KIM FOWLEY - Visions Of The Future (Capitol, 1978)

On one of Southern California's coldest nights in 1973, I wrote and recorded "Hollywood Confidential." I didn't realize at the time that this and other cuts on "Visions Of The Future" would remain unreleased until 1978. Capitol Records merely waited until the time was right and for this I am grateful. The title of this LP no should be self-explanatory. As an artist I have always been stranded at the bottom of the barrel, out of my mind in warm beds, tormented by an excess of part time lovers. I must have been crazy to create these instant slime classics. Much more fulfilling however than to watch the world go by on a 2-inch screen. 

"Shine Like A Radio" was once performed on stage at the Whisky a Go Go by the Hollywood Stars for the amusement of Angela Bowie. Ms. Bowie screamed, "Hit.!". An epic inspired by devil juice, it sure beats shooting pool. "Visions Of The Future," this LP's title track is "The cry of a psychopathic dog, indeed the  barking fever of a frustrated animal." The above quote belongs to the combined verbal forces of that particular Kim Fowley band which featured Peter Lion, ex-Hudson Brothers,  Mars Bonfire, ex-Steppenwolf; Jim Moon, one of the last Byrds drummers,Carlos Bernal, an ex-Byrds roadie and guest multi-instrumentalist Chris Darrow, founder member of Kaleidoscope. These selections were recorded for the infamous unreleased "Automatic" LP. "California Gypsy Man" was written in Vaxholm, Sweden. Surely one of the great undiscovered treasures of this century. 

"It's Great To Be Alive" was created by myself and Rodney Bingenheimer. A slice of summer smiles, this work of mid-south  dada along with "California Gypsy Man" appeared on the sex rockers favorite LP of 1972 "I'm Bad." Band at the time included Mars Bonfire, Tornado Turner, who took James Williamson's place in the Stooges at a post-"Raw Power"Chicago gig. Iggy used to sing "She Creatures Of The Hollywood Hills," plus "It Will Stand" during these tarnished days. The drummer was Dreshan Theaker, ex-Crazy World of ArthurBrown, and Warren Zevon. Piano and bass were Peter Sears, ex-Rod Stewart and current Jefferson Starship.  

"E.S.P. Reader," composed in Topanga Canyon, deals with romantic lies on a leather and shades level. "World Wide Love" hardly a statement of pan american boogie or teenage cruises rather points out my view of the global village from a pinball millionaire position. These last two sides were from my "International Heroes" LP, recorded in London and North Africa with various U.K. players including Tony Mac, Charlie McCracken, ex- Taste; a tall, multi-genius' named Peter; a mystery keyboard pounder; Ron Charles, a phantom Harmonicat, Kerry Scott and Glen Turner who should have been the Stevie Winwood of the 70's. 

"Forbidden Love" a song to blue-eyed tigers; written on the road to hell, that I crawled upon at that time, from "I'm Bad." "Something New," night burning predictions from yours truly from his interchangeable House of Wax. From "Heroes" LP in '73. "International Heroes," hot trax from LP of same name. Recorded this year by the British Lions. 

"Save Your Love For A Rainy Day" was my black orchid statement sung with the Queen of Hearts, Becky Hobbs, the only lady to ever jam with the Duane Allman - led Allman Brothers Band at the '72 New Orleans Pop Festival. "Film Maker" from "Automatic" proves among my skin and bones thrust, is a tribute to the director of "EI Topo:" "Mom And Dad" from "Automatic" proves I am one of the world's oldest children. "Red China" a bit of lipstick advertising from" I' m Bad" should put me way up in the politico waaaah. 

Selections from "I'm Bad" and "Heroes" were produced by Jeff Cheen. I produced the cuts from "Automatic." I arranged everything. The engineers and mixer were Dave Hassinger, Paul Grupp and Mike Ross. Photography by Norman Seef. 

I made this record because I am unique and special. I also produced tapes around the same time by Gene Vincent, Blue Cheer, and the Modern Lovers. I am the missing link between Orson Welles and Chuck Berry.Kim Fowley (Notas interiores)

SUNSHINE - Sunshine (Roulette, 1977)

No hay mucha información sobre este trio neoyorquino formado por Walter Gil de Rubio, Ralph Persico y Joe Ravormina que dejó para la posteridad este único álbum de canciones predominantemente acústicas e irreprochables armonías vocales. No todas son ganadoras, pero los amantes del pop hortera de la segunda mitad de los setentas, encontrarán satisfacción garantizada en temas como "Ann" , "Reach Out" o la que se puede escuchar en el reproductor.

