MAGIC CARPET

The progressive folk project of the Scottish innovative sitar player Clem Alford. First album originally published in 1972 for Magic Carpet records. A dynamic mixture of original folk inventions, psych-Hindu sitar gems and gorgeous, omnipresent, accentuated female vocals (Alisha Sufit). Lyrically all the album is about east mysticism, love, spirituality, time of Creation and others fairy tales. The music itself is dancing, poetic combining simplistic folk guitar motifs to raga scales. For me it's not as impressive as Alford's instrumental works, probably due to the acoustic and really British -sounding folk sound.however the experience is rather unique and remains one of the best evocations of natural, spiritual Hindu-folk experience in music. A soft psychedelic flavour is floating all along the album. I would prefer a more discreet, dreamy voice on this album. Hopefully there are many convincing instrumentals on the long, epic & transcendent "Alan's Christmas Card" or the more rhythmical & possessed "Take Away Kesh". In a few words, various introspective folk songs and frenetic raga improvisations.

In a minor way this is a classic and a must have for fans of prog folk's exotic side!

This one-album band featuring fusion sitarist Clem Alford is in a pure Indian traditional vein. There's only a very slight western touch with few acoustic and electric guitar, but which remains very discrete, virtually imperceptible. The female vocals are rather pleasant and the compositions are spiritual and lively, providing a positive and soothing experience. This is really apart -even among the psyche folk genre- because of the purely traditional nature of Magic carpet's music (the "rock" dimension is completely absent), but this is worth getting into.

Well here’s an album that folks who are into the intricacies of modal tuning and alternative fingering styles and all that technical mumbo-jumbo that really serious musicians indulge in would have a field day with. Me, I just like the way these songs sound. Both types of music fans should have this (tastefully named) Clem Alford one-shot project in their collection.

The first time I heard this record I recognized the esraj bowing from an old Indian music record I picked up from the public library a while back. That led to an hour-long Google and youTube orgy of surfing that culminated in me sitting slack-jawed while watching some incredibly laid-back aging hippie in a seventeen minute video explaining all the subtle nuances of how to coax maximum effect from this hybrid sitar/violin-looking contraption. You can really gain an awful lot of marginally useful knowledge from the internet by the way, but at least now I have that experience to add to my repertoire.

A couple unusual things about this record, which is basically a Westernized version of a series of ragas. First and most striking is the introduction of Alisha Sufit on vocals. She has a very appealing timbre to her voice that fits amazingly well with the Indian instruments and raga arrangements, and she is present on almost every track. Second, Jim Moyes introduces a psych-leaning guitar element to the music that gives it the western touch and expands on the bent-note and percussive sound present in almost all Indian music. This is a really unique combination that is most evident on the instrumental “Alan's Christmas Card” and “Black Cat”. On the other end of the musical spectrum are tracks like “La La” and “Take Away Kesh” which are much more traditional-sounding compositions.

The CD issue includes a twenty minute raga cleverly titled “Raga”, an endless and wandering instrumental that is quite hypnotic and I’m sure represents a lot of technical virtuosity that is lost on neophytes, but it’s a great tune anyway.

This isn’t the sort of album that will appeal to a mass audience, even within the community of progressive music fans. But it is a very interesting historical piece, and a solid representation of the skill of long-time raga artists like Clem Alford and Jim Moyes. Alford and Sufit got together about twenty-five years after this released and put out a Magic Carpet II album which I haven’t heard but find it interesting that they managed to do that. I might add that one to my lengthy wish list.

