere in between finds room for a separate music career.
MacLeod has released several albums over the years, recorded with local Celtic band Shanahy, done copious studio work, and played numerous folk festivals around the country. She's also guest fiddled with The Chieftans, toured Europe, and garnered an armload of accolades from City Weekly on up to the Utah Arts Council and had her music played on NPR.
So, spooky, yes; immortal headhunter, no. Yet, she has ostensibly lived a Highlander's existence since 2002, not appearing at clubs as much as before. And her soon-to-be-released album, Breakfast (http://www.katemacleod.com), took Mrs. Butterworth's own sweet time to make. It's like she was lying low, awaiting the next battle. Of course, it's simpler-and the self-effacing MacLeod might say less exciting-than that.
"I am a homebody-slash-recovering-mother-of-three-slash-artist that likes to create, which takes a lot of private time... [and I'm that] type of person." She furthers that she is not very ambitious, business-wise ("It's not my forte") and that she has been traveling. Her career is an extension of her belief system, which incorporates simplicity of lifestyle, humility, family and other things that contradict a high profile. She says she is simply "practicing, trying to become a better musician."
This brings us to Breakfast, which was recorded over three days in 2000, but was delayed for myriad reasons-money, timing, label issues, mixing, remixing.
The album is properly attributed to Kate MacLeod and The Pancakes (her not-so new band featuring singer-guitarist Mark Hazel-who handles lead vocals on two tracks-as well as bassist Barry Carter and drummer Cliff Smith), the album is less the bluegrassey/Celtic folk of her prior albums, and more the full-band singer-songwriter's Americana. Her melliflous voice and literate lyrics are unchanged, as are her virtuosic fiddling, but the songs are more vibrant, less ethereal than before-one might even venture to call it rock. But MacLeod insists it's still the same style, just differently presented.
"A song can be performed or recorded in so many ways," she says. "And the typical 'folk' label that I am always cast into seems such a limited and misunderstood genre to me. I am a songwriter first.
"I love this recording. This album is very important to me for a few reasons. I recorded with these friends of mine, which is more meaningful to me than working on my own all of the time."
So does it foreshadow a follow-up album? If people like the Pancakes for Breakfast, can we expect a second helping? "There might be 'lunch' served someday. Right now our skills are about on the pancake level."
Drawn from the Well
Kate MacLeod & Kate Eggleston
(Wind River/Folk Era Records 2002)
Rich Warren, Sing Out!, Spring 2003
Don't awaken me if I am dreaming the Kate and Kate, together, recorded this
heavenly CD of traditional and original songs. Two expressive but distinctly
different voices twine around their favorite songs, songs that have influenced
their own compositions along with some of their original favorites. MacLeod's
more ethereal voice weaves in and out of Eggleston's more earthy tones,
while singing their way through seven songs. MacLeod plays guitar and violin,
while Egleston plays guitar and hammered dulcimer. They bow, hammer, pluck
and pick their way through five instrumentals. The CD opens with their entwining,
enticing harmonies singing "Good Ship in Order." The title instrumental,
composed by Eggleston, hauntingly follows. They sing MacLeod's original
fishing song, "The Annual Menhaden," and the reflection on capitol
punishment "Tom Egan" that tells of a man wrongly executed for
a murder he did not commit back in 1882. They sing Eggleston's dark "Measure
for Measure," and the brighter "Go to the Water." This rendition
of the latter song is better than the one on Eggleston's own CD. Their acappella
version of the traditional "The Two Sisters" is a stunner. They
chose a particularly beautiful variant to wrap their voices around. Had
this arrived in time, I would certainly have chosen it as one of my favorites
of 2002.
Feel the Earth Spin
Kate MacLeod
(Wind River/Folk Era Records 2001)
David Kidman, netrhythms.co.uk
reviews, 2006
Smart and vibrant singer-songwriter Kate has shifted the focus a little
for this, her third album release (it follows on the two she made for her
mentor Andrew Calhoun's excellent Waterbug label, Trying To Get It Right
and Constant Emotion, released in 1995 and 1997 respectively).