FRESH - Feelin´ Fresh (Prodigal, 1978)

Influenced by Sly & the Family Stone and Rare Earth, Fresh was an obscure, little-known 1970s band that combined soul and funk with rock. The interracial outfit, which shouldn't be confused with either the 1990s hip-hop engineer or other bands that have called themselves Fresh, didn't get very far commercially, its three LPs were too funky for rock stations and too rock-influenced for R&B stations. Fresh was formed in 1975, when its original six-person lineup consisted of lead singer Bill Pratt, lead guitarist Paul Marshall, rhythm guitarist Elaine Mayo, keyboardist David Kaffinetti, bassist Milo Martin, and drummer Fred Allen. In 1976, the band signed with MCA, which released its debut album, "Get Fresh", the following year. It was also in 1977 that Fresh was an opening act for Rufus & Chaka Khan; Fresh received generally favorable responses from Rufus fans, but regrettably, that didn't translate into record sales. "Get Fresh" bombed commercially, and the band parted company with MCA. In 1978, Fresh resurfaced on Motown's Prodigal label with its sophomore effort, "Feelin' Fresh", and unveiled a new seven-person lineup. Most of the original members were still on board, although a saxophonist, George Englund, had been added -- and Kaffinetti had been replaced by keyboardist Frank Savino. After "Feelin' Fresh", Mayo left the band. Neither Feelin' Fresh nor Fresh's third album, "Omniverse" (which Prodigal/Motown released in late 1978) received much attention and in 1979, the band broke up. Alex Henderson (Allmusic)

ROBERT JOHNSON - The Memphis Demos (Ensign, 1980)

Robert Johnson es un guitarrista de Memphis con buena reputación como sesionero en los primeros setentas para el sello Stax (su guitarra se puede oir por ejemplo en el "Hot Buttered Soul" de Issac Hayes o en grabaciones de Rufus Thomas o Solomon Burke) y para Hi Records de la mano de Willie Mitchell. Durante esa época incluso hizo la prueba para sustituir a Mick Taylor en los Rolling Stones y acabó, unos años más tarde, de guitarrista de la banda de John Entwistle. Ya de vuelta al hogar grabó su único Lp oficial "Close Personal Friend" que estaba más cerca del power pop y la new wave que de lo que había hecho en sus inicios. 

Éste que nos ocupa hoy, contiene unas demos previas a ese disco grabadas en 1978, de hecho algunas aparecerían en él en versiones más pulcras. Como no dejan de ser maquetas, el sonido es mucho más crudo y macarrita, y aunque a veces se le va la mano con la excesiva filigrana, para mi gusto es superior a "Close Personal Friend" y además incluye uno de mis Top 100 Power Pop Classics, "Shaking it down", del que también hicieron adaptación The Bell Heirs o K.K. Black, (el single salió bajo ambos nombres), la misma banda que supuestamente (no logré confirmarlo), le acompaña en The Memphis Demos.

THE FIREBALLS - Goin' Away / Groovy Motions (ATCO, 1968)

The Fireballs o Jimmy Gilmer and the Fireballs eran originarios de Nuevo Méjico y fueron básicamente un combo instrumental, casi más conocidos por la polémica suscitada al añadir arreglos a las grabaciones póstumas de Buddy Holly, de hecho compartían productor, Norman Petty, que por sus propias canciones. Casi al final de su carrera tuvieron ocasión de filtrear con sonidos más sicodélicos como en esta estupenda cara B.

FRESH AIR - For What It's Worth / Baby Lady (Exit, 1970)

Sen dúbida miña adaptación favorita do tema dos Buffalo Springfield é esta macarrada feita polos californianos Fresh Air e que ía incluída no seu único Lp "A Breath Of Fresh Air", un disco bastante normaliño aínda que hai xente que ve máis do que hai.

THE STAPLE SINGERS - For What It's Worth / Are You Sure (Epic, 1970)

Nada mellor para empezar ben o ano que recuperar esta peza dos Buffalo Springfield na adaptación que fixeron os Staple Singers.

