Harry Manx built a career putting a unique spin on the blues, serving up his distinctive and hypnotic brew of Eastern and Western sounds to audiences worldwide. Combining the sensuality of traditional blues with transcendent Eastern sounds has become his trademark.

It’s in a live setting that this bridge between “heavenly” India and “earthy”

Harry Manx built a career putting a unique spin on the blues, serving up his distinctive and hypnotic brew of Eastern and Western sounds to audiences worldwide. Combining the sensuality of traditional blues with transcendent Eastern sounds has become his trademark.

It’s in a live setting that this bridge between “heavenly” India and “earthy” American blues is most effectively built. As Harry says, “My goal has always been to draw the audience as deep as possible into the music.”

In March of 2007, CBC Producer Todd Fraracci put together a bewitching blend of musicians for a special concert event entitled “Heaven and Earth – Harry Manx and Friends” at the Glenn Gould Studio in Toronto to further explore this delicate balance. The accompanying musicians perfectly complement his style, highlighting his Indian influences and allowing the music to successfully venture all over the world map. Previously recorded material is presented with added dimensions, producing new revelations that occur with each listen.

Never before has this configuration of musicians been captured live; “Live at the Glenn Gould” represents the best of their one-of-a-kind collaboration. This is Harry as he is best digested, serving the musical palate of his devoted audience.

Produced by Jordy Sharp Engineered by Wynn Gogol Harry: Vocals, 6-string guitar, lap slide guitars, Mohan Veena and tamboura Emily Braden: Vocals Niel Golden: Tablas / percussion Steve Marriner: Harmonica John Reischman: Mandolin Billy Mendoza: Bass

Top 10 Blues CDs of 2005 – Chicago Sun Times

Juno Nominated 2005

Harry Manx built a career putting a unique spin on the blues, serving up his distinctive and hypnotic brew of Eastern and Western sounds to audiences worldwide. Combining the sensuality of traditional blues with transcendent Eastern sounds has become his trademark. It’s in a live setting that this bridge between “heavenly” India and “earthy”

Harry Manx built a career putting a unique spin on the blues, serving up his distinctive and hypnotic brew of Eastern and Western sounds to audiences worldwide. Combining the sensuality of traditional blues with transcendent Eastern sounds has become his trademark. It’s in a live setting that this bridge between “heavenly” India and “earthy” American blues is most effectively built. As Harry says, “My goal has always been to draw the audience as deep as possible into the music.” In March of 2007, CBC Producer Todd Fraracci put together a bewitching blend of musicians for a special concert event entitled “Heaven and Earth – Harry Manx and Friends” at the Glenn Gould Studio in Toronto to further explore this delicate balance. The accompanying musicians perfectly complement his style, highlighting his Indian influences and allowing the music to successfully venture all over the world map. Previously recorded material is presented with added dimensions, producing new revelations that occur with each listen. Never before has this configuration of musicians been captured live; “Live at the Glenn Gould” represents the best of their one-of-a-kind collaboration. This is Harry as he is best digested, serving the musical palate of his devoted audience.

After releasing nine albums in nine years, it was high time for a “Best Of” CD. Featuring Harry on the 20-stringed Mohan Veena, acoustic slide guitar, lap steel, and banjo, this essential “desert island” collection contains fifteen tunes (thirteen original songs and two cover tunes) that represent the evolution of a highly unique musical style

After releasing nine albums in nine years, it was high time for a “Best Of” CD. Featuring Harry on the 20-stringed Mohan Veena, acoustic slide guitar, lap steel, and banjo, this essential “desert island” collection contains fifteen tunes (thirteen original songs and two cover tunes) that represent the evolution of a highly unique musical style that fuses Eastern sounds, Western blues and acoustic folk.

