999

Nick Cash Back in the days before 999 were formed I played guitar in Kilburn and the High Roads. Many of my influences then still stand now and it was great to be in a pub rock band, what better training could you have for Punk?

The Kilburns signed to Pye records and that was good because I got a copy of The Golden Hour Of The Kinks who were a big influence as were Eddie Cochran, Jerry Lee Lewis, Fats Domino, Chuck Berry, Eddie Floyd, Wilson Picket, Mutabaruka, Gregory Isaacs, The Stooges, New York Dolls, Sam The Sham and The Pharaohs, Ennio Morricone and The Who.

I was considered for the position of guitarist in Dr. Feelgood after Wilko left but 999 was already taking up much of my time and I’ve no regrets. Punk77 Interview, 2007

While in the Kilburns Nick was being dressed by one Malcolm McLaren though he declined a suggested gimp mask!

Pablo Labritain (AKA Paul Buck) joined two months later in December after the band had auditioned numerous drummers. Nick and Guy recall: ‘We knew what we wanted and we wouldn’t settle for anything less.’ Others passing through auditions would be the ever-hopeful Chrissie Hynde’ later of the Pretenders’ and John Moss who had actually joined The Clash then changed his mind and formed London and would later feature in The Damned & Culture Club.

Pablo was in fact a school friend of Joe Strummer and sat in on some of the earliest Clash rehearsals but didn’t get on with Bernie Rhodes.

They started serious rehearsals the week before Christmas ’76 in the basement of Broomfields Bakery Brixton before making their debut appearance in January supporting Stretch at Northampton Cricket Ground. Drummer Pablo had only been with the band for nine days!

Apart from one other show at the Target Club Reading, 999 did not get a chance to play live again for nearly two months. During this period they found that they could not afford to function without taking daytime jobs. Nick worked as a postal clerk. Pablo became a porter, Guy took a job as a general office worker and Jon started painting on a Brixton building site.

Things really started moving for 999 in April 1977 when Albion, the management and agency with whom they signed, began getting them regular gigs. They played the Nashville, Red Cow, Hope & Anchor and Roxy quickly building up a following. One section of it having originated from Southall and calling themselves the Southall Contingent.

They went through numerous name changes – the Dials, Fanatics and 48 Hours – until finally settling on 999 mid year and released on their own LaBritain record label the single I’m Alive which sold around 10,000 copies.

At the time they didn’t think of themselves as a punk band, ‘We’re just modern” and write songs that obviously appeal to punks.’

On their famous instantly recognisable logo

Nick Cash: “It’s a fabulous thing that has endured. George Snow designed it; he makes art and films to this day. I went to his flat in Earls Court. We didn’t want a name starting with ‘The’ and thought it would be better to have figures rather than letters.

That’s how the band name 999 came about. He pulled a ticket out of one of those small raffle ticket books made of cheap paper with serial numbers on the tickets. The ticket had number AS8502 which we left on. George’s idea was to put the ‘Nine’ ‘Nine’ ‘Nine’ in the spines of the numbers to avoid confusion, ‘cos in some countries they are gonna go “nine, ninety-nine”. He also had the idea to leave the thumb print on, so it looks a bit rough. It’s a work of art. Phil Singleton, 999 feature, VLR

On the basis of this United Artists signed them up and 999 went on a great singles run including Emergency, Nasty Nasty, Homicide and re-releasing I’m Alive and 2 albums. Other signings to UA, like The Stranglers and Buzzcocks both enjoyed sustained chart success, but for some reason, it eluded 999.

Their biggest chance came with the anthemic Homicide in 1978 released on green vinyl which would have seen them gain a spot on the chart programme Top Of The Pops and a near certain rise up the charts. However a technician’s strike meant no TOTP that week and the momentum was lost.

Even worse was next when Pablo was injured in a car crash and stand in drummer Ed Case was recruited but they still toured America to great acclaim. Their return however saw them move to Radar records (set up by Andrew Lauder after he left UA) for one single Found Out Too Late (1979) and then Polydor for The Biggest Prize In Sport which saw them move into the eighties.

Punk had changed and 999 attempted to change with it like so many others. While never gaining back the their original popularity and record sales, they have for the past 30 years or so maintained a live and recording profile to become one of Britain’s best loved punk acts and always a great live act.

Nick Cash The music lives on – we live on – for the present. Long live the music; long live the people. Punk77 Interview, 2007

When you put all these early singles up in a line you realise what a great singles band 999 were. Why weren’t they bigger? Who knows. They enjoyed a high profile and extensive promotion from UA – their high octane live act got them regular reviews and the singles and albums were given full page adveret treatments in all the music weeklies. Yet they couldn’t break through.

How do you describe the sound? Certainly not one-dimensional. Emergency, Nasty Nasty, Feeling All Right With The Crew and Found Out Too Late all show the diversity. The boys could play and the dual guitars of Cash and Davies were the lynchpin for either frenetic romps or more intricate song constructions.

I’m Alive / Quite Disappointing
(United Artists September 1977)

High octane romp and boy listening to this doesn’t it just make you feel so good to be alive? No doom and gloom punk here. Tony Parsons called it ‘heavy metal’ in the NME. Like we ever paid any attention to him! Silly old tosser!

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Nasty Nasty / No Pity
(United Artists October 1977)

A scathing attack on mindless violence and a 100 carat pure punk toon at a frenetic pace. Sopme copies played at 78rpm which trust me is very fast! The B side No Pity which is done in double time ain’t no slouch either!

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Emergency / My Street Stinks
(United Artists January 1978)

Bona fide, 100% absolute pure punk rock classic. Sharp stabbing dissonant guitars, aggressive pulsing bass and tom-toms background make this arguably 999’s greatest moment.

“I’m back in full attack
Never give in until they crack
Emergency Emergency”

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Me and My Desire / Crazy
(United Artists April 1978)

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Feelin’ Alright With The Crew / Titanic (My Over) Reaction / You Can’t Buy Me (United Artists August 1978)

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Homicide / Soldier
(United Artists October 1978)

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Found Out Too Late / Lie Lie Lie
(Radar September 1979)

999
(United Artists February 1977)

Originally to be called Emergency then then they finally arrived at…999! A Superb debut full of snappy spiky well crafted punkyish tunes including Emergency, No Pity and Me & My Desire. A mixture of tempos, ideas and full of commercial promise. The band on the front of what has to be one of the classic punk album covers was a riot of colour and also featured that most unpunk of instruments … a piano.

With the piano shot we thought we’d like to do something that would go against the grain a  bit. Other people would sit at it with nice lighting and that’s why we chose to lay in it and get our feet all over it…Its nice to have an art thing as well, there’s no reason why you can’t have it both ways, every record is in a cover so you may a well use it to its best advantage. We had the reception for our album in an art gallery… Jeremy Gluck, Sounds, 1.4.78

There’s power in these grooves and I’m still astonished at a record which not only captures the whole essential energy of the new wave but also threatens to be well received in every corner of the rock market. Kim Davis, NME, 11.3.78

Seperates
(United Artists September 1978)

Separates was released in 1978 and just six months after their debut which was a standard United Artists tactic.. Though reviews of it have it as being a bit duff, it’s impossible for it to be so when it contains songs like Homicide, Feelin Alright With The Crew, the jaunty Rael Rean and the hyperspeed Hi Energy Plan.

Perhaps in an effort to get a hit, Martin Rushent (Stranglers and Buzzcocks producer) was brought in and the sound is definitely more polished. Like their first, it’s very good but maddeningly not quite GREAT!