THE NECESSARIES - Event Horizon (Hispavox, 1982)

Os Necessaries foron un máis das decenas de grupos que a finais dos 70 e principios dos 80 chegaron ata nós co sambenito da New Wave. Estes neoiorquinos, alomenos de adopción, debutaron en 1979 cun single producido nada menos que por John Cale, dúas cancións rápidas e de guitarras correudas que non anticipaban no que máis tarde darían. En principio o grupo formábano o guitarrista e cantante Ed Tomney, Jesse Chamberlain na batería, que proviña dos Red Krayola, e nada menos que Ernie Brooks no baixo, lendario membro dos inesquecibles primeiros Modern Lovers. Sábese que Chris Spedding foi membro fundador do grupo, pero no seu debut o segundo guitarra é un tal Randy Gunn.  Tampouco debeu durar moito porque para o seu primeiro longa duración a formación complétaa Arthur Russell, un neno prodixio do mundo clásico atraído polos sons máis modernos e avant garde, minimalismo, grupo Fluxus e demais. Contan que chegou a organizar concertos dos antes mentados Modern Lovers no seu college, e quizais sexa de aí de onde lle ven a conexión con Brooks. É curioso que a actual recuperación de Russell, cun recente DVD lembrando a súa carreira como autor de música disco vanguardista, no faga apenas mención ao seu paso polos Necessaries, cando algunhas das mellores cancións do grupo (as preciosas, «Detroit Tonight» e «Driving And Talking At The Same Time» son cousa del e máis de Brooks). Vese que o pop segue tendo menos coartada intelectual. 

O seu único LP debeu ter un parto complicado porque saiu en dúas versións, con portadas e repertorio diferente. En España editouse como "Event Horizon" en 1982, que non era senón unha segunda edición de Big Sky na que se conservaban varias cancións da primeira e outras eran substituidas por novos temas. Un lembra un par de críticas aprecidas na prensa nacional daqueles anos. Ignacio Juliá recibíaos cos brazos abertos nas páxinas de Rock Espezial, pero o ínclito José Manuel Costa despachábaos en El País nunha liña inesquecible: “¿Pop? No son necesarios”. Aí queda iso. Non creo que Sire tivera moita fe no grupo porque o disco non chegou ter edición americana en ningunha das dúas versións, aínda que "Event Horizon" sí chegou a ter edición española, de bonita portada por certo. Agora que a recuperación da música daqueles anos está en boga, a escoita de The Necessaries podería darlle unha sorpresa a máis dun afeccionado ao pop neoyorkino revirado.

THE NECESSARIES - Big Sky ( WEA, 1981)

A petición dun comunicante anónimo. Aquí vai a edición publicada no extranxeiro cun par de temas adicionais.

JENNIFER´S FRIENDS - Land Of Make Believe / Visions (Buddah Records 1968)

A única aparición discográfica de Jennifer´s Friends, conxunto de New Haven (Connecticut) que traballou entre 1967 e 1970, foi este sinxelo que na cara A levaba "Land Of Make Believe", orixinal dos Easybeats, e polo outro lado esta moi agradable sorpresa de ambientación sicodélica titulada "Visions". Como non había demasiada información sobre o grupo na rede, decidín escribir a un mail que atopei, ó do guitarrista Matt Lawton, que me enviou o documento que se pode ver máis abaixo e tamén un par de fotos promo cortesía de Buddah Records aínda que castigadas polo tempo. Isto é un resumo.  

The band was formed by Matt Lawton (lead and rhythm guitar), Ben Mochan (bass, rhythm and 12-string guitar, autoharp), Mark Lipson (organ, electric piano), and Kevin Weaver (drums). Matt and Ben, friends for several years and fraternity brothers at college, were playing music together, primary folk music. Ben had met Kevin and Mark somewhere in southern CT where we all lived. Mark was a high school student at that time. Kevin taught math in Clinton, CT. Ben knew John Carney, a graduate student at Yale.

The original name was Zyme. The name Jennifer’s Friends came about while working with John to record "Downtown Tomorrow" and "I Must Go". Jennifer was one of the young women sitting around with the band during practice. We needed a name for our upcoming recording session in New York, and someone suggested Jennifer’s Friends. The stuff of history…

The band, with Barry Buxbaum joined as lead singer, took home-made tapes of original music to New York City, and attracted the attention of a management group, Schwade Merenstein, consisting of Bob Schwade and Lou Merenstein. Schwade Merenstein was managing Miriam Makeba at that time. Lou was connected to Buddah Records. The band recorded a variety of singles under the name Jennifer’s Friends, with only one release, "Land of Make Believe", hitting the top 40 on Billboard. During this time period there were several notable milestones and “near-misses” for the band, as described below.