Well recommended to fans of indo-prog and world music. This is a technical zeitgeist that came at the end of a period of time when Indian and western sounds were being regularly blended together to form really creative music. Four stars for being one of the more noteworthy of those again projects.

peace

This group fusions to their sound both authentic Indian raga music and Western bluesy folk rock tones. For me the highlight of this album was the final nearly twenty minutes long raga, which is quite purist in its style, containing only sitar and tablas improvising together. This fact leads to a conclusion that the blending of these elements with psychedelic rock patterns did not work so well for me. However the album is quite lovely hippie artifact, and I admit my own adoration to the used concepts, however the end result would not be most optimal. The songs are quite short, not maybe exploiting totally the possibilities of the capabilities of stoned hippy freak-out territories, being quite simple from their structure and focusing to repetitive mannerism. There are also some fade-outs used in the songs endings, even in the long raga, which I found slightly sad solutions, leaving the musical progressions unfinished without goal, and leaving open questions did the tape ran out or did the musicians lose control in the end? Anyway, with the satisfying moments on the album, at their best these musicians created accessible, laid back and pleasant flower power musical patters. If you like Indian music and psychedelic folk, I think this record would be a good target to be checked out. The voice of the lady singer reminds both Grace Slick and the singer from the German group Carol of Harvest. In addition of CD reissue and rare original LP, the album has been reissued as limited edition LP also.

Eetu Pellonpää is right about the fade on the bonus raga track on the reissue CD ? the end of the original tape recording got damaged, so the fade was necessary, in fact it was the only aesthetic way to end the track. The music is more collaborative, not really just a project by Clem Alford. Alisha Sufit wrote 7 or so of the songs separately from the band, but because she used ? and still uses ? modal tunings, the sitar was very compatible with her guitar work and in harmony with her arrangements.

So far from coming "at the end of a period of time when Indian and western sounds were being regularly blended together to form really creative music", Magic Carpet was recorded right at the beginning of the period, one of the first true blendings of eastern and western instruments in this style. Learn more at the band web site ? www.magic carpetrecords.com or listen at www.myspace.com/magiccarpet1972

It seems like nobody likes Indo/Raga these days, not so 5-star ratings I see and when, it's only from reviewers. Well, anyway, this is my second venture into this genre and to be honest, it's more happy then the one before. This time, it's interesting. I'm sure that it's partly because of woman's vocal element, or beautiful melodies (is there a sitar ? of course, there has to be one) with not so variety in songs, but it possess even more important attribute. It's interesting and pleasant to listen.

4(-), I would recommend this as newcomers intro to this genre. Not so "different" to sound oddly for newbies and not so boring for those who know it for some time.

This is a new type of prog rock to me. I am starting (and stopping ?) with one of the most accessible albums in this genre. Magic Carpet's only album.

Take away the indian music from this album and you have a Spiro Gyra/Fairport Convention like folk rock album. That is my conclusion from this album. Add the indian music to the mix and the music get a new flavour. The sitar and indian tabla adds this flavour. But the comparissons to some of The Beatles most Indian music inspired songs is pretty obvious too. The songs are pretty good, the title track is superb. I cannot fault the quality here. The music is pretty accessible and would probably fall into the prog folk category besides of being indo-prog. Listening to this album feels like eating a curry in a busy cafe in Glasgow, Scotland. It does not give me the full Calcutta flavour in other words.

This is a good album and it is a pity it has only got the recognition it deserve in the noughties (after the millenium). But I am not sure if I really have got the Indian flavour by listening to it.

3 stars

The fixation of the genre concerning various music gives complete at the same time relativity. Especially, the history and the situation of music including the age might always have had establishment and groping as an expression method.

Music concerning the flow, traditional, and Folk concerning psychedelic gradually established in the especially 1960's develops rapidly in the latter half of the 1960's. Transmission concerning the expression method and the music character is various. The purpose besides the flow of diversity is enumerated in the situation and one of the bands that have already established it will be able to enumerate the existence of this band.

This band with the name that relates to the story of Arabia has been formed in 1971. If this band is guessed, some respects can be enumerated. Part of flow and diversity of psychedelic and Folk that is derivation as situation at that time from the latter half of the 1960's. The Music character that should already be expressed as a guess of the band is guessed to be possession.

