Album Review: 999 – 999 / Separates
Reviewed by Dan Barnes
Captain Oi!’s mission to reissue classic punk albums continues apace and moves into the sphere of combining two records from each band, as begun with their treatment of the Cockney Rejects’ debut full lengths. It’s almost like it’s someone’s birthday with three (count ‘em) meaty collections all being released on the same day. Elsewhere you’ll find the Angelic Upstarts and Discharge, but for this review, let’s see what’s going on with one of the original London punk outfits: 999.
Formed in the capital back at the tail end of 1976, 999 were never hampered by the need to sound like anyone - or anything - in particular. Instead, their take on Punk was unencumbered by convention or expectation, leaving the door open for them to forge their very own path through the changing musical landscape of the time.
Where other punks of the time clad themselves in studs and safety pins, deliberately intending to provoke a reaction to the Silver Jubilee celebrating populus, 999’s approach was a little more subtle. In place of mohawks or shaven heads, they presented as somewhat dandy, all dayglo colours and, if you check out the cover of the self-titled debut, the kind of young lads who might easily find employment in one of the service industries.
The first disc of this collection finds the Captain serving up the band’s self-titled debut, released in March 1978 as the world still reeled from the seismic impact of the Pistols, The Clash and a host of other bands the establishment did not know what to do with. Instead, 999 are closer in style and sound to Manchester’s Buzzcocks, whose version of punk was poppier and rockier than many of their contemporaries.
The early tracks of the debut seem to act as nerve-settlers, with the likes of Me and My Desire, a song about individuality, starts out slow and clean, before growing into a more aggressive stance; Chicane Destination is made from staccato riffs and danceable beats, while Crazy has some heavy chugs within the swinging rhythms.
Your Number is My Number creeps like a gothic drama and, owing to Nick Cash’s androgynous vocal, could have been an unused song from The Rocky Horror Show; Titanic (Me Over) Reaction has a post-punk vibe going on, before Punk was even something that was, let alone something one could be after, and Direct Action Briefing has a kind of Swinging London sound, baby.
Hit Me, I’m Alive and Emergency all stray into more abrasive territory and have featured regularly in 999’s live shows since the beginning, the later even becoming the band’s calling card and go-to tune. The jittery sound of No Pity includes some wild guitar moments, leading the way into Nobody Knows’ fireworks soloing. The guitar duo of Nick Cash and Guy Days are the original six-stringers from 999’s inception and are still working together in the band to this day.
The bonus content includes single versions of I’m Alive, No Pity and Me and My Desire, and their relevant B-side, Quite Disappointing, Nasty, Nasty and My Street Stinks, respectively. Quite Disappointing finds bassist Jon Watson playing at a break-neck speed, Nasty, Nasty is a full-on punk number as well as being a live favourite, and My Street Stinks is very much of the time and genre.
While not being earth-shattering on its release, 999 received good reviews and, for a Punk debut record, charted respectably in the UK album ranking at number 53.
There was no resting on laurels back then, and Messrs Cash, Day, Watson and drummer, Pablo LaBritain, were back in studio, ready for their following up, Separates, to hit the shelves within seven months of the debut’s release.
There’s clearly been a improvement in how best to present the band since the recording of 999, with Separates sounding fatter and fuller due to Martin Rushnet’s production. The band had started to experiment with spreading their creative wings on this record: Tulse Hill Night features a little shuffling guitar, as does Rael Rean, which benefits greatly from the improved production as it displays the nuanced sounds lying previously just out of earshot.
In fact, Cash and Days appear to be revelling in this brave new world, as their guitars come over clear as a bell. While Let’s Face it hits hard, the reggae infused Feelin’ Alright with the Crew plays it straight and clean, with just an echo to bring the sound of the streets.
The still-live favourite Homicide begins things with a memorable chorus and bringing to mind Skids; whereas the dual-sectioned Crime owes The Stranglers a cut of the loot.
Yet 999 haven’t completely abandoned their core sound either, taking us back on Out of Reach and finding some balance on Subterfuge, Wolf and Brightest View. Closing the original’s eleven tracks is High Energy Plan, bristling with 1970’s Futurism – which, unfortunately, now comes over as very dated.
The half a dozen bonus tracks include Waiting and its B-side, Action, combining to make a record that was given free with all mail order copies of the album, and are closer to 999 than to Separates. The single version of Homicide slices about a minute from the album version, and it is included here with its flip side, the caustic Soldier. Finally, the disc come to conclusion with live version of Quite Disappointing and Crazy, both performed at the 1978 Front Row Festival, and comes over as being something of a rambunctious event.
If you are a casual observer of the Punk scene, 999 might perhaps not be high on your radar, or signalling for your attention quite as much as other artists. But here is a band that was foundational in the creation and expansion of the scene, and not only maintained their original line up longer than any of their contemporaries, are still going strong to this day (with some minor tweaking).