Matt Lawton quit the band for personal reasons around 1970. Mark and Ben talked Lou Merenstein into producing an album of original music ultimately released by Avco/Embassy under the band name Smokey John Bull. Barry sang on these recordings, which included a number of new band members and singers. Matt formed a local band in southern CT, Giant Yellow. The band played clubs and bars up and down the CT coast, and developed a solid local following. 

Jennifer’s Friends had a few close encounters with making it big in the music industry. The band opened for several big name bands, including Neil Young and Crazy Horse in May,1969; T.K. Rich (TK the son of Buddy Rich, well-known big band drummer), and The Rich Kids; and Strawberry Alarm Clock. Immediately prior to the recording of "Land of Make Believe", the band was given the option of recording a song titled "The Worst That Could Happen", a song ultimately recorded by a group called The Brooklyn Bridge. The song went to Number 1 on Billboard. The band played it live all over CT and was the headliner band at the Ohio State Fair in 1968, where the song was Top 5. Imagine those nice Midwestern folk watching lead singer Barry “shot” and bleeding and sliding down his microphone stand while Matt tore into a psychedelic lick and fires shot up on the amps! Shook up those Ohio folks some….

In 1969 the band recorded a song titled "Lay Lady Lay". The song was released 1 week earlier than our version by Bob Dylan, and went on to be a big hit for him. The band’s version was shelved. Finally, the band had the opportunity in 1969 through Schwade Merenstein to write and record an original movie score for an early Michael Douglas movie titled "Hail Hero". The music and lyrics were cranked out in about 1 week, including recording in New York City. The movie score ended up being recorded by Gordon Lightfoot. More close encounters with the big time……….

Certainly a strong characteristic of Jennifer’s Friends was their song writing, and full and at at times complex harmonies. Much of that came from Matt and Ben’s writing, and Mark’s musical acumen regarding arrangements and harmonies. Barry’s raspy mid-range brought it all together for a wide variety of distinctive sounds. 

Matt Lawton and Barry Buxbaum. February 2014

ARTIGO COMPLETO

JENNIFER - Chelsea Morning / The Park (Parrot, 1968)

Jennifer Warnes era no ano 1968 unha rapariga aspirante a folk singer que debutaba con esta adaptación do tema de Joni Mitchell. Quince anos máis tarde acadaría sona mundial en compaña de Joe Cocker con aquel coñazo titulado  "Up Where We Belong", tema estrela de "Oficial e Cabaleiro".

FOREST GREEN - Forest Green (Capitol, 1973)

Supoño que estes rapaces debían un favor a alguén porque a portada é fea de carallo, algo que non sucede co contido que é máis que aceptable e entretido, un pouco de pop, outro pouco de rock e certos toques progres para estar á moda, todo envolto cunha boa sección de vento. As que máis me gustaron son as tres que firma o guitarrista. Estas son as notas da contaportada.

Since its formation In the Spring of 1970. Forest Green has devoted itself to a full-time. eminently professional exploration of its roots. influences. and the techniques at Its command. Combining sensibilities that stem and range from classical to the self­widening channels of Improvisational Jazz. Forest Green puts together a sound that is at once logical. tight. and satisfying. Most Importantly, what emerges from the sophisticated mix -with its splendid Incorporation of elements as diverse as a Big Band Sound or a Latin Pulse- is an exuberant lyrical innocence; a sense of wonder at all the wit and emotion that music may convey 

True then to the City of Philadelphia whose sound Forest Green has helped to further define, and to all others now interested in their music, Forest Green delivers a message of Youth and life aspiring to newer, more procressive horizons.  