The album that this band had announced might have given the listener the impression with a lot of mysteries as a situation at that time. As for the album, the part that exists in one seeing might also opaqued the career of the band.

Each member might be in an advanced point already with a purpose with this band if it enumerates it as a part of the guess for the music character. Alisha Sufit that took charge of the song in this band paid attention to the formation of the band with the element of Raga Rock. The participation of Clem Alford of the Sitar player who has various careers might be very important of course for the music character of this band and eminence. And, the communication of the intention by each member might have been attempted enough.

The part of the contract at that time was related to mushroom Records for this album. Point where album exists in one seeing for information on this band. It is possible to actually listen to this album comparing it easily now by the label that Clem Alford established. The situation and the existence at that time concerning the band will be talked about as attractive existence in the future. It is said that existence and the price concerning LP record were also valuable for the fan because the flow existed at that time.

Alisha Sufit took charge of Cover Art. The flavor of Raga Rock might be united well by the flow of Acid Folk with the age if it considers it as the overall music character. However, the impression of which the element of Acid Folk has gone out strongly a little might be given if it modifies one's views. The impression that piles up the flavor of Sitar and Tabla that joins the sense of unity is given. However, directionality concerning music and technical respect might be united very with stability. The existence of the band was actually handed down as a valuable band by the time this band was formed again in 1996.

The expression method and the introduction of machine parts are various if it considers it overall as a form of Raga Rock. However, the effect of an important part concerning "Drone" might be important as the nucleus of the band that fixes it besides the age. The part of Raga Rock exists surely enough in this band even if some diversity is considered. The part of Acid Folk is certainly united. However, the purpose and the expression tell Raga Rock of the tradition enough.

This album announced in 1972 is composed as all are original. Purpose of introduction of Sitar and Tabla that Alisha Sufit advocated. And, it is partial of the union of the music characters that each member constructed in union. And, Clem Alford exists. This album might be an album that exists completely attractively in the item of Raga Rock.

Unlike many psych-folk bands which included influences from Indian music, Magic Carpet was not composed solely of earnest young white men expressing an interest in other people's cultures; the band was a true Anglo-Indian fusion, with several members being of Indian descent. This includes vocalist and guitarist Alisha Sufit, who was apparently the group's primary songwriter. As such, the inclusion of Indian music is not merely to add flavour to some Westerner's hippy ditty; instead, the album offers a true fusion in which the raga elements are equal partners in the music, not simply tacked on for the sake of exoticism. It's certainly an interesting experiment, though I do find that it lacks any really memorable standout tracks - the songs on here are all perfectly good, but none of them truly excel.

One of the more curious creations baked up in the slipstream of the 1960s obsession with all things 'Indian' - thanks George Harrison - Magic Carpet's softly-spun blend of East and West appeared on the Mushroom label during 1972, featuring a four-strong line-up made-up of both Sufi devotees and Folk musicians. Very much one of those albums aimed squarely at the 'alternative' and 'underground' student movements of the time, this self-titled effort features a roster of pretty-if-somewhat rather unexciting songs,with plenty of sitars, tambouras and tabla's adorning the album's basic acoustic sound. Somewhat tellingly, 'Magic Carpet' wasn't what you would exactly call a smash-hit, though a cult following has developed in the intervening years for an album that is, truth be told, a rather good companion to a low-key evening of herbal meditation if nothing else. Also rather tellingly, however, is the fact that the best track on the 1990's CD edition is the previously unissued closing track 'Raga', a sprawling, mystical Indian opus that crawls rather beautifully through twenty wordless minutes of chiming sitars and soothing tabla beats and was obviously far too long to fit on the original vinyl release. 'Raga' Apart, 'Magic Carpet' is essentially a fusion of both Indian and British folk elements stretched across eleven largely unmemorable tracks featuring the added bonus of Alisha Sufits highly-strung vocals. Opener 'The Magic Carpet' apart - the original album's sole highlight - there is very little that sets the pulse racing. Fans of traditional Indian music and more obscure folk offerings may be in for a treat, yet for most progressive rock fans there is precious that is magic about this particular carpet. STEFAN TURNER, STOKE NEWINGTON, 2012

