999 – Concrete 12" Vinyl LP Album

- Recorded in 1981 at Jacksons Studios, produced by Vic Maile

Album Front Cover Photo of 999 - Concrete Visit: https://vinyl-records.nl/

Concrete is the moment when 999 stopped chasing the chaos of first-wave punk and leaned into weight, tension, and experience. Recorded in 1981 at Jacksons Studios, Rickmansworth and shaped by producer Vic Maile, this album sounds tougher, denser, and more grounded than their earlier work. Tracks like “So Greedy” and “Obsessed” trade sneer for grit, pushing sharp riffs and locked-in rhythms that flirt with hard rock without losing punk nerve. The stark sleeve by Caramel Crunch Design mirrors that shift perfectly. As a UK Albion Records pressing (ITS 999), it remains a sleeper favorite for collectors who like their punk seasoned with muscle and mileage.

Table of Contents

"Concrete" (1981) Album Description:

Introduction

"Concrete" is 999 hitting the early-80s wall at full speed and deciding not to dodge. It’s tougher, leaner, and less wide-eyed than their earlier work, like a band that’s seen enough backstage floors to stop pretending punk is just a party. This record sounds like London grit setting into muscle memory.

Historical and Cultural Context

By 1981, UK punk had splintered. The original explosion was over, post-punk was getting arty, and hardcore was sharpening its teeth. Bands like 999 were stuck between staying raw and growing up without selling out — a tightrope over a concrete floor.

How the Band Came to Record This Album

After years of touring, singles, and near-miss breakthroughs, 999 walked into this album with scars and stamina. They weren’t chasing fashion anymore; they were chasing survival. Bringing in Vic Maile meant committing to power and clarity, not polish.

The Sound, Songs, and Musical Direction

The sound is dense but direct — tight drums, guitars that bite instead of sparkle, and vocals that feel pushed rather than posed. Tracks like “So Greedy” and “Obsessed” don’t shout slogans; they grind forward, restless and wired. This is punk that knows how to pace itself without losing the punch.

Compared to Its Peers

In the same era that produced albums like "Kings of the Wild Frontier" or "Heaven Up Here", "Concrete" sat in its own lane. Less theatrical than Adam and the Ants, less abstract than Echo & The Bunnymen, but heavier. It leaned toward hard rock weight without abandoning punk nerve.

Controversies and Public Reaction

Some fans muttered that it sounded too solid, too controlled — the usual cry when a band tightens its grip. Others just turned it up and got on with it. No scandal, no headlines, just the quiet friction of expectations rubbing against reality.

Band Dynamics and Creative Tensions

You can hear a band negotiating space with itself. Everyone plays like they know the clock is ticking, but nobody panics. That tension — between urgency and restraint — gives the album its pulse.

Critical Reception and Legacy

"Concrete" never became the album that rewrote the history books, but it aged better than flashier releases. Over time, it’s been reappraised as a solid, honest snapshot of punk growing up without losing its accent. Collectors get it; casual listeners sometimes miss it.

Album Key Details: Genre, Label, Format & Release Info

Music Genre:

English (Punk) Rock

Rooted in the raw UK underground of the late 1970s and early 1980s, English punk rock favored speed, attitude, and stripped-down songwriting. It rejected polish in favor of urgency, sharp hooks, and a confrontational DIY spirit that bridged classic rock energy and emerging hardcore aggression.

Label & Catalognr:

Albion Records – Cat#: ITS 999

Media Format:

Record Format: 12" LP Vinyl Stereo Gramophone Record
Total Weight: 230g

Year & Country:

1981 – UK / England

Production & Recording Information:

Producers:
  • Vic Maile – Producer, Sound Engineer

    Vic gave Motörhead and Girlschool enough shape to hit harder, not cleaner, which is exactly the point.