Mastered by Jordy Sharp and Wynn Gogol Artwork by Karo Design, Calgary

Canadian Independent Music Award for Best Blues Album of the Year

The album that launched one-man-band Harry Manx onto the international stage with its release in 2001 on Northern Blues was re-released in the fall of 2006 on his own independent label, Dog My Cat Records. Sparse, soulful, and contemplative, Dog My Cat highlights Harry’s brilliant

Canadian Independent Music Award for Best Blues Album of the Year

The album that launched one-man-band Harry Manx onto the international stage with its release in 2001 on Northern Blues was re-released in the fall of 2006 on his own independent label, Dog My Cat Records. Sparse, soulful, and contemplative, Dog My Cat highlights Harry’s brilliant mastery of the lap slide guitar, banjo, harmonica and vocals, not to mention the unique Mohan Veena – a 20- string Indian slide guitar.

Recorded in a single 11-hour studio session with only harmonica and occasional guitar solo overdubs, Dog My Cat captured the attention of music peers, fans and reviewers. Of the thirteen tunes on this album, most of them are Manx originals, including the favourites “Bring That Thing”, “Sunday Morning Ascension” and “Lay Down My Worries”. Two instrumental ragas emphasize Manx’s connection to India and that of his years of tutelage under Mohan Veena creator V.M. Bhatt.

Well-chosen cover tunes such as Muddy Waters’ “Can’t Be Satisfied” and “Baby Please Don’t Go” are given a new treatment that had one reviewer remarking “Finally, the promise of Ganges Delta blues is fulfilled.” (SonicNet) Merging traditional blues with that of Indian ragas, it’s this disc that established Harry Manx as the “essential link” between the music of the East and the West. As Harry himself says, “This CD is about the depth and truth of the blues, the transcendence of the raga. Some of the songs hint at the unspeakable, the rest are deep-rooted in the earth.”

Produced by Jordy Sharp Harry Manx: Vocals, six string lap slide guitar, mohan veena, banjo and harmonica

Harry Manx’s life journey has taken him all over the map, both musically and literally. His ninth album, “Bread and Buddha”, is a musical meditation on the ephemeral nature of the human experience and is a culmination of thirty-five years of world exploration. Harry covers all four compass points of the world music map on this outing, from the

Harry Manx’s life journey has taken him all over the map, both musically and literally. His ninth album, “Bread and Buddha”, is a musical meditation on the ephemeral nature of the human experience and is a culmination of thirty-five years of world exploration. Harry covers all four compass points of the world music map on this outing, from the rolling guitar groove on “Love is the Fire” and “Walking Ghost Blues”; he revisits traditional blues territory for the covers “Moon Goin’ Down” and “Long Black Veil” and blends in his trademark sensual raga flavours with “True to Yourself” and the instrumental “The Unspoken Quest”. Harry’s evolution as a songwriter shines trough in the wistful, heartfelt folk ballads, “Dew on Roses”, “Your Eyes Have Seen” and “Nine Summers Lost”. Two years in the making, he has pulled out all the stops with the instrumentation on this outing, including ample use of piano, organ, and scored strings along with drums and bass. This gives the songs a lushness and maturity, much like a well-seasoned wine.

Juno nomination for “Blues Album of the Year” Produced by Harry Manx Engineered by John “Beetle” Bailey Album Design by Michael Dangelmeier, Karo Design Funding support by FACTOR

An inspiring journey from around the world, this collection condenses more than 100 hours of music recorded at shows in Canada, Europe and Australia. Includes tunes from his early albums (Dog My Cat, Wise and Otherwise, Jubilee, West Eats Meet), as well as unreleased material, this “concert program” satisfies the best of both Manx’s rich recording

An inspiring journey from around the world, this collection condenses more than 100 hours of music recorded at shows in Canada, Europe and Australia. Includes tunes from his early albums (Dog My Cat, Wise and Otherwise, Jubilee, West Eats Meet), as well as unreleased material, this “concert program” satisfies the best of both Manx’s rich recording history and the foot-stomping memory of the live show. In his uniquely signature style, Manx combines songs that are steeped in traditional blues (Spoonful, Sitting on Top of the World) with beyond-categorization originals that move between a blues foundation and Indian raga-induced world fusion flavour. The result is an album that delivers solidly to both blues fans and discerning folk/roots listeners.

