SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future
'CDEP' 2004
This colony of apes come from
Birmingham's death and grind scene,
which if you've had any exprience of it
ain't really the most exemplary
credential. The Apes come lurching at
us with first track 'The Wonder Of
Woe', which has a rabid, jerky, kinda
feel. It stops 'n' starts in quick time with
pummelling drumming, chunky guitars
and Gravelly Hill coated vocals, that
has one of those god awful fake
American rock styles
nailed to it! I somehow don't think
these smelly chimps are out to be
treated that seriously. They seem to
be in it for fun, which is no bad thing.
Coz with a name like that who could
really take em keep a straight face?
By the second track 'Green Man' they
change style and go for a skitzo quirky
exhibition, that reminds me of that old
80's UK band called
Bogshed, remember them? Bogshed
were pretty good in a post punk
eccentric way, and this CD is definitely
running along those themes. The
bassdriven final track of
'Egg Eating Rats' was way more like it
and far less abrasive than the
previous two tracks. Comes with a
more natural flow that saw em finally
breaking out there discordant cage
and producing something good. The
4th and final track wasn't a song at all.
It was the bands chance to sell
themselves albeit in a humorous way.
You get an edited advertising pastiche
with the band using an overactive
imagination to full use. It's done in
quite a novel way that publicises the
bands website and earn themselves
bookings...they hope! I can sniff media
students in the building?
Split 45
(XLNT-6) August 2004
Can't say I was shocked at this split
45, coz both these shop soiled outfits
involved here have been known to
guest on each others live sets over
the last few years. So it was just a
matter of time before an alliance
of Indian ink and anglo/Scottish
vindictiveness got captured on record
by these tattooed sideshows. I was
interested to hear the
after spotting their 'in your face'
performance at HITS a few
years ago. Scotlands
Swellbellys in
case you didn't know, seem to have
their rabid sound tight and on the
mark these days. But comparisons
with near neighbours
the Exploited
will never be far away. The similarities
are pretty distinct. They dish out
pretty full on hardcore in that fast and
no compromising manner, but alas
with no big surprises in store. You
know exactly what your gonna get as
their best track
'Stone Cold Killa'
accelerates out the speakers. It's it's
hard, it's brutal but it's also pretty
repetitive! They slow things down a
gear for the second track which is the
drum powered and tribalistic
'Sort Em
. A song which is again uncannily
'War' off the 'Troops of Tomorrow'
album. Bet the
Swellbellys are
extremely pissed off with that
comparison by now, but if they want to
change our viewpoint they gotta try
and create a more original sound to
match their gruesome live show.
I was never a big fan of Assert from
nearby overspill of Telford. And ever
since hearing their disappointing 'Left
Opposition' CD and seeing em live in
Derby back in '99. They just didn't live
up to the hype. They played just
another over the top stop/start
hardcore for my liking. And their
identi-kit delivery made the bar a far
more tempting proposition. But I take
all that back on hearing this record!
Coz on these couple of tracks they
seem to have discovered a whole new
improved sound, and their song
structures are way more interesting.
Even vocalist Britt's Rob Halford
(Judas Priest) styled warbling in the
middle of
'Poisoned Minds' has a
certain appeal. He sounds actually
good on this offering with less rants
and more presence. And with that
neat guitar sound too, which is gritty
and crunchy in all the right places. I
still can't get my head around their
biscuit tin drum sound, but we can't
have everything can we? The second
'Watch The Clock' shows more
assertive guitarwork as it beams a
haunting lead over the rhythm track.
While Britt gives us his take on
suicidal depression in the factory
units of the UK. Two tales of
depressing frustration sounds pretty
glum in print, but upon hearing em,
they actually achieve the opposite
Comes in a neat gatefold sleeve with
lyrics and on Deep Purple vinyl too!!!
For more information from Stranded
Records and other releases go here
'Make It Count'  
(Hotwired) CD September 2004
Sado the long-standing bassplayer in
North Wolshams
Hotwired, seems to
never give in, in his quest to promote
possibly the worst PUNK band in the
Norfolk broads. However the
Hotwired make, maybe
slow and painstakingly slight compared
to some, but it's definitely happening
since the abysmal 'Friday Night' demo.