    Vic Maile — British producer and sound engineer, the sort of studio man I trust because he understood noise before trying to tidy it up. He began at Pye Studios in the mid-1960s, worked the mobile recording truck by the late 1960s, and had his fingerprints on rough, living rock rather than showroom polish. In the 1970s he engineered and produced for The Who, Dr. Feelgood, Eddie and the Hot Rods, The Pirates and other hard-working pub-rock bruisers. Then came the heavy-metal years: Motörhead's "Ace of Spades" in 1980 and "No Sleep 'til Hammersmith" in 1981, Girlschool's early Bronze-era punch in 1980-1981, and Twisted Sister's "Under the Blade" in 1982. He made bands sound awake, dangerous, and properly unwilling to behave.

    Vic Maile Wiki
Recording Location:
  • Jacksons Studio, Maple Cross, London – Recording Studio

    A working rock room where Girlschool got their 1986 bite back, no velvet curtains required.

    Jacksons Studio, Maple Cross — recording studio with the sort of room-name that already sounds like a warning on the sleeve. I know it best as the place where Girlschool cut "Nightmare at Maple Cross" in 1986, back with Vic Maile at the controls and the band returned to a lean four-piece attack. The studio is also tied to Girlschool's earlier Maile period around "Demolition" in 1980 and "Hit and Run" in 1981, with Motörhead and 999 moving through the same rough-edged orbit. Not Abbey Road velvet, thank heavens. More like a working rock room where amps breathed, drums had elbows, tape carried scars, and nobody came in asking for polite wallpaper.

    • Album Cover Design & Artwork:
    • Caramel Crunch Design – Album Cover Design For this album, Caramel Crunch Design translated 999’s tougher, post-punk mindset into something deliberately stark. From my perspective, the sleeve avoids cartoon punk chaos and opts for a colder, more grounded look that matches the tightened sound. The artwork doesn’t try to seduce — it sets a tone, reinforcing the album’s sense of realism and hard-earned seriousness.
    Photography:
    • Chris Gabrin – Photography Chris Gabrin’s photography on this record captures 999 without myth or posturing. I read these images as documentary rather than promotional — a band presented as working musicians, not punk caricatures. The photos quietly support the album’s grounded character, reinforcing the feeling that this is a record made from experience, not attitude alone.

    Band Members / Musicians:

    Band Line-up:
    • Nick Cash – Lead Vocals, Rhythm Guitar, Percussion Nick Cash is the voice and nerve center of 999, and on "Concrete" I hear him shifting from punk spark to hardened focus. His vocals sound more clenched and deliberate here, less sneer and more resolve, while his rhythm guitar locks the songs into a tight, driving frame. This album feels like Cash steering the band through experience rather than impulse.
    • Guy Days – Guitar, Organ, Vocals, Chimes, Percussion Guy Days brings texture and bite to "Concrete", filling the spaces between riffs with sharp guitar lines and subtle organ touches. From my perspective, his playing adds depth without softening the attack, giving the album its slightly heavier, more layered feel. He sounds less decorative than before, more structural, reinforcing the record’s tougher, grounded tone.
     
    • Jon Watson – Bass Guitar, Vocals Jon Watson’s bass work on "Concrete" is all about momentum and restraint. I hear him anchoring the album with firm, no-nonsense lines that keep the songs moving without flash. His playing thickens the sound compared to earlier releases, helping push the band toward a heavier, almost hard-rock edge while still keeping one foot planted in punk urgency.
    • Pablo Labritain – Drums, Percussion, Backing Vocals Pablo Labritain drives "Concrete" with a drumming style that feels disciplined rather than chaotic. To my ears, his rhythms are tighter and more controlled, pushing the band forward without rushing them. The drums give the album its muscular backbone, reinforcing the sense that 999 had matured into a unit that knew exactly when to hit and when to hold back.

    Complete Track-listing:

    Tracklisting Side One:
    1. So Greedy (3:04)
    2. Little Red Riding Hood (2:49)
    3. Break It Up (3:05)
    4. Taboo (3:05)
    5. Mercy Mercy (2:30)
    6. Fortune Teller (2:20)
    Tracklisting Side Two:
    1. Obsessed (2:48)
    2. Silent Anger (3:00)
    3. That's The Way It Goes (3:26)
    4. Bongos On The Nile (2:53)
    5. Don't You Know I Need You (3:10)
    6. Public Enemy No. 1 (2:06)

    Disclaimer: Track durations shown are approximate and may vary slightly between different country editions or reissues. Variations can result from alternate masterings, pressing plant differences, or regional production adjustments.