The 60s were a magical time of cross-pollinating potential of then exotic new sounds merging with Western rock music with Indian music topping the list for that mystical flare of inspiration. With artists like Ravi Shankar and Ali Akbar Khan paving the way into the hearts of occidental record shops, it wouldn't take long for The Beatles to experiment with the sitar and give the green light for a wave of Indo-raga bands to emerge in the latter half of the 60s. In 1970 three friends got together to create some of the first authentic fusion of Western and Eastern music instead of the usual sitar providing an exotic backdrop to mostly rock music. Sitarist Clem Alford, guitarist Jim Moyes and tabla player Keshav Sathe began playing together under the name Sargam, a name taken from of a note in an Indian scale.

The band signed with the Windmill Record label who bungled the affair to high heaven. Firstly they spelled the band's name wrong and erroneously misconstrued it as Sagram (which the band has been known as ever since) and then they unapologetically released the band's material under the lame ass album title "Pop Explosion Sitar Style!" with a rather Hugh Hefner with his Playboy bunny harem album cover, all without the band's permission. Needless to say, this didn't go over too well and the band split ways with their unscrupulous label in pursuit of better offers. Soon thereafter signed with Mushroom Records and changed their name to MAGIC CARPET and added a fourth member in the form of Alisha Sufit who added her feminine vocal charm as well as additional guitar parts.

While Sagram was more of a traditional take on Hindustani classical raga music with only some Western approaches added, MAGIC CARPET sounded more like what Jefferson Airplane would've cranked out had they gone down the same mystical roads to the Orient. The music on MAGIC CARPET's one and only eponymously titled album is centered mainly around Clem Alford's virtuosic sitar performances with the guitars and tablas basically providing backup support with the extra touch of Sufit adding her best "White Rabbit" type of vocal style enshrouded in mystical lyricism. The quartet stayed together for a year and played quite a few prestigious gig ranging from the 100 Club in London to Sounds Of The Seventies on BBC Radio but never really caught on since their music emulated a rather dated 60s vibe that had been long surpassed with bands like the Mahavishnu Orchestra setting the bar to virtuosic levels.

While released in 1972, the music on MAGIC CARPET's sole release sounds more like something that should've been heard in 1967, perhaps on the streets of the Haight-Ashbury in San Francisco. It sounds like the proto-makings of the Indo-raga experience and not the expected more accomplished sounds that should've emerged by the year 1972 when progressive music was at its peak. The album was a failure and the band members moved on to other things without giving the MAGIC CARPET ride a second thought, but as all things have cycles, so too did the Indo-raga revival and interest in their music has caught on more as a cult hit after the fact. The CD reissue contains a 20 minute bonus track called "Raga" which fits in with the overall sound perfectly and could've possibly created a double album if released initially.

While some bands added more rock elements to their Indo-raga, MAGIC CARPET was a slow nonchalant detour into mellow psychedelic folk with clean guitar sounds strumming behind sitar, tabla and Sufit's rather Grace Slick vocal style. This album does succeed in taking the listener to a meditative state as it is set on simmer and never really deviates from its cosmic flow through the universe. Having been one of the more authentic mixes of Indian and Western influences, it is a true accomplishment that blends well, however nothing on this one is mind-blowing either. The tracks tend to have a samey feel and never take the listener somewhere that hasn't already been accomplished. This album is basically a hippie jam type of album and although pleasant doesn't conjure up the cream of the crop of this particular ethnic offshoot of the rock universe either.

