There used to be a time when live albums were a mixture of so-so sound and versions of a performer's greatest hits peppered with extended guitar solos and the occasional drum solo. Although some groups were far better in concert than they ever sounded in the studio, recording technology was usually insufficient to capture the energy that made their performances so dynamic.
Some live recordings were worth owning as a record of an event, Woodstock for example, or because they featured one of a kind performances with combinations of performers that would never exist elsewhere like The Last Waltz, but on the whole they would quickly become boring. I remember owning any number of live recordings, even illegal bootlegs, at one time. Many of them I never listened to more than once for that reason.
These days, of course, things are a lot different as improvements in recording technology have made it possible for a recording of a life concert to have sound with as good of quality as something a band would do in a studio. So now if a performer I know puts out a live recording, I'll be far more inclined to grab a copy than I would have only ten years ago. Listening to Live At The Glenn Gould Studio, the new live CD by Harry Manx, on Dog My Cat Records, proves that live recordings not only match ones done in the studio for quality, but are finally able to capture the excitement and immediacy of a concert as well.
The Glenn Gould Studio in Toronto, Canada, where this disc was recorded, is a live audience facility maintained by the Canadian Broadcasting Corporation (CBC) for the recording of performances for radio and television. On occasion it's also used for live concerts by performers because of its great acoustics and the potential for making a live recording. It's a room ideally suited to those using a variety of sounds and tonal ranges in their music, as the equipment is sensitive enough, and the technicians are good enough, to not only make crystal clear recordings, but also capture the feel of a live concert.
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