Matt Damsker, Associate Editor of 'The Drummer

POOR BOYS - Ain't Nothin' In Our Pocket But Love (Rare Earth, 1970)

"I say this without qualification: This is the the best bubblegum album I've heard in a while, and it didn't originate from the Kasenetz-Katz factory. Full of short, catchy songs, cheesy organ, fuzzy guitar, and occasionally trashy lyrics with falsetto backing vocals, The Poor Boys have it all. Who are these guys, how did they end up on a Motown subsidiary, and where did they promptly disappear to afterward? Well, a trio is pictured on the cover, and several songs are written by an unfamiliar threesome of "R. Fazio, T. Corio, E. Corlis," who I'm guessing must be the group. A bit of Google searching turns up some first names of Robert, Thomas and Edwin, respectively -- but that's about it. In the production chair is the always-reliable Michael Valvano, a familiar name on Motown and other Detroit area productions. And that's about all I can tell you about it. Billboard notations indicate this came out toward the end of 1970, a couple years late for the bubblegum genre, which could be part of why this is so obscure; I wonder if it's another album/band that the label essentially sat on for a time, as with Milwaukee's Messengers?"  Bob Koch

BARBARA MAURITZ - Music Box (Columbia, 1972)

"Say That You Love Me"

Una petición de Liliána Nagny que quiere escuchar este disco y además nos informa de la muerte de la cantante. El siguiente texto está extraído de la hoja de promo que acompañaba al Lp.

Barbara Mauritz is all too familiar with the dangers of stereotyping. Like Janis Joplin, she migrated from Texas to San Francisco at the height of the Bay area rock boom; as a result, she has been inaccurately cast in a Joplinesque bag by a number of cliche-bound observers. In her original San Francisco band, Lamb, she was constdntly experimenting with voried musical styles, but a sizeable portion of the Bay area musical audience always thought of Lamb in its original incarnation as a classicaIly-oriented folk group. 

With the release of this, her first Columbia album, which was recorded in New York, San Francisco and Los Angeles,Barbara has proved that she is not one to be confined to a particular musical category. Or as she explains, "The important thmg is to record the best possible music, regardless of style."

The accompanying musicians are well equipped to handle this diversity of musical styles. Her producer, Tommy Kaye, has produced artists as disparate as Loudon Wainwright and The Shirelles, and has several gold records to his credit. Her arranger, musical leader, and keyboard man, Tom Salisbury, has played in country-westetrn, swing, and jazz bands, and has often worked with Van Morrison. 

"The "Music Box" theme is more than just a title, because this album has something for everyone. In the opening song, "Sit Yourself Down", Barbara's vocal control is immediately noticeable, as she brings new life to a great song. Also worth attention is Chris Michie's soaring guitar riff. "Drop Down Daddy" comes out as it implies-dropped down and funky. Dr. John's "He Knows What To Do For Me" is presented with a big band/bar type aura. The thing to listen for here, other than Barbara's soothing vocal, is Richard Davis' sliding, standup bass. "All The Love Of My Life is a Lnk Wray tune that highlights Barbara's country background. The interesting thing about "I'm Bound To Be", other than the fact that Barbara co-wrote it is that it was done live in the studio with virtually no overdubbing. 

Side two opens with Van Morrison's "I Will Be There", which is another big band number. Curiously enough, Tom Salisbury arranged both Barbara's and Van's versions. "Around And Around" is handled every bit as tough as a Chuck Berry classic should be. "Winter In The Valley" was written by Barbara in the winter of 71-72 and it features a very intricate 5-part string arrangement, that  was done by just two players. Next, upon the advice of Tommy Kaye, Barbara does one of the first and finest lnterpretations of Loudon Wainwright's "Say That You Love Me". The most lavishly produced track is "The Whale", which features approximately 30 people recorded live in our San Francisco studio. This wlll probably remain an unheard of feat for quite some time. "Music Box", the last tune on the album, is another Mauritz original. It's a beautifully simplistic tune that not only changes the musical mood, but also ties the entire concept of the package together.

While you're getting into the album, Barbara is taking care of a few otber projects. For instance, she and Earl Scruggs are doing the soundtrack for the Robert Radnitz/Mattel (the people who did "Sounder") production of "Where The' Lilies Bloom". She and her band are also preparing to tour; hopefully, at which point, you'll get to see her work-out in person. By the way, Barbara is a full-time mother, which should give you a clue as to how Joshua got his picture on the insert.  