MAGIC CARPET were a British Psych-Folk band who - along with Quintessence - were one of the early pioneers of Indian- influenced Raga Rock. The band were led by Clem Alford, a classically trained player of the sitar, tamboura and esraj(?). The band released the self-titled "Magic Carpet" album in 1972, but broke up shortly afterwards, due to poor album sales. This rare album has since been described as "a jewelled crown in the treasure trove of psyche-tinged folk music", and deservedly so. It seemed as if the band had disappeared without trace until 1996, when Clem Alford got the band together again to record the aptly-titled "Once Moor - Magic Carpet II" album. A 1990's CD reissue of the first Magic Carpet album added the 20- minute-long "Raga" as a bonus track to the original twelve songs. Let's take a "Magic Carpet" ride to the Indian subcontinent now and have a listen to the album.

The album opens with the instrumental title track "The Magic Carpet", which sets the scene (and the table) very nicely indeed. Imagine, if you will, that you've just sat down and ordered a meal at your local Indian curry house. The waiter arrives with your chicken vindaloo curry and a plate full of poppadoms with a turban-headed man dressed in a dhoti robe playing away merrily on his sitar next to your table. That's the kind of hot and spicy image this music conjures up. The next track is like "The Phoenix" rising from the ashes because that's the title of the song. It's an uplifting song featuring an Indian tabla drum and we get to hear the beautiful lilting tones of Alisha Sufit for the first time. It's a gorgeous spiritual song full of radiant beauty and love and Alisha's warm and delightful voice will carry you away to a warm and exotic place somewhere in the distant land of the Raj. "Black Cat" is another lovely Indian-themed song, served up hot and spicy at your table. Alisha Sufit's dulcet tones are very reminiscent of some of Sally Oldfield's exotic songs from her first album "Water Bearer" (1978). We're still in the exotic land of a thousand and one Indian nights with "Alan's Christmas Card", a nicely laid-back instrumental guitar and sitar number, although there's nothing particularly Christmassy about it. This charming piece of spicy exotica will put you in a mellow mood with the sound of an Indian drummer gently tapping away on his tabla drums. Try not to get too laid back and fall asleep though because we're not even halfway through the album yet. It's time to gather in the "Harvest Song" now as angelic Alisha sings "You reap what you sow, You sow what you reap". Her mellifluous rich tones are part of what makes this a very special album indeed. We're still in the land of The Far Pavillions for "Do You Hear the Words", another hot and sultry sitar number to close out Side One.

A gong announces the arrival of "Father Time" to open Side Two. It's four and a half minutes of sheer delight with the ever- present sitar player and Alisha Sufit's charming voice bringing to mind evocative and exotic images of India. We're in La-La Land next for "La-La". There's no need to ask what the lyrics are about, because as you've probably guessed, the only "lyrics" are "La-La" repeated ad infinitum until the sitar player finally runs out of steam. It's still a jolly nice tune though. If you're not in a peaceful mood already, then you will be after the next spiritual song, because it's the Magic Carpet "Peace Song", which is just as relaxing and peaceful as the song title implies, so just lie back and think of India. It's time to order your "Take Away Kesh" now, because that's the title of the next song on the album. If you can't afford a trip to exotic eastern lands, then close your eyes and let this side order of Indian exotica take you there. It's time to take a trip down to your local Indian restaurant now on the "High Street", which, as I'm sure you'll guess by now, features a tabla drummer and a sitar player to entertain you while you dine on curry and poppadoms. You'll need something to quench the thirst after all that hot and spicy food, so take a good long swig of your favourite aperitif and have a listen to "The Dream", the final song on the album. Alisha's passionate and mellifluous tones are a real dream and delight to listen to and she's in unusually high voice for this divinely spiritual closing number. Wait a minute though, our magic carpet ride is not quite over yet, because there's the long bonus track "Raja", which is 20 minutes of heavenly sitar bliss!

"Magic Carpet" really IS an Indian "Jewel in the Crown". It's a hot and spicy spiritual adventure, conjuring up images of exotic and distant foreign lands somewhere in the Indian subcontinent. It's not an essential prog album, because it's not in the least bit proggy, but it IS an essential Raga Rock album. Give it a listen. It might just spice up your life.