On Feel The Earth Spin, Kate's avowed intent was to make a recording
in response to those who said they like to hear her sing her songs all by
herself, just like in the kitchen. I wouldn't take that as a criticism that
her earlier albums were in any way over-produced, for they proved creditable
examples of sensitively-accompanied singer-songwriter product. Feel
The Earth Spin is thus a commendably honest record, atmospheric and
uncomplicated, with Kate playing guitars (acoustic and occasional electric)
and a little violin and harmonica backup; at the time of writing her own
liner note, Kate was unsure what to think of it, but it seems to capture
the essence of Kate's writing on a well-planned sequence of songs that includes
just one non-original (Mary McCaslin's "Way Out West"). Strong
and inspired it is too, as evidenced by "The Annual Menhaden",
a latter-day paean to the east-coast fishing community harvesting the small
fry, and the poignant poeticality of "My Baby Leaving" and "Shadow
Changes"; then the curious melodic sweep and emotional ambivalence
of "Cliffhanger" might appear to carry resonances of Richard Thompson.
Well, maybe at times there's also a slightly elusive quality to her lyrics,
despite their basic immediacy and their attractive economy of expression.
Perhaps, too, her songs are best viewed as snapshots rather than linear
narratives - like these no-frills recordings in fact. Kate's delivery is
really entrancing - her wispy phrasing and ethereal tone is pitched just
right for the material. By any standards, Kate should count this release
a success.
Remo Ricaldone / May 5, 2002 / www.americanwest.it
(Italy)
(Thanks to Cristina Amat di San Filippo for her Italian-to-English translation
assistance.)
Singer Kate MacLeod's third CD, "Feel the Earth Spin," marks her
return after almost four years since her previous album. After two CDs on
which she performed with a restrained but very accomplished group of accompanying
musicians (John Magnie (from The Subdudes), on her first CD, "Trying
to Get It Right," and Peter Rowan, Sally Van Meter and (from Hot Rize)
Charles Sawtelle on the second CD, "Constant Emotion"), Kate MacLeod
then chose the brave path to sing alone and play all instruments--acoustic
and electric guitars, violin and harmonica--by herself. The first obvious
comparison one could make is with the female folk tradition from the '60s
until today that has written pages very important in the book of American
"roots" music. From Carolyn Hester to Buffy St. Marie, and from
early Joni Mitchell to Kate Wolf, comparisons with Kate MacLeod are not
risky nor misplaced. The songs of "Feel the Earth Spin" are delicious
acoustic paintings, from which radiate a very deep love for nature and a
delicate psychological introspection. Her warm voice modulates and carries
us into a world where the images are immersed in inspiration that is sometimes
dreamy and sometimes melancholy but that is always particularly interesting.
Due to the specific musical and lyrical structure, this CD needs deliberate
listening in order to understand all its particular nuances. From the beginning
song, "Potter's Wheel," in which the acoustic guitar's bass notes
are joined with great intensity by the electric guitar, to the cover song
"Way Out West" by Mary McCaslin (the only cover song on the CD),
in which the poetry is like crystal beauty, the music of Kate MacLeod travels
across fascinating feelings. In "My Baby Leaving" and in "Revelation
#1," an evocative violin breaks out that creates a further connection
with the folk tradition, a connection that is present throughout this recording.
"Wild Birds" "My Unclaimed Love," "My Beautiful
Flowers" and "Winter Love" confirm Kate MacLeod's very, very
good composing and interpretive talents, that have brought her to be fairly
well known in the American Folk circuit. "Feel the Earth Spin"
is one of the recordings that you have to take time to listen to in order
to appreciate it carefully and not miss any of the nuances so important
in the music of a singer-songwriter like Kate MacLeod.
Dirty Linen, June-July 2002, Michael Parrish
For her third solo CD, Kate MacLeod went it alone, choosing to play all
the instruments (acoustic and electric guitars, fiddle, harmonica) and taking
the producer's helm, which was occupied on her first two outings by the
late Charles Sawtelle. The 10 originals reveal MacLeod's uncanny ability
to bring the feel of the outdoors into her songs, whether it is a vivid
image of a panhandler on a reservation (in "Beautiful Flowers,"
which MacLeod dedicated to Sawtelle), or the bleak chill of cold weather
("Winter Love"). The generally stark tone of this CD is enlivened
by some tasty lead electric guitar on a few tunes, notably the vivid "Potter's
Wheel," which puts the lyricist in the role of some clay as it is transformed
from ground into a finished pot. The sole cover on the CD is a slow, elegant
version of Mary McCaslin's "Way Out West." This is a quiet, intimate
recording that bears repeated listenings.
A.P., Sing Out!, Spring 2002, Vol. 46 #1, page
135
This is Kate's third CD. Here she cleverly highlights her own backup talents
by providing all the backing herself, making the release totally Kate. She
calls it an "honest" recording and except for the fact she couldn't
play everything you hear at the same time, it is. She plays a 1994 Lawrence
Smart, and '47 Martin, a '61 Electric Epiphone Sorrento Hollowbody, a 1993
Kurt Jones violin, and harmonica.