They've got a newish line-up now and
it shows big time on this set. Complete
with a decent sound, although lacking
a killer punch. For fucks sake they
even give us songs these days!!! And
I must admit you can sit through this
album without an overwhelming urge to
spin it through the nearest window.
Something I never thought I'd say
about an
Hotwired record. This latest
album ain't by any means ground
breaking or unique, but they've
learned from past sloppy mistakes and
have turned the corner. This is a band
who don't seem to give in in the face of
defeat, so full credit for that. They
open with
'It's Only Punk Rock'
possibly the best track of the 12 on
offer. It comes with  a pertinent punky
riff and the obligatory chorus of
only punk rock, were out to shock"
What is shocking about these Norfolk
oiks is they are actually starting to
develop ideas! So maybe in about 5
years time they could well be knocking
out street punk anthems of their own!
In the meantime they've been pretty
busy touring the UK toilets and even
some exotic European sewers like
Romania and Bulgaria, where the
blighters even got on National TV. So
for a bunch of Norfuck pissheads this
ain't no mean achievement. Granddad
of the band Alan and yob vocals,
comes over a load better this time
round. He's actually benefitted by a
decent mix, even though his cheeky
delivery is as flat as a pint of
Carlsberg. The duel guitars of Paul
and Dale gives the band more style,
with even some decent lead breaks
like on
'Yob'. That sometimes reminds
me of
Sham's Dave Parson licks in
style, but without the Pete Wilson
production job. Mind you, their overall
sound is still on the dainty side for a
punk outfit.
'Sick And Tired' has a
country punk blues kinda feel which
works well. But what I still find a bone
of contention is
Hotwired's lazy pace
that some of the tracks trot in at. I'm all
for a diverse way to approach punk
and some good slow burning songs
have hit home over the years, but
these fuckers still sound like they've
chucked down a vial of Ketamine
before plugging in!!!! But it's not all
spaced out gloom. Coz with songs like

'Police Informer'
and it's chunky riff
and psychedelic lead break along side
the domestic drudgery of
and Drugs'
and finally the banal 'Big
observation. Hotwired despite
the odds have scraped together a half
decent set! You can't help but giggle
at some of the lyrics too! They end the
set with another comic version of
'Thassa Rummun'. The bonus tracks
are faithful covers of
'Smash The
(The Business) and
'Warhead' (UK Subs).
For more fun 'n' games go to
(vera002) CD October 2004
This latest offering from the sons of
Apocalypse Babys was
very much anticipated here in the
Wolf's Lair. The nuclear tots have
been busy taking their spunky
Ramones fixations to such far flung
exotic locations as Italy and Glasgow
most recently. And shock horror the
US could be their next port of
watch out Yanks!?
The Babys gawd
bless em really don't know the
meaning of defeat in the face of
record company apathy. They have
released this their 5th album on their
own gorgeous Vinyl Vera label. And
you know what, it's a very pro
package indeed! Comes with full
colour foldout lyric sleeve, plus
various blindo band shots, that gives
this record a certain bed wetting
ambience. So who really needs record
companies if you can put out first
class product such as this? Answers
on a postcard to the Alfreton's DHSS
please. This new liquored up set
however, don't exactly get us up on
the tables quite as much as previous
releases. The commanding production
is spot on, their dry wit is still on show,
but they don't give us anything really
new from what we already know of the
band. Fun punk springs to mind if
your a new listener, but shows these
gurgling babys can still write a decent
record or two despite not being half as
essential as their recent classy '7"
Plus' CD collection. And those worthy
tracks on here to keep your interest
while ordering a pint are the
rampaging axe attack of
or the sinister delivery of 'Dirty
. Apocalypse Babys may not
be pious enough for some hard-line
punks, but they still ain't walking round
the bar with their heads stuck in a pint
glass, although you can be forgiven
for thinking so. Even that smelly old
punk rock institution called Charlie
Harper gets a slap on the back with
'UK Subs' tribute track. Which I'm
sure is really touching in Tooting, but I
find it a bit dubious when punk icons
suddenly become senior citizens...
or present dodgy wildlife
documentaries!!! Asterix's vocals are
more gnarly on this session, he seems
to have given the smooth ballads
neck, in favour of a moody skank
'Reggae Maan', which
incorporates a 'Nice N Sleazy' riff and
even has some Carl Douglas ('Kung
Fu Fighting') influenced backing
vocalisations. But with 3 covers in this
13 song set, it does beg the question
of filler? And when you get some
really dodgy material like
'Lets Jump
The Broomstick''s no thanks! They
do finish on a boozy crashcourse of
the title track that'll probably be
another bawdy set closer on the
bands up and coming live dates.