JAKE Y THE FAMILY JEWELS - Jake Y The Family Jewels (Polydor, 1971)

"It Came Without Warning"

Allan “Jake” Jacobs foi membro dos Magicians, grupo neoiorquino que gravou aquela peza titulada “Invitation To Cry” compilada por Lenny Kaye en "Nuggets: Original Artyfacts From The First Psychedelic Era" no ano 1972. Despois dos Magicians, Jacobs xuntouse con Andrea “Bunky” Skinner ao que coñecía do circuito folk dos primeiros sesentas no Greenwich Village e chegaron a ser Bunky & Jake, deixando dous discos gravados no 1967-68: "Bunky & Jake" e "L.A.M.F.". No ano 70 Jacobs con Mike Rosa e Jerry Burnham formaron Jake And The Family Jewels. Este é o primeiro e tamén o máis interesante dos dous discos que gravaron, movéndose dentro do que se deu en chamar "good-time music". Hai opinions que din que teñen un toque a NRBQ, quizáis nalgún tema como "It Came Without Warning" pero a min me lembran a aquelas producións de Erik Jacobsen para Lovin´ Spoonful ou Sopwith Camel e por momentos ao que facía Dan Hicks cos seus Hot Licks en temas como "I Remember Cissy's Baby". Moi entretido.

WHITE CHOCOLATE - Getting Ready To Rock & Roll - Let´s Get Funked (RCA, 1974)

WHITE CHOCOLATE está compuesto por tres jóvenes, cuyas raíces musicales nacen del rock de los años 60. En 1967, cuando aún eran unos adolescentes, comenzaron a tocar juntos. Conforme fueron creciendo, tomaron diversos caminos, para reunirse de nuevo, hace dos años, con su actual nombre musical. Integran el trío, Charlie Karp (primera guitarra y cantante), David Hull (bajo) y Jimmy Maher (batería). Todos ellos tienen, pese a su juventud una larga experiencia, e incluso han llegado a tocar junto al gigante Buddy Miles. Componen sus canciones y crean su propio sonido, con el que se han ganado sitio preferente en las listas norteamericanas. Los dos temas que este single recoge, dan la medida de su calidad y su valía.

LYN TODD - Lyn Todd (Vanguard 1980)

"This Time I'm Doin' It For Love"

Lyn Todd, unha habitual da escena punk neoiorquina de finais dos setenta, púxose en mans de futuro magnate discográfico Bobby Orlando para a gravación do seu primeiro e único disco, de feito Bobby O produce, toca e compón a maioría dos temas. Algún sesudo atopará un parecido máis que razoable entre a canción que soa no reprodutor e o "Can You Fix Me Up With Her" de The Now e a razón é máis que obvia, detrás daquel proxecto tamén estaba el, ademais algún membro de The Now colabora no disco. O resto das cancións, incluídas as versións frikis de "Pinball Wizzard" e "Rebel, Rebel", son menos power e máis disco. A moza morreu hai uns anos dun aneurisma cerebral.

LOWRY HAMNER & THE CRYERS - Midnight Run (Mercury, 1979)

"Who You Tryin' To Fool"

Aquí vai o segundo disco dos Cryers que en liñas xerais e bastante inferior ao primeiro pero aínda así ten os seus momentos. Da formación orixinal só quedan o propio Lowry, o baixista Tom Ethridge e o guitarrista Clay Barnes. Dentro das colaboracións, e como figuras máis coñecidas, aparecen Garth Hudson (The Band) ou Timothy B. Schmit (Poco, Eagles).

THE CRYERS - (It's Gonna Be A) Heartbreaker / Just a Little Rain (Mercury, 1978)

"(It's Gonna Be A) Heartbreaker"

As dúas pezas ían incluídas no Lp.  

DOUG OWEN - Evenings East (ABC, 1978)

Xa hai un tempo puxemos o primeiro Lp de Doug Owen, "From The Start", e aquí vai o segundo nunha liña semellante de clásico pop-rock. Isto que ven a continuación é o que nos escribiu o propio Owen no seu día:

"It's interesting how records can hang around for so long. I recorded another one after "From the Start". It's called "Doug Owen/Evenings East. I was but a kid when I got my break in Nashville. I've never pursued  a career in music where I wanted to be a star. Just writing songs and traveling around the world. I'm now in the Atlanta area looking for jobs playing and doing session work. Anyway, thanks again for liking my early work".

Best wishes

Keith Destry (Doug Owen)

Por certo, tódolas ligazóns de Mediafire xa non están dispoñibles, cancelaron a miña conta. Se alguén quere algo en concreto terá que pedílo por mail.