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      KFJC On-Line Reviews
    What KFJC has added to their library and why...

    Auntie Aubrey’s Excursions Beyond The Call of Duty [coll] – [Deviant]

    Double CD with Orb remixes from 1996 and actually a 2001 stereo re-release (!) using well-known and lesser known artists and bands. This is non-conceptuality remixing and electronica post-production of highest non-conceptual caliber, moving you into dubby house, ambient, psychedelic downtempo and all kind of audio adventures. You really can’t expect what to hear such as the Yello remix that really has nothing to do with the original track initially. Add in some wacky Dr. Patterson humor and you get a strange soup. Alas some tracks have not aged well, but most material intrigues even the most die-hard Orb fanatic. And if you want to play mainstream office easy listening music for your show, select Dave Stewart’s “Lily was Here” with Candy Dulfer!

  • Reviewed by Kai Sync on June 20, 2018 at 3:49 pm
  • Filed as A Library,CD
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  • Lenoci, Gianni – “Earle Browne – Selected Works For Piano And/or Sound Produci” – [Amirani Records/Amirani Contemporary]

    Gianni Lenoci is an Italian pianist who tackles the challenging compositions of modern experimental composers. Here, he performs the works of Earle Brown (1926-2002), a composer that was a member of John Cage’s New York School, along with Christian Wolff, Morton Feldman and others. Brown was influenced by Cage’s philosophy of “non-intention,” but also drew inspiration from the visual arts, especially the sculptures of Alexander Calder.  Like Calder’s mobiles, Brown’s pieces consist of isolated forms – staccato blips or long presses of the piano keys – floating gently, unpredictably through time. Further, Brown’s scores were graphical, works of art themselves, with pitches and durations of notes written as bars of varying lengths and thicknesses (see one on the cover). All tracks are played on piano except for “4 Systems January 1954” (T9) that Lenoci interprets with electronics. More information – biographies of the composer and performer, a strange screed on the act of listening written by a philosopher of language, and the text to Robert Frost’s sorrowful poem “Home Burial,” that inspired the first track on the album – can be found in the liner notes.

  • Reviewed by lexi glass on June 19, 2018 at 8:39 pm
  • Filed as A Library,CD
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  • Anal – “Zero Beats Per Minute” – [K.A.K./Kraut and Kelt Records]

    It’s too obvious to say “I love Anal” or “Anal is so good” so I won’t. But, this is really a good album. Anal, actually Jody Evans from Wales, was a production assistant to Julian Cope in the mid 1990’s. He asked to play around with the electronic equipment and came up with this brilliant exploration of all sounds electronic: beats, anti-beats, anti-rave. It was so good that Dorian and Julian Cope decided to release the outcome on their solo release label K.A.K. This is such a highly praised work by so many that it has been rereleased with more info, but we have the original. Amazing.
    12 songs of unique electronic noodling. Call it IDM, EDM, electronic, whatever. So many variations of sound blips and bleeps. Love this so much. Listen and you’ll love Anal, too.

  • Reviewed by Naysayer on June 18, 2018 at 4:21 pm
  • Filed as A Library,CD
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  • Jabb “EP” A cd

    Jabbs socks off on the froth of the fuzzy topic, top topics to pop off about (gun) accentuate and tap along to, like a classic 3 piece combo, here imagery street to bed cover the bliss, the time-out, and the america of pop-rock, distopic-ally.

    Vernacular postures in the common phrasing, can’t ons you can’t put on, tongue twisted logics, misbehave find someone else kill your[ ]self FCCS SHIT, FUCKING, PIECE OF SHIT, FUCKING BITCH.

    No need to chime in, or dive in brine to stay to old age, all in pun and rhyme not the aforementioned, pintip accurate landscapes of guitar chorded refractory layers on the thimble of sound garden nirvana.

    Dialectic’s mesh syncretic weathered parts of a disjointed stonescape, a tinge of animosity, a shimmering nite dance.

    Saying about chant, something to tell punk rant, can tell, “you don’t care.. I don’t care..” (about. The sound…) piston pump bounty bouncing beat and bumps if pressed on vinyl.