'Bombs Away'
CDR Summer 2004
Fer fucks sake Discovennience from
Sweden are now a 3 piece, with a real
drummer! And don't it make all the
difference. Their first demo released
last year with a drum machine beat,
had a very eclectic feel in sound,
which was definitely a hindrance to
their obvious learning curve. Since
then, they've gone from an
experimental sub
duo, into a gigging scrawny
Avengers blueprint. Lead singer and
bass player Emma, seems to have
gone it alone vocally. She adopts a
bratty riot grrl scrawl that's caked
heavily on top of an almost muddy
sounding guitar blast. Rickard (guitar)
is obviously the massive
fan in the band, as he dominates the
tracks by ripping out those oh so
familiar chord runs throughout all 4
tracks on this EP. And while he's busy
keeping Greg Ingrahams memory alive
in the grooves, he's also keeping the
rhythm section alive by dragging his
sister Nina in on drums/backing vocals
to complete the line-up. They sing
about revenge on the sadistically
'Make No Sound'. But now
they're a live entity on the streets of
Umea (with live recordings available) it
looks like there's just no stopping em!
Disconvenience still have a
remarkable knack of combining some
Joy Division touches, amidst
those avenging riffs. And as stupid as
that sounds in print, it actually works.
Check out
'Human Being Me' all about
an identity crisis, where they also
blatantly plunder some
Clash lyrics
along the way. It was getting a bit too
close for comfort on
'Decisions' but as
I'm a big
Avengers fan anyway, I quite
liked it and I bet Penelope Houston
would be amused too. They end this 4
tracker on the young and
'The World's Still
. Which reminds us they still
need a load more polish and rehearsal
in the almost robotic rhythm section.
But 'Bombs Away' is a big improvement
on their last effort. Comes once more
in a hastily thrown together
photostatted foldout sleeve, with the
added bonus of a lyric sheet, band pix
and contact info this time round.
'If Life Was Like...A Gig Of John
Plain' (pvr001) CD 2004
This disc was my most anticipated
punk release since I first heard their
blistering debut 45 'This Time For
Real' 2 years ago.
The Bips from
Nijmegen, Holland, had on that record
all the hallmarks of an exciting,
energised punk rock sound, that was
gonna save us all from the rehashed
thrash, bloated apathy and popcore in
our punk scene today. And I remember
thinking their album's gonna be a
fuckin killer when it hits the fan! Since
that 45
the Bips lost half the band
and are now cut down to a lean 'n'
mean 3-piece. Featuring Holland's
premier zydeco kids - Jozzy (lead
guitar/singer and founder) and
long-time pardner in crime, Barbie
(bass/vocals). They've added yet
another new drummer called rock'n'
roel to the mix, who seems to fit in
really well. So fast forward two years
and the time has arrived for that debut
album just released on their own Pretty
Vacant records. When 'If Life Was
Like...' arrived I was relishing it's
sounds, even though the dissapointing
tan album sleeve
looked positively shoddy in
comparison to
the Bips usual eye for
attention to detail. They warn us on
the cover
"This Punk Rock record
only sounds good with your
speakers on 10"
. So are they trying to
tell us something? Well they were
right, is does sound better full blast!
But the anti climax of the sleeve has
spread to the overall sound too. The
energy's still in abundance, their
jagged enthusiasm is still biting at our
heels, but the BIG impact and final mix
is wanting! I thought maybe it would
grow on me with more plays, but I've
had this on all over Christmas and it
still ain't giving me tingles. Maybe I
give the band the kiss of death by
proclaiming em as saviours of our
Euro punk scene, last time out? They
can still provide some good songs like
the opening crunch of
'Pain' with it's
inventive finale. And the Pistoleon
guitar licks on
'Did You Hear About
The Rumours'
that were rumbling
under it's slanderous fuselage. Their
skill ain't in question. It's just this album
is too skimpy in dynamics and missing
the raging atmosphere. Their most
commercial sounding track was
'I Don't
Wanna Live Tomorrow'
which has a
great chorus and classy guitar break,
was let down badly by some lifeless
singing. Jozzy's vocals badly needed
some production work here. Paul
Hendriksen (the producer...