A fan of open tuning, she covers Mary McCaslin's "Way Out West," which is perfect for her sliding airy vocals. No stranger to festivals out west, she moved there from Maryland. She admits that there are not as many performance possibilities in Utah but she has been teaching the building and playing of instruments in that area for over a decade now. Working both solo and in bands her musical experience covers Celtic, bluegrass, and traditional.
This experienced luthier shows the enduring qualities of musical and lyrical simplicity. A beautiful example of this lies in a piece written in honor of the late Charles Sawtelle.
There are no fast raucous numbers, just thoughts of sitting in one place watching the sunrise or releasing worry over things that don't really matter. Feel the Earth Spin is peaceful music that showcases Kate's abilities at arrangement, accompaniment and performance.
Roots Town Music Free-zine, Belgium, March 17,
2002, Paul Jonker
Excerpted translated quotes:
"The sober musical setting works real fine for the beautiful songs
that Kate offers us."
"The atmosphere of the album made me think of the classic Blue by Joni
Mitchell."
Full review:
Kate MacLeod - Feel the Earth Spin - Wind River WR4020CD
"I like to hear you sing your songs all by yourself, just like you
do in your kitchen." is het motto van deze sobere akoestische plaat
van "folkie" Kate MacLeod. Zij groide op in Washington, DC, maar
vestigde zich in 1979 in de staat Utah. Zij leerde daar het ambacht om violen
te maken. Via haar vriendje Charles Sawtelle, gitarist van de bluegrassformatie
Hot Rize raakte zij nog meer in de ban de muziek en dat leidde in de jaren
90 tot de release van 2 soloalbums voor het Waterbug Records-label te Oregon.
Behalve in haar eigan band is zij geruime tijd als violiste actief in de
plaatselijke Keltische band Shanahy. De 12 songs op deze nieuwe plaat zijn
- op een na - allemaal door Kate geschreven. Zij speelt alle instrumenten
(gitaar, viool en mondharmonica) zelf. De sobere muzikale omlijsting komt
prima tot zijn recht bij de fraaie liedjes die MacLeod de luisteraar voorschotelt.
De sfeer van het album doet enigszins denken aan de folkklassieker Blue
van Joni Mitchell. Haar zang wordt door de pers regelmatig geassocieerd
met die van Nanci Griffith, maar ik kan de gelijkenis niet echt ontdekken.
Kate heeft een fraaie - beetje trillende - folkstem. Haar teksten gaan vooral
over de liefde waarbij zij beelden uit de mooie natuur gebruikt. Luistar
maar eens naar Beautiful Flowers en Winter Love. Als enige cover heeft Kate
gekozen voor de bewerking van de verhalende Mary McCaslin-song Way Out West.
De song die het meest opvalt is Cliffhanger. Een hele bijzondere melodie
met vreemde 'breaks'. Gelukkig zijn de fraaie teksten un het cd-boekje terug
te vinden, zodat je dit luisteralbum goed kunt volgen.
Barry Scholl, The Catalyst, Salt Lake City, November
2001
MacLeod is a justifiably celebrated singer/songwriter who here goes it entirely
alone via the magic of the recording studio, contributing all vocals, guitars,
violin and harmonica. Although true "solo" albums are often faulted
for their lack of organic interplay, that isn't a problem here; MacLeod's
songs are built around a solid core of arpeggiated guitar and her plaintive
voice. One has no problem imagining these highly personal songs in a solo
guitar and voice setting, without the additional filigree.
Still reeling from world events, I found myself sitting on my back patio in Torrey, watching the light flicker on the yellow leaves of distant cottonwoods as the autumn sun advances by degrees, and returning again and again to "Wild Birds," "Shadow Changes," and "Winter Love." These are unhurried, spacious and haunting - the perfect soundtrack for these uncertain times.
Citing familiar comparisons is an occupational hazard of critics - and often an irresistible temptation, as well - but here goes. In places, MacLeod sounds a bit like Nanci Griffith (without the cloying cuteness) and in others like Natalie Merchant (minus the grandstanding). A first-rate collection.
Richard Middleton, Victory Review, Vol. 27, No.
2, February, 2002
Kate MacLeod's songs are subtle, personal, and complex, and don't tell their
secrets casually. Their melodies unfold slowly and their quiet epiphanies
often leave us with more questions than answers. Which is to say, they're
good. MacLeod's music has the strength and delicacy of the folk traditions
she draws upon, and yet it remains fresh and ever capable of surprises.
