True, old school punk was in the air at the Village Underground, and it was evident before any of the bands even stepped on the stage. The music coming through the speakers prior to the show spanned the late '70's/early '80s gamut wonderfully - the Heartbreakers' "Chinese Rocks," Dead Boys' "Sonic Reducer," Agent Orange's "Bloodstains," the Dead Kennedys' "Holiday in Cambodia" - it played like a who's who in the history of punk. But of course, we didn't go to listen to the stereo…

No my friends, we came to see one of the longest-running acts in British 77 punk history, 999, who formed in December 1976. These blokes must be in their mid- to late-forties by now, but still put on an amazing show. They really knew how to get the crowd going with their zany, energetic stage mannerisms. Of course, the top-notch, hook-filled, aggressive punk rock didn't hurt either. Everyone on the tiny dance floor was manically "dancing" about. And as singer/guitarist Nick Cash declared, "The audience is as important as the band," the crowd took it to heart, with some guys joining the band on stage to sing a couple of lines. And as they played songs like "Emergency" off their 1978 self-titled debut, it was like a time warp back to that groundbreaking year 1977 and the old punk haunts in England - the Roxy and the Nashville - when people were doing the stranglehold - the stranglehold, I say! "123 456, gonna do a dance and it goes like this!"

What a great atmosphere for 999 to play in. It was, after all, the band's first foray back to NYC in something like 22 years. Because of the long absence, Cash claimed they'd play a longer set. They played all the classics - "Nasty Nasty," an anti-mindless violence song, and "Hit Me," both from 999, the rabble-rousing "Feelin' Alright with the Crew" from their sophomore release, 1978's Separates, the anthemic "Boys in the Gang" and "Inside Out" off The Biggest Prize in Sport LP, and the light-hearted yet dark-sounding "Li'l Red Riding Hood" from 1981's Concrete. Their set was packed with classics, as it should be, but also included newer ones like a song from 1993's You Us It, a hard, edgy rocker entitled "Absolution." The bassist, Arturo Bassick, formerly of another legendary UK punk band, the Lurkers, got some laughs when he said he was the "new" guy, as he's only been in the band for 13 years. He and Cash definitely had the most charisma out of the foursome. Guitarist Guy Days sang one song, but that's about all we heard from him. The last song of the set was an old favorite from '78, "Homicide." You know it's a bona fide classic when it's included on a "History of Punk" compilation. In any case, 999 came back on stage for a few more numbers, like "The Boy Can't Make It with Girls." It's great to see these guys still have it, and that the young and old fans can enjoy some good music together.

First on the bill was Some Action. There weren't many people around yet so early in the night and the frontman made a snide comment about that, thanking all 20 of us for coming out, but the band was impressive. Playing solid rock 'n' roll tunes straight out of the Dead Boys handbook. Their set was full of raw and edgy songs, and the singer's stage demeanor - the way he held the mic along with his jerky movements - were eerily reminiscent of the Hives' Howlin' Pelle Almqvist. No matter, Some Actions' sound definitely had that late '70s punk vibe.

The supporting band, the colorful Mad Parade, are punk veterans. Having been around since 1982, playing melodic yet pounding punk, and putting out numerous records since '84, the LA band knew what they were doing. They kicked things off with a crowd pleaser, "Court Jester," and also played songs like "Facing the Crowd," "Animal Riot," and another great one, "Real Horror Show." The original line-up was in tact, with Billy Ledges on vocals, Paul Almanza on bass, Joey Kelly on guitar, and Mike Sosa on drums, and they even played a new cut off their upcoming release Bombs and the Bible due out in June. The crowd standing around the stage was rather sparse, and the band were having some trouble with one of their Marshall amps, inciting Ledges to call out "Marsha, Marsha, Marsha." But, despite this hindrance, Mad Parade put on a worthy set, ending with a doozy, the glorious "Sex and Violence," one of their best.