    Album Front Cover Photo
    Front cover of 999 – Concrete (1981) UK punk rock vinyl LP, showing the four band members standing under a concrete motorway overpass, album title CONCRETE in large textured lettering across the top, dark industrial setting, muted colors, stark typography, and a tilted red-and-yellow 999 logo sticker in the lower right corner emphasizing the raw, urban design.

    This is the original front cover of the 1981 UK punk rock LP Concrete by 999, photographed directly from my own vinyl copy. The image shows the four band members standing outdoors beneath a massive concrete motorway overpass, a deliberate choice that visually reinforces the album title and its heavier, more grounded musical direction.

    The setting is cold and industrial. The underside of the overpass dominates the upper half of the sleeve, forming a dark, textured ceiling of poured concrete slabs. Bright triangular gaps of daylight on both sides cut into the structure, framing the band and adding a stark contrast between light and shadow. This isn’t decorative scenery; it feels like real urban infrastructure, functional and unforgiving.

    The band members stand in a loose line, dressed in everyday street clothes rather than punk caricature outfits. Coats and jackets are worn casually, hands in pockets, body language relaxed but unsmiling. The central figure is closest to the camera, creating depth and a slight sense of confrontation. Faces are serious and direct, suggesting experience rather than youthful chaos.

    Across the top of the sleeve, the album title CONCRETE appears in large, blocky capital letters. The typography has a rough, grainy texture that mimics concrete or weathered stone, reinforcing the theme without relying on illustration. Above it, the band name 999 is repeated in smaller lettering, understated but clearly present.

    In the lower right corner, a tilted red-and-yellow graphic element with the 999 logo breaks the otherwise muted color palette. This pop of color draws the eye and balances the composition, while also serving as a recognizable branding mark for the band. Overall wear, edge texture, and slight color variation are consistent with an original early-1980s UK sleeve, with minor shifts caused by flash photography and lighting.

    Album Back Cover Photo
    Back cover of 999 – Concrete (1981) UK punk rock vinyl LP, featuring centered tracklisting for both sides, band member credits, production details, and abstract geometric artwork in blue, red, yellow, white, and brown, with Albion Records logo and catalog number ITS 999 in the top corner.

    This is the original back cover of the 1981 UK vinyl LP Concrete by 999, photographed from my own Albion Records pressing. The design immediately continues the hard, angular visual language introduced on the front cover, replacing band imagery with sharp geometry and clean information layout.

    The center of the sleeve is dominated by a large off-white field that functions as a neutral information panel. Printed in clear, legible blue and red text, the full tracklisting is split into Side One and Side Two, stacked vertically and easy to read from arm’s length. Song titles are evenly spaced and aligned, giving the layout a disciplined, almost architectural feel rather than punk chaos.

    Beneath the tracklisting, the band lineup is listed in plain text with names followed by instruments and roles. There is no decoration here, just factual crediting: guitars, vocals, percussion, bass, and drums. This straightforward presentation matches the album’s more controlled, grown-up sound and avoids unnecessary visual noise.

    Surrounding the central panel, abstract geometric shapes in strong primary and secondary colors — blue, red, yellow, white, and textured brown — form sharp angles and intersecting planes. These shapes feel hand-drawn and slightly irregular, with visible line edges and subtle texture, reinforcing the tactile, early-1980s sleeve production style.

    Production credits appear near the bottom, confirming Produced by Vic Maile and Recorded at Jacksons Studios, Rickmansworth, followed by artwork and photography credits. In the upper corner, the Albion Records logo and catalog number ITS 999 are printed clearly, while a small fan club address block in the lower corner adds period-correct ephemera. Minor surface wear, light scuffing, and faint discoloration are consistent with an original UK sleeve handled and stored over decades.