) should've been coming in with
ideas at this stage. But I'm afraid he's
left em sounding really flat on quite a
few tracks. Another thing what puzzles
me, is how this album was recorded in
the same studio, by the same
engineer as their brilliant debut 45.
Where's that killer punch gone now?
All fingers point to the production.
They should sue their producer for
services rendered! Maybe they run
outta studio time and money too, coz
this band does have class. Although
the Bips themselves can't escape
from criticism totally, coz singing the
praises of Portland junky/ippie outfit
Dead Moon is tantamount to treason!
Although it's exasperated intro was
pretty funny! Things pick up again with
the chugging, chiming guitar of
, that had a mesmerising Micky
Geggus touch, circa
'Bad Man' on it's
soundscape. They finish the 12 tracks
on a high as Jozzy and Barbie interact
brilliantly (vocally) on the lovesick
'Lonely Boy'. While drummer
rock'n'roul held his own throughout.
The Bips desperately need a second
guitar in the mix to beef this up to past
glories. Maybe I'm missing something
here, but this sounds like a very good
demo of the forthcoming album they're
threatening to deliver! Just a pity it
never made it's presence felt on the
final mix. Still
'Drunken Fuckwit Diplomacy'
CD X-Mas 2004
Two of  Belfast's most recent punk
combo's go head to head on this low-fi,
rush released, Christmas 4 track CD.
1000 Drunken Nights (formerly Mr
) kick off the proceedings, with
2 shouty volleys of abuse in mantras
like '
Pissed Up Tonight' - "an
everyday tale of drunken revelry"
and their best tune, the political rant of
Maimed'. I like the rowdy attitude they
obviously display by the bucket full, but
the end result don't exactly keep us
amused for too long. This feels like a
bunch of Mohicans in a bar deciding to
knock up a few tunes in the studio, to
play to their mates on a Saturday
night. And that's probably the point?
But maybe they should've kept that
intro to '
Maimed' going on longer and
built upon it, coz it actually sounded
quite ominous with it's glimpse of
brooding power, on top of the
otherwise thinly coated guitar. However
they were soon charging off into the
bawling sunset once more. I'm sure
these chaotic street punks are
entertaining on the live circuit down the
Front Page after copious amounts of
Buckfast, but they're gonna have to
give us way more ALC. VOL content,
musically to keep us going till next
Billy Riot And The Violent Fuckwits
have one of the most amusing band
names to come outta punk since
Billy Karloff And The Goats.
And you know what, these blaggards
seem to be heading in totally the same
direction. But third on the bill down
Giro's ain't no mean feat, considering
they are a band formed on the singers
(and editor of Belfast's most hilarious
Riot On Your Own) comical
Billy Riot and The Fuckwits
are a novelty on the streets of Belfast,
and that dry humour wins this brawl, no
contest. '
You Say You Used To Be A
is as Bill explains
"an observation on how boring
old fuckers who were punks for a
week in '79, think it gives them the
right to bore the tits off punk kids
with their tedious stories of when
it all started."
I ain't got a copy of the
lyrics, but I'll take his word for it. They
dish out mid-paced fun punk, complete
with sarcy vocals on top of a definitive
'77 sounding backbeat, for the added
effect. Strange considering the
guitarist and drummer out the Fuckwits
are also in
1000 Drunken Nights, but
that's incest for ya in the Belfast punk
scene. You never know what's gonna
be thrown up next? There's a Cockney
sound bite before the final track 'A
Out Offensive',
which is as Bill puts it
"a piss take extolling the virtues of
tee hee! Musically they
remind us of those obscure punk
bands that appeared on old Raw
Records/Beggars Banquet
for a fix of punk train spotting at least.
(im6010) CD May 2004
I like the cover to this one. Very
earthy, warm and symbolic with the
Stonehenge ruins and Pagan
imagery. So I didn't really know what
to expect from this new band (to my
knowledge) on the Iron Man Records
stable. When I put this in the slot I was
soon confronted by melodic INDIE
rock which always conjures up
dissatisfaction in my punk rock
soundscape. A style that seems to
leave me fucking cold! But I gotta
admit it has a very nasty habit of
getting right under your skin. They
have a powerful jagged guitar sound
that kicks in quite often and creates a
bit of tension on this atmospheric
album. Most notable on the first track
'Threads', which straddles the dulcet
punk rock borders but also seems to
opt for too many acoustic interruptions
strumming away below. And when they
slow down it seems too pretentious for
their own good more often than not.
