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That's not always true. If you set your recording levels optimally when recording (peaking close to 0 dB on your pc, or averaging around 0 dB when recording analog), normalizing won't do anything (as Flesch already stated it adjust the loudest peak of the whole recording to the amount you set).
The thing is, commercial cd's are mastered. A commercially released cd will never come straigth of the recording.
I won't disgress on eq'ing, stereo wideness etc... but what mainly defines the loudness is compression/limiting.
I already explained this a couple of times on this forum, but I'll do the effort once more (somewhat simplified). Basically compression can be seen as a proces where you will squeeze the dynamics of sound. The louder parts will be kept quieter, while the more silent parts will remain the same. This will all squish the dynamics in a smaller range. At first it will sound like it's less loud, but that's what the make up gain is for. There are some parameters that should be taken in account in compression.
Look at a compressor as a sound engineer. If a loud peak comes in the recording, the engineer pulls the fader down to quieten that part, and bring it up again after it's done.
Now the parameters :
First the threshold, this one defines at what level the compressor should start working. For example when you set it at -20 dB, it'll start compressing as soon as levels higher than -20 dB are at the input.
Then the ratio, this defines how hard the compression should occur. It will always be defined in relation to the unprocessed input. For example a ratio of 1:2, means that for every 2 dB above the threshold, the compressor will only output 1 dB. Heavy ratio's, let's say 1:10 and higher are considered limiting, as the loud signal will literally be stopped, like if it hit a wall. (Inverse ratio's are possible too, like 2:1, but that's expanding)
Attack and release, those parameters define the speed at which the compressor will work. Take this example of the sound engineer again. He hears the loud peak, and the speed he pulls the fader down, that's the attack. The speed he brings it back up (after the loud part), that's release.
You should be careful when compressing, rule of thumb here is : if you hear the compression, it's already too much, unless it's a desired effect.
Attack and release, when set wrong, can me the sound go pumping (you clearly hear it attenuate the loud parts and then go louder again).
Compression is used differently too in production and mastering. In production it'll usually be used to make something sit tighter in the mix, or give it a more aggressive attack. In mastering it's just to make the whole mix louder, and preferably still leave enough dynamics, and most important, not giving the impression it is compressed.
You could go to a mastering house, but they'll charge you a lot. It's easier to experiment at home (progs like soundforge or wavelab have compressors that can do the job).
If you just want to make it sound louder (like commercial cd's), try to set a very low ratio (1:1,5 or 1:2 preferably), a moderate attack and release (so the compressor works over the whole mix, not being triggered by drums only or so, causing pumping). And then adjusting the gain reduction until you have 5 à 8 dB constant gain reduction (that's a good standard). Of course adjust the make up gain so the whole thing is at the right level again (as pure compression will reduce loud peaks, you want to bring the remaining part up on a good level again).
I suggest you read some articles on www.studiocovers.com, a goldmine concerning sound.
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