    Having earned their mettle, display anthemically after prog-punk after dirge, under a rose tint, a lament.

  • Reviewed by Grizzly Adam on June 16, 2018 at 2:49 pm
  • Filed as A Library,CD
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  • Applebaum, Mark – “Speed Dating” – [Innova Recordings]

    Mark Applebaum teaches at Stanford and his compositions are said to pose “challenges to the conventional boundaries of musical ontology.” He has also given a TED talk on boredom. Both of these facts come to mind when listening to the first three tracks of this CD, which comprise the piece “Three Unlikely Coroporate Sponsorships.” The composer is credited with playing ‘rant,’ but it’s a strange sort of ranting. Each movement starts with a spoken brand name, repeated, slowly morphing into other words, related in sound but not in meaning, decorated with cookie cutter glitches and delivered at hyper-speed. It’s something like a manic version of Amirkhanian’s text-sound compositions. It’s certainly not boring, but is it enjoyable?

    The other tracks are more conventional, at least on the surface. Clicktrack (T7) delivers an array of percussive sounds arranged in Cagean fashion. Skeletons In The Closet (T4) features eight analog synths squelching and belching away, and the title track (T5) is your source for classic dissonant string sounds.

  • Reviewed by Phil Phactor on June 13, 2018 at 7:15 pm
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  • Kaelan Mikla – “Kaelan Mikla” – [Fabrika Records]

    An interesting take on 80’s Darkwave. Kaelan Mikla (Lady of the Cold in Moomin vernacular) is a 3 piece female led band that hails from Iceland. Formed after winning a library poetry slam circa 2012, their sound has changed over the years culminating in this 2016 release. Here they churn  out interesting darkwave reminiscent of  Xymox and the Cranes. Vocals are in Icelandic (old Norsk) and lend a mysterious element that complements the haunting synth punk of the album. Track 1 is a nice introduction with a solo drony sound that transitions into a more conventional structure the second half.  Tracks 2 and 6 were slightly problematic for me as the discordant harshness of the vocals were too shrieky for my taste but your mileage may vary. Tracks 4, 5 and 8 are the strongest and feature the smoother vocal stylings of drummer Sólveig Matthildur.

  • Reviewed by Jim Hunter on June 13, 2018 at 5:25 pm
  • Filed as 12-inch,A Library
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  • Street Sects – “Rat Jacket” – [Flenser]

    Symphonic indie industrial rock meets electronic mayhem experiments with whimsy-angry arrangements in the NIN flavor. Songs about loneliness, paranoia,  betrayal and mistrust. Singer Leo Ashline provides the melancholy and Shaun Ringsmuth the multi-layered samples, angry guitars and harsh synth and drum sounds. Very original, you can’t nail down what they really represent! Hey even melodies are present! Maybe the future of prog rock. Play it. –Kai

  • Reviewed by Kai Sync on June 13, 2018 at 3:21 pm
  • Filed as 12-inch,A Library
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  • Celldod – “Kall Fusion” – [Transfusions]

    New 2018 release with quite a cold-charming dark techno EP from Anders Karlson or Celldöd (Dying Cells In Swedish.) Kind of electronic music youngster Front242 would create today but with this own freezing Perfect as Swedish charm of coldness and starry nights dancing to Swedish debate programs in a bunker.  B-side has even future-Dub techno. Hardware metal music. Play this loud with lots of bass so the studio monitors rip out from the ceiling. –Kai

  • Reviewed by Kai Sync on June 13, 2018 at 3:20 pm
  • Filed as 12-inch,A Library
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  • In Order to Dance 6 [coll] – [R & S Records]

    1996 collection from &R&S Records with various DrumNBass tracks of this era. This was the time and space of jazz influences, jazz chords, horns, lounge samples, downtempo drums and hipster elements that still kept the genre intriguing with multiple remixes of preciously released tracks.  Some of the tracks even have the early day low-end bass wobble present. Pick out the gems from the collection. For me it was the more less-jazzy experimental tracks by Tony Justice, Lemon D, Justice, Kenny Larkin and Locust. Sadly this was the last In Order to Dance collection from R&S Records.   –Kai