Imagine a latter day
Mob without the
raw intensity of their protest, or Mark
Mob's hypnotic tones. 'Windfall' is
ultimately accompanied by some oh
so meaningful vocals that are asking
for the piss to be taken outta them.
Although they are clear and precise,
they're missing some vital edge
to really power the songs along. They
remind me of bored middle class kids
trying out a bit of rebellion. The sorta
bands NME will be getting off on. This
ain't punk as we know it, this is geared
towards the more indie market which
may not be how the band sees it, but
that's how it feels. However they're not
totally inapt either. I found it improving
with more plays and this 8 track album
is great for background music while
you slave away at the PC. Highlights
had to be the midpaced
'Ride Your
with it's chunky riff or the
stomping chords in
'Footprints'. I also
rated the slow build-up of
'Brother'. I'm
sure this band will go down a storm in
Aston University chill out zone, but I
doubt it'll be on the playlists of studded
guttersnipes across the globe so fast.
Loads of tree hugging kinda lyrics
about the Universe and how mans
destroying the landscape, which we all
know is an important issue, but this
bands sound and message don't
really leave a lasting impression on
uncaring cunts like meself, despite the
occasional good rockout. The
execution of
'Last Under The Sun' is
very well done indeed and the
production spot on. And why not,
considering the core of this band is
made up of the flotsam from around
the Birmingham independent musical
scenes. Certainly a well delivered
debut for the more thoughtful amongst
us, and one worth sticking with to get
the full impact.
4 Track CD Demo  February 2004
Sneak preview here of the latest
compositions from this still important
Scottish (now Manchester based)
punk outfit. Having missed their recent
live set in Birmingham I was itching
(sic) to hear what the current

External Menace
sound was like. So
cheers to Welshy for passing this
impressive demo on. Well I can safely
External Menace still possess
the skill to create classy punk rock.
They have carried on with the quality
sound and vibe from their epic album
'The Process Of Elimination' album
reviewed also on this page.
are definitely one of the best
punk outfits going today who can still
deliver that natural feel for dub and
guitar influenced reggae within a punk
confine. The skanking
'Playing God'
has those by now infamous
atmospheric Sneddy vocals that really
manifests itself in your brain. A class
band who can cross skanky rhythms
and punk suss with ingenuous
authority. They have slowed down a
touch since '97 but can still spit out
some gutsy tunes like the midpaced
'No Uniform' to confirm their punk rock
status. There's more dub in their
sound these days but they do it so
well and with enough urgency it never
feels like a weak cloned style that so
many punks ape these days. 3rd track
'Rights Now' makes great use of extra
rhythm tracks to create that big sound.
This is a band who know exactly what
they want and how to get it from a
recording studio even in demo mode.
They end on the powerful skank
attack of
'Citizen Cained' with Sneddys
anguished appeal and that great
Arabic kinda guitar lick in the middle.
Like I said this maybe a demo, but it
just goes to show if there's real talent
in a band it will show. I'm sure the
finished versions of these tracks will
stand along side some of the other
External Menace back
catalogue. The new line-up seem to
be up for it big time, so lets hail a new
era of
External Menace on the
streets of punk. Dunno if there's
gonna be more official releases on Dr
Strange? But I'm sure the Doc will
wanna release it if its all of this calibre.
So watch this space!
