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99.9 F Import

4.5 out of 5 stars 19 customer reviews

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Audio CD, Import, 8 Sep 1992
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  • 99.9 F
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Product details

  • Audio CD (8 Sept. 1992)
  • Number of Discs: 1
  • Format: Import
  • Label: Uni/a&M
  • ASIN: B000002G0O
  • Other Editions: Audio CD  |  Audio Cassette  |  MP3 Download
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (19 customer reviews)
  • Amazon Bestsellers Rank: 260,765 in Music (See Top 100 in Music)
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Product description

SUZANNE VEGA 99.9F? (1992 US 12-track Sealed CD album including the singles In Liverpool 99.9 F Blood Makes Noise and When Heroes Go Down. This copy is still sealed in its original shrink and therefore remains as-new with its outer longbox)

Customer Reviews

4.5 out of 5 stars
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Top Customer Reviews

Format: Audio CD Verified Purchase
Having come to Suzanne Vega through the higher-profile Solitude Standing many years ago, I bought this CD very cheaply used. What an absolute steal! Other reviewers have commented that it's a bit difficult to know what to make of it the first time you hear it but it repays perseverance in spades and is now one of my all-time favourites. As you might expect, the tracks are varied and almost idiosyncratic in character — definitely not mainstream pop. Don't miss out: this album is well worth a try.
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Format: Audio CD
Suzanne’s fourth album is the sound of a bird taking flight. Her first three efforts were rooted firmly in the folk clubs of her Greenwich Village past and whilst pleasant enough, were beginning to sound a little stale. ‘99.9F’ breaks this mould and takes her into more experimental territory with, in the main, astounding results. Some may say that the following ‘Nine objects of desire’ is her best album to date but for me, this one beats it hands down for edgy, innovative songwriting, arrangement and production.
This is not to say that she blanked her folk roots – ‘Song of Sand’ is one of her very best voice and acoustic guitar songs – but this album stretches her basic premise with a series of engaging lyrical stories set to unusual, almost industrial, backdrops. The musical settings range from clanging rhythmic urban soundscapes (‘Blood makes noise’) to the ringing guitar appegios of the Beatles (‘In Liverpool’) and back to her beloved acoustic guitar (‘Private goes public’).
As usual, her lyrical perception is spot on and her wry comments on the human condition serve to complement the musical invention displayed on this fine album.
For those who prefer the safer havens of her folk persona, her first three albums are for you, but for those who like to be challenged, this album will repay you over and over. This is exhilarating stuff, the like of which I cannot see her surpassing.
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Format: Audio CD
What makes Suzanne Vega such an interesting artist is that she's not just one of the best rock poets out there but she's prepared to push things to the edge. Usually it's in her subject matter which deals with unusual, occasionally disquieting issues - prostitution, child abuse, death, divorce, even lesbianism - delivered, very cleverly, via strong often ecstatic melodies and driving, tightly metered lyrics that make the impact of what she's actually singing about so hauntingly effective.

But on 1992's "99.9F" she and her husband, Mitchell Froom, took things one step further - adding challenging and, for the time, highly adventurous arrangements to her essentially folk-rock melodies. And it worked... with the hard, often harshly "industrial", multi-layered rhythms adding to the impact of her songs and perfectly complementing her almost deadpan approach to them. Different, exciting, at times (as on the exquisite "In Liverpool") quite beautiful, and, with only a couple of exceptions, very effective it's not only stood the test of time but begs the question why she hasn't worked with more similarly adventurous producers to take things even further.

Not that there's anything wrong with her sparse, equally intriguing but musically "safer" output since then - both "Nine Objects of Desire" & "Songs in Red & Gray" are superb albums - but, as 99.9F showed, her highly distinctive, almost detached delivery coupled with the sheer power of her compositions are ideally suited to a more innovative & adventurous approach... time for a collaboration with one of the new generation of perceptive electronica/dance master mixers?
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By Martin Turner HALL OF FAMETOP 500 REVIEWERVINE VOICE on 6 Feb. 2004
Format: Audio CD
This album has had a bad press, which is unfair, if unsurprising.
If you enjoyed Suzanne Vega, Solitude Standing and Days of Open Hand, this heavily industrial album is going to be a big surprise. Given that up to this point guitar has dominated and the sound has been esoteric and more folk than rock, the banging band sound may hit you like a rock out of someone's pocket.
If you leave behind everything you know or expect about Suzanne Vega, though, this is really quite a good album. It brings the questioning, left-field, wistful lyrics into a new space.
Traditional Suzanne Vega fans will enjoy 'In Liverpool' and 'Song of the sand', and may want to avoid the rest. Don't. Give this album time. It will repay you in the end.
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Format: Audio CD
For me, Suzanne Vega has never made a bad album. Each album has a different feel and direction. Some fans of her earlier work perhaps were put off by this new direction. It still is essentially a Suzanne Vega record but the experimental production takes her to new places. Not one bad track, it hasn't dated at all, great variety of songs - check out Blood Makes Noise and Blood Sings, just two of the many standouts. Suzanne's still making fantastic music today and a brilliant live act - with a rich back catalogue.
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Format: Audio CD
This is one of my favourite Suzanne Vega album. I love the electronic and bit industrial sounding especially e.g. in the song Blood Makes Noise. I met with this album first in high school ~15 years ago when our English teacher gave us as task to make a translation of the song Bad Wisdom and I am still quite often listening it.
It is true that this album is quite different from the previous ones, where mostly the acoustic guitar dominated the songs with some light keyboards in the back, but I think the sound of the album what Suzanne Vega and Mitchell Froom (producer, keyboard) created itself worth listening to it. The only problem with it that it ends too soon (it is only 37 minutes long).
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