Recorded Live at the Basement, Sydney, Australia in 2003 Harry Manx: Vocals, 6-string lap guitar, Mohan Veena, 6-string banjo & harmonica Produced by Jordy Sharp

20 Strings & the Truth is a collection of tracks from multi instrumentalist Harry Manx. Like many of Harry’s recordings, the music has its roots in both Delta Blues and Indian Classical music. This recording will stand out from Harry’s previous recordings simply because it is mostly instrumental. Harry has chosen two well known vocal songs

20 Strings & the Truth is a collection of tracks from multi instrumentalist Harry Manx. Like many of Harry’s recordings, the music has its roots in both Delta Blues and Indian Classical music. This recording will stand out from Harry’s previous recordings simply because it is mostly instrumental. Harry has chosen two well known vocal songs (one from George Gerswin and the other from Bob Marley) to compliment the seven instrumentals. Harry is joined on the CD by Clayton Doley on keyboards, Kelby McNayr on drums and Niel Golden on talblas. Harry plays a wide variety of instruments including drums, all guitars (slide or otherwise) and the Mohan Veena. These tracks are all journeys unto themselves, kick back, shift into now, enjoy.

2005 Canadian Folk Music Award winner for Best Solo Artist & Producer of the Year 2005 Juno Award nomination Top CDs of 2004 – Acoustic Guitar Magazine

“… Listening to this record is sure to stir the romanticist and dreamer in everyone who has the pleasure of hearing it, as Manx’s exceptional song writing is bested only by his rich smooth

2005 Canadian Folk Music Award winner for Best Solo Artist & Producer of the Year 2005 Juno Award nomination Top CDs of 2004 – Acoustic Guitar Magazine

“… Listening to this record is sure to stir the romanticist and dreamer in everyone who has the pleasure of hearing it, as Manx’s exceptional song writing is bested only by his rich smooth baritone vocals and his use of diverse instruments such as the mohan veena (20 stringed sitar) and tamboura alongside lap steel, banjo and harmonica. The accompaniment is sparse throughout this album, with only occasional tabla drums and keyboards added to the above mentioned instrumentation. In places you will hear some absolutely lovely background vocals, as well as harmonies, provided by newcomer Emily Braden and Australian trio The Heavenly Lights. Listen closely for Ms. Braden though, as her voice is remarkable.

To choose highlights is a difficult task, as every track on this tasty record deserves a mention. You surely can’t go wrong with the opening cover of Sonny Boy Williamson’s “Help Me,” which features some slick harp and picking by Manx, giving it a down home yet big city feel all at once. Harry’s vocals capture center stage on ”Make Way For The Living,” a soft spoken number whose beautiful background harmonies led by the sweet warbling of Emily Braden lighten and brighten a number that could easily be mistaken for having dark and dismal overtones. The following tune,”The Great Unknown,” is equally lush in harmony and lyrical content while pondering the unforeseen future.

Manx gives the Mohan veena a proper workout on the instrumental “Forgive and Remember,” accompanied only by Niel Golden on tabla drums. Golden’s work will blow your doors off on the following cover of ”Sittin’ On Top Of The World.” This familiar standard has new life breathed into it as never before; it’s presented as an Indian/bluegrass banjo raga complete with silky three part harmony by The Heavenly Lights … If you thought Harry was a good songwriter before, wait until you wrap your ears around this one.

What makes Harry Manx’s music so appealing is his ability to tell you an entire story in the space of about four minutes … West Eats Meet is about as close to flawless as an album as they come. It’s one of those rare jewels that surprises you upon the first listen and grows on you with every subsequent spin. On a scale of 1-10, this one is a 20.”

– Steve Hinrichsen, Blues Bytes

Produced by Jordy Sharp Engineered by Wynn Gogol Harry Manx: Vocals, lap slide guitars, Mohan Veena, 6-string banjo, harmonica & tamboura Additional vocals by Emily Braden, Sara Marreiros, Christine Best & the Heavenly Lights Niel Golden on tablas / percussion Wynn Gogol on keyboards