External Menace
'Long Legs'
(prison085-2) CD April 2004
Die Hunns AKA The Hunns continue
in their bid to release worthy punk
material (although a lotta these tracks
are reworkings and out elsewhere in
one shape or form). Despite more
mutinies in their busy ranks, this
line-up looks set to remain a bona fide
force in our punk rock universe. This
time around the alliance of Duane
Peters on phlegm coated vocals and
Rob Milucky (
the Pushers) on riffy
guitar is still intact. Only now have
they have shanghaied some leggy
wench called Cory Parks (bass),
formerly of (
Nashville Pussy's)
infamy and a couple of kids. Corey no
doubt puts a 25% increase in door
money for em in the live circuit and
gives this exclusive boys club band
some refreshed impetus. She not only
has the longest pair of legs in punk,
but she can play a mean little bass
and gives this outfit some lewd vocal
power and sex appeal for all you
midgets out there. Well lets face it,
Die Hunns need it with the saggy,
toothless bag man spitting all over the
recording booth. This comes at us still
with a snarly sub-
Pistols sound plus
some rockabiilly and garage licks
thrown in where needed. I've certainly
got no complaints about that all, but
Duane bless his hooped cotton socks,
has an irritating knack of spewing out
Pistolian verbiage (cheers Mish) along
the way. Wish he'd desist coz it just
don't sound so good 27 years later,
and delivered by someone with his
front teeth missing, only adds insult to
Die Hunns obvious thievery
from the annals of punk is legendary,
but they do it so well you simply can't
knock em! I can listen to this album
happily without feeling the need to
eject it before it's 40 minute duration.
They slyly add 3 covers into this 15
track set to bulk up their own songs,
and the covers couldn't have been
more eclectic.
The Wipers -
'Tragedy', hits you between the eyes
as the best song, with it's great riff
and those duel bouts from the
Peter/Parks vocal talents. In fact
Corey Parks gives Duane a run for his
drug money big time on this album, he
oughta be scared, very scared!
- 'I Got Your Number',
was a pretty straight forward rendition
Die Hunns then deliver an
interesting take on the
Pistols - 'Did
You Know Wrong'
which gets the full
blown lisping dosser vocal treatment.
Of the bands original output
stands out as a fave, with it's
semi-accoustic intro and those
"oohh aahh" chants.
More good guitar work signals the
arrival of
'Love & Hate'. The trouble
Die Hunns is although Duane's a
great lyricist his vocals can sometimes
smother a track and that sawdust
style dates pretty quick. However we
can forgive him on songs like
which is excellent due to the
glowing vocal interaction and the
predominant Rob Milucky
guitar licks. The skulduggery of
and the cackling finality of
'War Of The Worlds' with it's
infectious guitar riff are other notable
punk rock gems. As Duane explains to
us over a beer how the apocalypse is
about to unfold. They end with a fitting
"fuck-off" to his home town of
Huntington Beach in the bitter
Which compels us to think where
would Duane really feel at home?...
Salvation Hostels are on orange alert
and keeping his bed warm as we
Check out the 'Hate & Love' video clip
on the bands site for Corey in action.
Black Pool EP
(jsntgm016) 45 August 2004
A really slick packaged Split release
here from the bright lights of Blackpool
Sick 56 get the momentum rolling
with two tracks
'Violence' and 'Crash
And Burn'
from their impending new
album. They are a band who have
been causing a big storm in the North
West of England for the past few
years, and seem to take venues by
storm by all accounts! So when I finally
got to hear em for myself, I wasn't
exactly blown away with what I heard.
In fact I was a bit disappointed,
considering all the favourable reviews
I'd read previously. Can they all be
wrong? Or are the critics just easily
Sick 56 are really tight and
can play their instruments very well
indeed, but somethings lacking? And
they do sound way too much like fellow
One Way System in
approach and delivery. They play
hard, fast, aggressive hardcore
with big gang chorus's and angry lyrics
about violence on our streets and
government bitching. Tired topics that
still need saying, but can get pretty
uniform without some real
panache. Maybe my expectations were
too high but I was hoping to hear
something that really did make me sit
up and listen, instead of blueprint 21st
century punk rock executed by so
many, yet made novel by so few. If
they wanna compete with the Yanks
they need to give us something really
special! By far the most interesting
track was JSNTGM's label boss's alter
Higgins ++ , with a regenerated
'Cool Britannia Uber Alles' cover of the
Dead Kennedy's
classic. It's funny,
scary and sadly true as he spits out
the New World order lyrics
accompanied by some clever sound
effects adding to the impact. Mr
Higgins is backed by
Sick 56 who give
the track some oomph as it kicks in
fully. I'm sure Biafra would agree
totally. Only 500 in existence and
comes in a full colour gatefold lyric
sleeve on a thick slab of pink vinyl. So
get it while yer can.
2004:     PAGE 1 - PAGE 2 - PAGE 3
2004:     PAGE 1 - PAGE 2 - PAGE 3