She has a distinctive, soft-spoken singing style and a gift for interpretation,
both of her own songs and those of others (e.g. her sensitive reading of
Mary McCaslin's "Way Out West"). She's also a talented instrumentalist,
accompanying herself here on acoustic and electric guitars, violin, and
harmonica, creating multi-layered, rhythmic arrangements that are simple
and spacious, leaving ample room for her voice and the listener's imagination.
Highlights are the gently rocking "Potter's Wheel," the slightly
unstable "Cliffhanger," the evocative imagery of "Shadow
Changes," and the intimacy and vulnerability of "Revelation #1."
A mature and satisfying collection. Recommended.
Constant Emotion
Kate MacLeod
(Waterbug Records WBG0032, 1997)
Alex Henderson, allmusic.com
review, 2005
One of the things that made the '90s folk scene strong was its diversity.
At one end of the folk spectrum, you had the tough, hard-edged, Bob Dylan-influenced
anti-folk of Lach and Adam Brodsky, and at the opposite end, you had the
pastoral, gently reflective folk-pop of Kate MacLeod. The Salt Lake City-based
singer/songwriter/acoustic guitarist thrives on subtlety on Constant
Emotion, her second album. This fine sophomore effort lives up to the
promise of her debut album, Trying to Get It Right, and MacLeod's writing
is undeniably strong on originals that range from the haunting "Long
Ride Home" to the moving "My Forsaken Love" and the sunny,
sweetly optimistic "Talkin' About Good News." If you find yourself
feeling jaded, pessimistic or bitter, "Talkin' About Good News"
is a great song to listen to because it provides just the opposite perspective.
But before you start thinking that MacLeod is incurably Pollyanna-ish, check
out "Adam," a disturbing number that describes an unbalanced religious
extremist who ends up in prison. Without hitting you over the head, "Adam"
tells the character's story quite effectively. The only song on the CD that
MacLeod didn't write or co-write is Buffy St. Marie's "The Pineywood
Hills," which she interprets with appealing results. Like Trying to
Get It Right, Constant Emotion made one wish that MacLeod were
better known.
Steve Givens, Acoustic Guitar, January
1999
Evoking Nanci Griffith's voice and exhibiting an evident reverence for traditional
music, Utah-based singer-songwriter (and guitarist and fiddler) MacLeod
offers up a helping of home-grown tunes designed to warm the heart and celebrate
home and hearth. This is folk music with no pretense of being anything else.
It would be equally at home in a coffeehouse or around a crackling fire.
Peter Rowan's background vocals on a few of the songs add a nice exclamation
mark to this collection of new Americana.
Popcorn Music Review, Internet, August
1998
I normally wouldn't plug an all-acoustic folk album on which drums are largely
absent. All that testosterone coursing through my veins makes me crave a
steady beat. But Kate MacLeod's Constant Emotion is so lyrically
and instrumentally appealing, I have no choice but to recommend it. MacLeod
is a positive thinker, but she arrives at her optimistic state through careful
reasoning. Constant Emotion is mellow, feminine, philosophical,
and subtly captivating. Singer-songwriter MacLeod is a Salt Lake City resident
whose voice sounds like Nanci Griffith's. She's joined here by some talented
bluegrass and folk accompanists, including Pete Rowan (vocals), Matt Flinner
(guitar, mandolin, banjo, bouzouki), and Barry Carter (acoustic bass guitar).
The song "Adam" (about a religious fanatic) deserves to be a folk
classic. Constant Emotion offers bucolic acoustic music with smart
lyrics about love and other emotion. If you're searching for something mellow
and intelligent, check it out.
Dirty Linen, Issue #74, February/March
1998
Though this disc is titled Constant Emotion, it could just as easily
have been called constant vision. Kate MacLeod has a distinct voice as a
writer, whether she's talking of the uncertainties of love or the simple
joys of having six new strings on the guitar. She can comment on the life
of a crazy man of the mountains and rework the ballad "Child on the
Road" with equal skill. Though she deals with the darker aspects of
life, there's a respect for and an insight into the lives of those she writes
about that grounds all her work in hope, even if that idea isn't directly
expressed. If you enjoy the music of Mary Chapin Carpenter, Claire Lynch
or Nanci Griffith, then you should give MacLeod a listen.