    Close up of Side One record’s label
    Close-up of the mint-green Albion Records Side One label for 999 – Concrete (1981), showing the tilted red-and-yellow 999 logo block, catalog number ITS 999, 33 1/3 RPM stereo marking, producer credit to Vic Maile, full Side One track list with songwriter credits, and fine-print copyright text around the rim—clean, bold early-80s UK punk label design.

    This image shows a close-up of the Side One record label from the original UK pressing of Concrete by 999 on Albion Records. The label background is a distinctive pale mint green, a color choice that immediately dates the record to the early 1980s UK punk and new wave era and contrasts sharply with the black vinyl surface around it.

    Dominating the upper left quadrant is the tilted rectangular 999 logo block, printed in red with bold yellow numerals and repeated small “nine” text inside each digit. The slight angle gives the label visual movement and ties it directly to the sleeve design language. Above the logo, the matrix-style code AS 8502 is printed in small but legible text.

    On the right side, the Albion Records logo appears in a clean black-and-white box, clearly stating Albion Records – London – England. Beneath it, the technical information is laid out with precision: Stereo, catalog number ITS 999, Side 1, and 33 1/3 RPM, followed by the copyright line P & C 1981 Albion Records Ltd.

    Centered on the label is the album title CONCRETE in strong black capitals, followed by the complete Side One tracklisting. Each song is numbered and includes songwriter credits in parentheses, making this label particularly useful for cataloging and rights verification. Below the track list, the band name 999 and the credit Produced by Vic Maile are printed clearly.

    Along the bottom arc, publishing credits specify Albion Music Ltd., with exceptions noted per track, while the outer rim carries standard rights text warning against unauthorized copying and public performance. Light spindle marks and faint handling traces around the center hole are consistent with careful play, confirming this as an authentic, used UK original rather than a modern reissue.

    All images on this site are photographed directly from the original vinyl LP covers and record labels in my collection. Earlier blank sleeves were not archived due to past storage limits, and Side Two labels are often omitted when they contain no collector-relevant details. Photo quality varies because the images were taken over several decades with different cameras. You may use these images for personal or non-commercial purposes if you include a link to this site; commercial use requires my permission. Text on covers and labels has been transcribed using a free online OCR service.

    Index of THE 999 Vinyl Album Discography and Album Cover Gallery

    999 - Concrete album front cover vinyl LP album https://vinyl-records.nl

    Albion Records ITS 999 , 1981 , UK / England

    999 - Concrete

    Released in 1981, Concrete captures 999 at a turning point where early UK punk urgency hardens into something heavier and more controlled. Produced by Vic Maile, the album trades youthful chaos for grit and tension, with tracks like “So Greedy” and “Obsessed” pushing tight riffs and disciplined rhythms. A solid Albion Records UK pressing that shows punk growing muscle without losing bite.

    999 - Found Out Too Late
    Thumbnail of 999 - Found Out Too Late album front cover

    Albion Music ADA 46, Radarscope Records Ltd / HS2725 , 1979 , Made in UK

    The 7" 45RPM PS single vinyl titled "999 Found Out Too Late b/w Lie, Lie, Lie" offers a musical experience with its two tracks, showcasing the band's unique style.

    Found Out Too Late 7" Vinyl Single
    999 - Nasty Nasty
    Thumbnail of 999 - Nasty Nasty album front cover

    United Artists Records UP 36299 , Albion Music , 1977 , Made in England

    The 7" 45RPM PS single vinyl titled "999 Nasty Nasty b/w No Pity" on green vinyl presents a dynamic musical experience with its two tracks. Fans of 999 and collectors of vinyl records may find this release appealing for its distinctive sound and limited edition green vinyl.

    Nasty Nasty 7" Vinyl Single
    999 - Singles Album
    Thumbnail of 999 - Singles Album front cover

    United Artists SOS 999 , 1980 , Made in UK/England

    The 12" LP vinyl album titled "999 Singles" offers a collection of the band's notable singles, providing a comprehensive overview of their music. The inclusion of a poster adds an extra element of visual appeal for fans and collectors. This album serves as a valuable addition to the collection of 999 enthusiasts and vinyl aficionados alike

    Singles Album 12" Vinyl LP