  • Reviewed by Kai Sync on June 13, 2018 at 3:18 pm
  • Filed as A Library,CD
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  • Blessed Blood Vulva and Guilty C – “Third Slaughter, The” – [SSSM]

    Collaboration between the anonymous masked maniac vocalist Blessed Blood Vulva and Japanese harsh noise artist Guilty Connector (aka Guilty C, aka The Skull Downpour Electronics, aka GxCx SKULL…). The first half or so of the tracks originally came out on a cassette release in 2014; these tracks plus some new and live material make up this 2017 CD release on SSSM, the Nagoya-based label run by Hiroshi Hashimoto, better known to us as Contagious Orgasm.

    A combination of supershort grindcore blasts combined with harsh noise assaults and cut up collages – is this Japan’s answer to Man is the Bastard/Bastard Noise? It’s just as good, but way more deranged, so of course I love it. The first 26 tracks, and several throughout the second half of the album, are quick bursts of piercing feedback and BBV’s disturbed howls. “The Slow Kill in the Cold” (T26), a pause in the insanity, is a suspenseful snowy murder scene, “Hooded Men From Hell” (T30, see also T31-32) is a longer onslaught – Incapacitants/Hijokaidan legend T. Mikawa assists on the noise and you can hear his touch here. “In the Forest of Red Water” (T51) is a sparser track with rattles and thudding feedback, “The Evils Rules” (T53) is degraded electronic gongs ringing through dark tunnels. The final track “Angel’s Mother Is A Bitch (live)” (T65, yes 65) is 2:18 of silence followed by vicious feedback and screams. 20 seconds later, it’s all over.

  • Reviewed by lexi glass on June 12, 2018 at 9:50 pm
  • Filed as A Library,CD
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  • Huxley Anne – “Illium” – [Dome of Doom]

    Illium is the 2017 debut release from LA beatmaker and producer Huxley Anne. Genre-wise this is all over the place, with elements of hip hop, techno, noise and new age, and, sometimes, the unfortunate aftertaste of forgettable fads like dubstep or witch house. But I can get past that because these tracks hit hard, with heavy, warehouse-shaking bass pulses roaring throughout. While “Aphro Dye” (T2), “Nin” (T3), and the aggressive “Ashes” (T4) seem made for the club, on other tracks the beats are paired with unexpected elements: laid-back guitar loops on “Celadon” (T5), mystical drones and harp on “Igredo” (T6), sitars and chants on “Aesop Fable” (T7), and music box chimes on the downtempo “Dragoon” (T8). Released on the LA experimental/hip hop label Dome of Doom.

  • Reviewed by lexi glass on June 12, 2018 at 9:42 pm
  • Filed as A Library,Cassette
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  • Screaming Bloody Marys – “Musica De La Revolucion!” – [Zip Records]

    Hell yes! Local ass kicking punk rock. The Screaming Bloody Marys were around in the 80s-90s, went on hiatus, and are back now playing shows and recording. This 7″ came out in 2017. Side A: Cranked up beat and big guitars. Johnny’s dead, too bad. Side B: Bob Dylan’s “Masters of War” done with a march-flavored beat, a wall of guitar, and some wicked theremin by my new favorite vocalist Angelique, who belts it out like crazy on both sides. East Bay Ray is on here someplace.

  • Reviewed by Max Level on June 12, 2018 at 8:07 pm
  • Filed as 7-inch,A Library
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  • Smell & Quim and Onomatopoeia – “Fanny Batter” – [Cheeses International]


    A fine collaboration between two UK absurdist noise champions. Smell & Quim hail from Leeds and have been making unsettling lo-fi performance farts since the late 80s. Here they join forces with Bournemouth native and Head Cheese of Cheeses International, Steve Fricker aka Onomatopoeia. Fricker claims to only collaborate by mail, mixing and remixing each other’s works to create the perfect abomination.

    Unlike other Smell & Quim releases which rely heavily on smutty and/or violent vocal samples, the tracks here are more “traditional” noise: pulsating electronics with low-frew rumbles and grumbles and only the occasional hellish gurgle. Don’t expect a wall-of-noise, though. Fluctuating dynamics evolving rhythmic patterns permeate these two pieces.

