Over the decades, Scottish musicians have crafted many classic albums that have transcended time. Among these, one particularly captivating yet often overlooked gem is “Sister, Brother, Lover…”, the singular studio album by the Glasgow progressive rock band, Northwind. Originally released in the seminal year of 1971, this record has recently garnered renewed attention, cementing its place among revered works in music history.
The year 1971 proved to be an exceptionally fertile period for groundbreaking album releases that would etch themselves into the annals of music. While many acclaimed works from this era frequently dominate discussions, Northwind’s “Sister, Brother Lover…” emerged on the Regal Zonophone label, with the band unofficially informed of impressive sales figures reaching approximately 10,000 copies, a testament to its initial, albeit quiet, reception.
Despite its somewhat obscure origins, the album has periodically resurfaced over the intervening decades, culminating in a distinctive accolade just recently. “The Ultimate Record Collection: The 200 Greatest Progressive Rock Albums … Ranked!”, compiled by the esteemed makers of Uncut magazine, notably features “Sister, Brother, Lover…” within its selective list of the 20 most collectable prog albums. This recognition places Northwind in stellar company, alongside iconic releases such as King Crimson’s debut, “In the Court of the Crimson King”, and Pink Floyd’s monumental “The Dark Side of the Moon”, underscoring its significant artistic merit.
Uncut magazine’s insightful observation characterizes Northwind’s record as “breezy, bucolic soft-prog from Glasgow’s short-lived answer to Wishbone Ash,” specifically highlighting its “big on tasteful twin-guitar team-ups.” The album enjoyed considerable success in France and marked Northwind as a band that, despite lacking consistent label support, achieved notable milestones, including opening for legendary acts like Fleetwood Mac, Deep Purple, and Yes, further solidifying their place in the 70s rock classics scene.
The creative force behind “Sister, Brother, Lover…” comprised Brian Young on guitar, acoustic guitar, and vocals; Hugh ‘Shug’ Barr on guitar; Tam Brannan on bass and vocals; Colin Somerville on organ and piano; and Dave Scott on drums and percussion. Their journey began with memorable early performances, such as supporting The Move and the Pathfinders at Glasgow’s Maryland in 1967, an era vividly recalled for its “groovy” atmosphere, kaftans, and stages adorned with flowers, reflecting the vibrant Scottish music history.
The band’s professional trajectory was shaped by their association with Ronnie Simpson’s Music and Cabaret Entertainment, a Glasgow-based agency whose roster also included Tear Gas (later to become The Sensational Alex Harvey Band) and Hate. Subsequently, Tony Calder, known for his management work with The Rolling Stones, sought out bands for his production company, Realization 7. Brian Young recounted in 2004 that both Tear Gas and Northwind signed with Calder, leading to their release on Regal Zonophone without an advance, yet launching them onto the extensive gig circuit, including a significant show at Green’s Playhouse in November 1970 supporting Fleetwood Mac featuring Christine McVie.
Recording for the “Sister, Brother, Lover…” album commenced at Regent Sound in London, a studio with a rich heritage where the Stones, Beatles, and Kinks had all laid down tracks. Production continued at Sound Techniques, another revered studio that had hosted bands like Pink Floyd. The album’s beguiling opening track, “Home for Frozen Roses,” evokes the harmonious sounds of Crosby, Stills & Nash, while “Acimon and Noiram” captivates with its hypnotic riff and exquisite guitar interplay between Brian and Hugh. Brian proudly noted that lead guitarist Shug Barr was an “excellent guitarist” and that the band developed their distinctive double-harmony sound well before Wishbone Ash, influencing the unique progressive rock elements of the album.
Martin C Strong, in his comprehensive 2002 work “The Great Scots Musicography,” described the album as “a gentle piece of ‘rural’ Prog-acoustic rock,” observing that “The stand-out tracks were the mellow openers, ‘Home for Frozen Roses’ and ‘Acimon and Noiram’ (a softer Yes or Wishbone Ash come to mind…).” Regrettably, Northwind disbanded the year following the album’s release, with Brian attributing the split to a “fateful trip to Zurich around 1972” after a less inspiring month performing for GIs in Fulda, Germany, marking an untimely end for a band on the cusp of greater recognition.
Today, the “Sister, Brother, Lover…” studio album is, rightfully, considered a major vinyl collectibles item, renowned for its blend of elegantly played and endlessly melodic tracks, as articulated by Bright Carvings’ website. Jon Groocock of Bright Carvings champions the album as “a bit of a minor classic: excellent songs, well sung and beautifully played, arranged and recorded,” affirming its enduring legacy within the progressive rock genre and its significant contribution to Scottish music history.
