I'm alive and so are 999!
They formed in London in 1976 and quickly became one of the favourites of the first wave of the UK punk scene. Energetic, colourful shows soon took them a hop, skip, and swim across the large pond to North America where they continued gathering their large rabid cult following.
999 – Emergency at the Old Waldorf 1979 was released on November 8 by Liberation Hall. It was originally recorded by KALX DJ and engineer Terry Hammer who I also had the opportunity to interview previously. This time, I had the opportunity to talk to 999’s Nick Cash about his past, present and future. Step out of your chthonic darkness, pick up the phone and dial 999... It's an emergency!
Scene Point Blank: How important was art school to the early UK punk scene?
Nick Cash: In my opinion, it was essential. Many of the early bands had people in them from art school backgrounds and, for me, the formation of 999 was helped by myself attending art school. I had previously been a member of Kilburn and the High Roads which was formed at Canterbury College of Art (where I was a student) to play at the end-of-term college dance. Ian Dury was my tutor in fine art painting and we soon got around to talking about music. We would get together -- he would bring his traps, a collection of wood blocks and a tambourine which he would play with drumsticks. I would play the guitar. We practiced songs by Little Richard, Eddie Cochran, Gene Vincent, and Fats Domino, amongst others. At the time, Ian lived in the same house with pianist Russell Hardy, and I would go to his house to rehearse. From there, Kilburn and the High Roads gradually came together. We then started to play gigs and people who later became the Sex Pistols, Wire, Madness, and others all came to see Kilburn and the Highroads and eventually cited us as being influential to them.
I decided to leave Kilburn and the High Roads as it had run its course for me. I was writing songs and playing guitar together with my brother Guy, and those songs were to become early 999 material: for example, "I'm Alive," "My Street Stinks," and "Nasty Nasty." We decided to form a band and put an advert in the Melody Maker music magazine stating "Wanted: Bass Player and Drummer for Punk Rock Band." We auditioned and got Jon Watson and Pablo LaBritain and, as a result, 999 was formed in late 1976. It was interesting for me to notice at the time that some bands on the punk/new wave scene in the USA were also coming from art school beginnings.
Scene Point Blank: If you had not chosen a path of music what other interests might you have pursued?
Nick Cash: I would have chosen to pursue a life as an abstract expressionist painter. I couldn't have done an ordinary job and didn’t want one.
Scene Point Blank: Growing up in the UK, what music initially resonated with you to spark your interest in a music career?
Nick Cash: I listened to Booker T & The M.G.'s, Little Richard, Wilson Pickett, Sam The Sham & The Pharaohs, Chuck Berry, and all the usual '60s bands. I didn’t just grow up in the UK, as my father was in the Royal Air Force and was stationed abroad quite frequently. When he was posted to Malta that's where I formed my first band, The Pentagon, at the age of 15 performing at professional venues on the island.
Scene Point Blank: Nick, do you have memories of opening for The Who’s “Quadraphenia Tour”? What was the reaction of Who fans to Kilburn and the High Roads?
Nick Cash: I have very fond memories of opening for The Who on the “Quadrophenia Tour”. It was extraordinary because the Kilburns had been playing at small venues and art schools, and suddenly had to make the change to the large auditoriums when we got the tour. Pete Townshend (himself an ex-art student) had seen us in the Speakeasy Club in London and, as a result, we got the Quadrophenia Tour.
The Who treated us great and I can remember Keith Moon crawling out behind the drums during our set with a rum and Coke for our drummer David Newton-Rohoman. David was disabled as a child from a spinal injury and had to use crutches to get around. The only way he could play the drums was to rock backwards and forwards on the drum stool to make his feet work on the bass drum and hi-hat. However, above the waist, he was an absolute powerhouse and Keith Moon was fascinated by this and admired his drumming.
Our music and tolerance for each other has won the day and here we are 48 years later.
I remember when we played at The Free Trade Hall in Manchester, the press reporters goaded The Who into smashing up the backstage area. Keith Moon gave the keys to his Rolls Royce to his drum roadie and told him to drive it into the large concrete flower pots outside the venue. Returning the following day for another concert at the same venue, I noticed that the priceless large Victorian mirrors had been boarded over just in case there was a repeat of the previous evening's destruction.