    Appeasing The Great Porn God (T-1) is fairly pulverizing. Disorienting and discomforting, with transient pounding rhythms and guttural groans.  Semi-subliminal themes of pornography, masturbation, and S&M.  Nothing too overt or overly-discernible, though, so it’s safe for daytime.

    Symphony in Labia Minor is an act in three parts, each featuring sonic baths of piercing static. Part I (T-2) is the longest and the most aggressive, but blends into an almost ambient swirl, not unlike a dishwasher. Part II (T-3) is the shortest and most pleasant of the three. A nice palate-cleanser of sorts before painful shrieks signal the beginning of Part III (T-4). The final track is a return to the harsher sounds of Part I, but for the first time we get a whiff of *actual* instruments, like a guitar and some sort of drum. The drastic dynamics and binaural brain-beating are both on display in the final act, making it my favorite of the three.

  • Reviewed by Louie Caliente on June 11, 2018 at 9:44 pm
  • Filed as A Library,CD
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  • Jansen, Steve – “Bound Volume” – [That’s Cool Records]

    Steven Jansen is a sound artist from the southwestern US (NB “Not Steve Jansen from Japan, not Japan the country.”), who has collaborated with Jeph Jerman and James Fella. On this 2016 release, he uses field recordings, treated guitar, bass and saxophone, and electronic sounds in his work. The album opens with a longform piece “Short Change” (T1) with ghostly saxophone melodies that grow into a heavy, enveloping dronescape; this was my favorite track of the album. The following tracks are shorter collages assembled from a collection of strange sounds: magnetic tape slithering and screeching, doors slamming, metal sheets recoiling, plucking of rusted strings, scraping of small objects, long eroded tones. The album concludes with a longer track, “Member Calendar” a (somewhat trying) study of the high-pitched whistles and chirps from the reed of the saxophone (T7). Released by Jansen’s own label That’s Cool records.

  • Reviewed by lexi glass on June 11, 2018 at 7:12 pm
  • Filed as A Library,CD
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  • Phew – “Light Sleep” – [Mesh Key]

    Finally! Our first addition from Phew, the project of Hiromi Moritani, that began in 1980 after Moritani split from the Osaka post-punk group Aunt Sally. Since then, she has collaborated with Ryuichi Sakamoto, Holger Czuaky and Jaki Leibezeit from Can, and many others. Around 2010, she transitioned from a guitar-driven rock sound into minimal electronics, previewing her new work at gigs around Tokyo and on small runs of homemade CD-Rs. This 2017 album collects the tracks from those releases. Everyone says this sounds like Suicide and that’s the first thing I thought of too, and so of course it’s excellent. The songs here are made from analog synth pulses, drum machines, and Moritani’s echoing spoken-word vocals. “New World” (T1) has a psychedelic feel, “CQ Tokyo” (T2) driven by intense, “Frankie Teardrop” drum machine rhythms, “Mata Aimasho” (T3) is smoldering dark ambience, “Usui Kuki” (T4) is a dream sequence driven by dissonant tones and a steady rhythmic beat, “Echo” (T5) pulses with aggressive, textured synths and wavering bass lines, “Antenna” (T6) concludes with brilliant metallic reverberations that softly fade away. 

  • Reviewed by lexi glass on June 10, 2018 at 5:18 pm
  • Filed as 12-inch,A Library
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  • Chomsky%2C+Noam+-+%22Imperial+Presidency%2C+The%22+-+%5BAK+Press+Audio%5D

    Noam Chomsky is, of course, the seasoned voice of far left intellectual political thought and social observation. This lecture, given shortly after G.W. Bush won his second term, tracks the continuous actions the U.S. plays in its role as world imperialist dominator. Chomsky tracks the elaborate plans the USA government creates and implements, from post WW II up through the time of the lecture. The manipulation of world law by the U.S. is astounding and not surprising. It helps to understand where we are today. This just didn’t happen. Everyone is complicit. It is always fascinating to me to listen to Chomsky: not just to his ideas but to his tone, his meter, his style. It is so soothing, rational and calm. He talks about the most heinous atrocities and manipulations of rule for power and the devastating effects on millions of people, yet he does so with such ease. No histrionics. It’s almost frightening. Though the CD is tracked it can be played as one long piece. Enjoy.