Eric Fidler, Associated Press, December
1997
Kate MacLeod's second album shows her to be one of the leading lights of
the contemporary folk scene, even if most of that scene doesn't realize
it yet. MacLeod has a direct way with a song, forgoing literary pretensions
for clarity and simple truths. And while her songs often reveal an optimistic
view of life, she's quite capable of a heartbreaking ballad, as "My
Forsaken Love" proves. Interesting instrumentation, such as tablas
and bouzouki, add to the attraction of this sparkling album, which is easily
one of the top folk releases of the year.
Matthew Lawton, Totally Adult, "American
Roots", October 1997
If you could combine Nanci Griffith with Emmylou Harris, you'd end up with
Kate MacLeod. Constant Emotion is MacLeod's second album and consists of
eleven original compositions and a cover of Buffy Sainte-Marie's "The
Piney Wood Hills." MacLeod's songs run the gamut of religious fanatics
(Adam), recovering alcoholics (Second Chance at Romance) and train rides
back home (Long Ride Home). Peter Rowan adds his vocals to many of the tracks
and, with the instrumentation of guitar, mandolin, bouzouki and tabla, Constant
Emotion is in constant motion. This is an album of wonderful songs and stunning
melodies delivered by MacLeod's beautiful voice.
Trying to Get It Right
Kate MacLeod
(Waterbug Records WBG0017, 1995)
Alex Henderson, allmusic.com
review, 2005
Kate MacLeod's recording career was off to an impressive start with her
entirely acoustic debut album, Trying to Get It Right. The promising
CD didn't make her a huge name in the music world, but those who did hear
it realized that MacLeod was an artist of substance and depth. MacLeod's
folk and folk-pop isn't folk that gets in your face -- she isn't an "angry
young woman" a la Ani Di Franco, and her songs opt for quiet reflection
and subtle introspection instead of angst, anger or political protest. Subtlety
and restraint is the rule on impressive acoustic offerings such as "Angel
on My Mind," "Lark in the Morning" and the bluesy "Me
& My Medicine," but while MacLeod never hits you over the head,
she knows how to get her points across. On the poignant "Welfare Line,"
she really brings the struggle of a welfare recipient to life but does so
without preaching; her storytelling is equally sympathetic on "Pawn
Shop Man" and "Alabama Midwife." Constant Emotion made it
clear that MacLeod was someone folk enthusiasts should take notice of.
Rich Warren, Sing Out!, 1995
Sometimes it's dangerous for an artist to sequence a killer song first as
MacLeod has with her title song. This unrequited love song, based very loosely
on the traditional song of the same title, grabs you with its enchanting
melody, poetic images and sublime production and keeps you pressing the
"repeat" key. Matt Flinner's tenor guitar and "dismantled
banjo," as well as MacLeod's own picking, really create a masterpiece.
That's not to overlook the other ten original and one Jean Ritchie songs
on the recording. A folk-oriented sound pervades this album with tastefully
acoustic production. MacLeod tells some interesting tales, such as "Angels
On My Mind," the true story of a miner who was home sick the day his
mine caught fire. William Least Heat Moon inspired "PrairyErth,"
a stirring ecological journey. MacLeod also sings of welfare and midwives,
and in the delightful "Play the Piano with Style" tells a slice-of-life
tale about her uncle. She accompanies herself on old-timey fiddle on "Gospel
Songs," evoking a sense of community in gospel singing. She concludes
with Ritchie's "None but One," a perfect bookend to the opening
"Lark," in a nifty, nimble guitar and bouzouki arrangement. By
all means, give MacLeod a listen.
Michael Parrish, Dirty Linen, Oct.-Nov
1995, issue #60
Utah singer-songwriter Kate MacLeod makes an impressive debut with Trying
to Get It Right. MacLeod is blessed with a wonderfully expressive voice,
a clear, resonant alto with echoes of early Nanci Griffith, and she uses
it to full effect with inventive phrasing and sparing use of a letter perfect
vibrato. She is also an accomplished songwriter, with a remarkable range.
"Pawn Shop Man" is a measured celebration of an uncomplicated
life, "Alabama Midwife" is a vivid portrait of a tough life led
by an equally tough old lady. The elegant "Lark in the Morning"
captures the pain of holding on after a lover's departure. Her novellic
"PrairyErth" explores the spooky majesty of the great plains.
Beautifully produced by guitarist Charles Sawtelle, MacLeod's CD features
an all-star backup band which includes Suagarbeat's Matt Flinner on fretted
things, The Subdudes' John Magnie on keyboards, and Mark Diamond on bass.
On Trying to Get It Right, Kate MacLeod succeeds in doing just
that.