The Kilburns went down really well with The Who’s audience and, as a result, The Who offered us the support slot on their USA Quadrophenia Tour. Sadly, our inept management at the time couldn’t get it together for us to go and the tour went to Lynyrd Skynyrd instead.
Scene Point Blank: Paul Simonon of The Clash has cited Kilburn’s huge influence on the UK punk movement. Did you recognize the similarities between Dury’s personal/ stance and Rotten’s (a claim that Rotten disputes)?
Nick Cash: Not really, no.
Scene Point Blank: Why did Kilburn and the High Roads break up?
Nick Cash: I left before the final split but it was just gradually falling apart. It had run its course and gone as far as it could. Pub rock was coming to an end and punk rock was a much more exciting progression.
Scene Point Blank: How has the music business changed over the years? Primarily, bands don’t make money off the music anymore but instead from touring and merchandise.
Nick Cash: It has done all the things you say and it’s exceedingly difficult these days. Fortunately, one thing that’s happened to 999 is that our music is being used in films and TV programmes, for example, Shameless, The Bear, The Continental, Killing of America, Too Old to Die Young, etc. I think this is a result of people involved in those works seeing 999 in the USA when they were young. They appreciated our music then, and remember us now as they've settled into their jobs as film and TV producers and showrunners.
Scene Point Blank: Visa fees for international artists to tour the USA have shot up 250%. Does this make it feasible for 999 to tour North America?
Nick Cash: It is ridiculous, isn’t it? I believe that young bands and musicians should be able to travel to the USA and vice versa for free until they start to earn more significant amounts. It’s great to share our different cultures, and music breaks down barriers and is good for business, too! You just have to look at the past to see why. Can the people responsible please take note and do something positive that will benefit us all?
Scene Point Blank: I am from Canada and I don’t believe we have the same stipulations so maybe 999 have to tour Canada? Hope so!
Nick Cash: Yes, we’ve still got our Canadian work permit -- any offers?
Scene Point Blank: How does 999 navigate these waters?
Nick Cash: We try to avoid as many sharks as possible!
Scene Point Blank: Do you have an opinion on streaming (Spotify, etc.) and, on that note, dynamic ticket pricing!?
Nick Cash: Rip off, rip off, rip off! But the good old days have unfortunately gone for good.
Scene Point Blank: Apparently, in June of 1981, there was some trouble with the police proceeding the show in Toronto. Any memories of that incident or any memories of playing Toronto -- or Canada, in general?
Nick Cash: I can recall a fracas outside one of the larger venues in Toronto but I was backstage and didn’t see it firsthand. It was a very exciting time in Canada. Punk rock was taking off and we played many fantastic shows at the brilliant Edge Club and weaved our way back and forth across Canada quite a few times, visiting Toronto, Calgary, Edmonton, Vancouver, and Montreal.
Pub rock was coming to an end and punk rock was a much more exciting progression.
Scene Point Blank: A local rumour is that 999 came to Toronto and had to meet a well-known promoter who also worked at a large drugstore chain. The incident must have been memorable as they made a commercial of a punk band coming into the store looking for hair spray! Sound familiar at all?
Nick Cash: It’s vaguely familiar, but it’s such a long time ago. My memories are sketchy and none of the band used hair spray!
Scene Point Blank: How important were clothing/image and aesthetics to 999? It seems colourful clothing played a role in creating a unique image at the time.
Nick Cash: We saw it as vital and chose vibrant and fluorescent colours to make us stand out and be noticed… Art school helps in many ways.
Scene Point Blank: It’s admirable that 999 has lasted this long, largely intact with original members. That is a feat in itself. It is well-known that bands, at times, want to choke each other. How have you maintained these friendships and camaraderie and still been able to pump out quality music?
Nick Cash: Yes, you are right, and it’s notoriously even harder with brothers as everyone knows. However, our music and tolerance for each other has won the day and here we are 48 years later.
Thank you, Chris, for your interesting questions and greetings from the UK from Nick Cash and 999.
