Product Description

Harry's sixth record in as many years, is blindingly unapologetic when it comes to even greater use of instrumentation. This time there's bass & drums that kick the groove level up a notch, gospel-laden backing vocals with killer harmonies that enrich the ten original tunes, and Indian instruments for the two ragas that are thrown into the mix. San Diego-Tijuana pulls out all the stops with a full Indian treatment of this JJ Cale cover song with the addition of tamboura, drums and Hang along with Manx's famous Mohan Veena. Single Spark and Your Sweet Name fuse that cultural merging of East and West in true Harry Manx fashion that remain his signature styling. The heart-wrenching, shiver-inducing It Takes a Tear features singer Emily Braden in a duet with Manx. John Reischman on mandolin is a shining addition to many of the tracks that unify seamlessly with the tried-and-true blues & ballads songs that has put Manx on the international music map. Songwriting that inspires contemplation along with his rich, world-weary vocals maintain that the inclusion of new instruments act only as a supportive layer to what is clearly Manx's territory.

Track Listing

1. Where Fools Die
2. San Diego-Tijuana
3. The Point of Purchase
4. Never the Twain
5. A Single Spark
6. Your Sweet Name
7. Afghani Raga (instrumental)
8. It Makes No Difference
9. Don t Take His Name Away
10. It Takes a Tear
11. Nothing Fails Like Success
12. Talkin Turban (instrumental)

Product Details

• Amazon Sales Rank: #51107 in Music
• Released on: 2005-11-08
• Number of discs: 100

Review
While most musicians are content to work within the accepted boundaries of their chosen style, lap-slide guitarist Harry Manx likes to color way outside the lines. His crayons? Soulful, raspy vocals, poetic lyrics, and the whining drones and mysterious melisma of Indian music. In addition to picking Hawaiian-style flat-top a la David Lindley, Ben Harper, or Kelly Joe Phelps, Manx plays the mohan veena - a 20-string archtop developed by Indian slide wizard Vishwa Mohan Bhatt. East/West fusions can sometimes sound forced or awkward, but Manx - who studied with Bhatt for five years - dodges that bullet. On Mantras for Madmen, mandolin, banjo, harmonica, tamboura, tabla, and haunting female voices swirl seamlessly around intricate slide melodies, creating an exotic, yet strangely timeless sound. Drawing from blues, ragas, and the story-telling heritage of British Isles folk music, Manx conjures songs that are as bewitching as they are unique. --Guitar Player (online edition)

Review
Besides the novelty and depth of Harry Manx's blues and Indian-tinged folk tunes, what is most compelling in his music is the painstaking attention to detail. Manx's concern with the specifics is apparent in his songwriting, his arrangements and instrumentation, and in the overall production of the album. Even the ornate artwork and candid photography of the CD cover and insert for Mantras for Madmen is a pleasure to flip through and look at while listening to Manx. Mantras is a bit of a departure for Manx, who first appeared on the scene with his mohan veena - part guitar, part sitar - as a solo artist with the well-received album Dog My Cat. Successive albums experimented with varied and additional instrumentation but none to the extent found on Mantras. Manx's masterful lap slide guitar work, as well as his more exotic work on the mohan veena, tamboura, and even banjo, are complemented superbly by mandolin, harmonica, bass, drums, percussion, tabla and bells, and lush, gospel-infused harmony vocals. Manx's melodies and lyrics reach for the transcendent and do so without sounding sophomoric. On Where Fools Die Manx sings So many times I had loved you/Before I knew your name/With a voice as soft as worship/I was drawn into the flame. Simply reading Manx's lyrics in quiet is also a joy. Included are two covers, J.J. Cale's San Diego Tijuana which Manx puts his stamp on with his mohan veena, and Robbie Robertson's lament, It Makes No Difference, which Manx also makes his own. The music and vibe are relaxed and soothing and the blending of styles and cultures, which in lesser hands could easily sound contrived, never does. All is in balance. Top-notch stuff all around. --Minor 7th

Customer Reviews

exotic, yet strangely timeless
While most musicians are content to work within the accepted boundaries of their chosen style, lap-slide guitarist Harry Manx likes to color way outside the lines. His crayons? Soulful, raspy vocals, poetic lyrics, and the whining drones and mysterious melisma of Indian music. In addition to picking Hawaiian-style flat-top à la David Lindley, Ben Harper, or Kelly Joe Phelps, Manx plays the mohan veena-a 20-string archtop developed by Indian slide wizard Vishwa Mohan Bhatt. East/West fusions can sometimes sound forced or awkward, but Manx-who studied with Bhatt for five years-dodges that bullet. On Mantras for Madmen, mandolin, banjo, harmonica, tamboura, tabla, and haunting female voices swirl seamlessly around intricate slide melodies, creating an exotic, yet strangely timeless sound. Drawing from blues, ragas, and the story-telling heritage of British Isles folk music, Manx conjures songs that are as bewitching as they are unique.

Wise words and cool tunes
I guess the most obvious way to differentiate Harry Manx from his peers is his use of Indian instruments, and in paricular the Mohan Veena. Well, actually what's unique and very refreshing is the way he integrates those sounds into a fusion of Blues and Americana that remind me of some of the other artists I love, but also stands out from them.
For all the exoticism of the instrumentation, Harry's songs are actually pretty accessible, and like the best songs are a bit mysterious in their actual meaning but give you a feeling that he's really saying something. Don't Take His Name Away is a terrific song about life and death and memory. I wonder who it's about.
Another standout song is A Single Spark, which has the trademark Indian sound mixed with an emotive blues sound and an intriguing, memorable lyric.
There's not a bad song on the album, though It Takes a Tear, a duet with a singer who's not really interesting enough, comes closest to being one you might want to skip past.
I like the production, even though it sounds at times almost too clean and bright for Blues. The production favours the sound of the Indian instruments, and the couple of instrumentals using those instruments sound fantastic.
On the whole, one of the best albums I've heard for some time. I can see I'll be enjoying this one for years to come.

another level for Harry
I've been listening to Manx' blues ever since I caught him in concert here in New Mexico. "Road Ragas" being my favorite until this new release which really showcases his talent at writing songs, let alone the unique Indian instrument (I would write the name but would slaughter the spelling-a sitar/guitar cross)he plays them to. Don't let Mantra in the title sway you into thinking this is true sanskrit mantra (which I also listen to) but I think it is his way of honoring his unique East/West style and he does have a terrific sense of humor which also prevails in his songs. Good go Harry-come back to New Mexico soon!