  • Reviewed by Naysayer on June 9, 2018 at 11:52 am
  • Filed as A Library,CD
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  • Areon Flutes – “No Era” – [Innova Recordings]

    areon flutes cover

    Areon Flutes is a new music flute trio. Sounds like birds, air, activity. 3 commissions from SF area composers. Recorded at the SF Conservatory of Music in December 2016. Hosts of the Areon Summer Flute Institute here in Los Altos, a unique summer music experience for elementary through collegiate flutists.

  • Reviewed by Hemroid The Leader on June 8, 2018 at 2:48 pm
  • Filed as A Library,CD
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  • Amirkhanian, Charles – “Lexical Music” – [Other Minds, Inc.]

    Amirkhanian is the dean of American Text Sound Composition. His work on this 2017 release dates from 1973-77. Here Amirkhanian is using words and language and vocals as sound elements, building compositions out of mostly nonsensical spoken words and phrases. Among his methods for creating these pieces: Live vocals combined with pre-recorded vocals. Tape loops colliding, then syncopating, then diverging, creating insistent yet seemingly random rhythmic patterns. Multiple tape recorders in a series, continuously recording and overlapping until the words eventually disintegrate into unrecognizable sounds. Things like that. Track 5 integrates location recordings as environmental backgrounds. The liner notes in the accompanying booklet are detailed and fascinating, and toward the end there is a breakdown of each of these pieces and and how it was made. Super avant-garde and I love it.

  • Reviewed by Max Level on June 6, 2018 at 12:36 am
  • Filed as A Library,CD
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  • Perverted Ceremony – “Sabbat of Behezael” – [Nuclear War Now! Productions]

    Belgian duo of ‘Morbid Messiah’ and ‘Baron Cimiterre’ allegedly founded in 2011. Since their 2016 recording debut, their take on Bestial Black / War / Goat Metal has made a big splash in the underground, like some kind of unholy cave diver.

    Hype can be pretty deadly to extreme metal bands but not in this case. Proving there’s more to my least favourite Western European country than Muslim terrorist safehouses, ‘Man Bites Dog,’ Jean-Claude Juncker’s resort for retired bureaucrats, terrifying deep-state pedophilia rings, and those fried potato stick things, P.C. deliver an oozing effluent of exultant (and on a few occasions, oddly banjo-like) tremolo riffing, animalistic growls, and precisely pugilistic percussion. For psychedelic spice (and to go with their vintage logo) they add 70s-style guitar riffing and analog-sounding keyboards to the stew on many tracks.

    Their most obvious influence is Beherit, though their sound is more studied; there are elements too of Archgoat, Blasphemy, Mystifier, Hellvetron, Goatlord, Nocturnal Blood, maybe Varathron. Good company to be in all around. My point is that their sound actually does manage to come across as fairly original, and unlike so many of their influences there is a certain tautness to the playing.

    I asked Rat King what they were doing on the cover. “Obviously they are having a perverted ceremony,” came her reply. Indeed.

    Also included on this CD version: the tracks from the NWN! 12” LP we added 4 months ago.

    T.s 1 + 10 are dungin’ synth intros.

  • Reviewed by Lord Gravestench on June 5, 2018 at 10:17 pm
  • Filed as A Library,CD
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  • Blodfest – “Krakes Blod” – [Night Birds]

    Self-released 2006 album from this rotten Danish black metal project, with members from Solhverv, Wolfslair and Luciation and others, re-released on cassette on the Ukrainian label Night Birds. The first thing that struck me on opener “Stenknivens Blot” (T1) was Bestial Butcher’s absolutely inhuman drumming. He races along at an vicious speed, but then shifts into different rhythmic patterns. The variety in the drumming –  aggressive churning, dramatic sweeps – add different dimensions to the tracks, and give the album real complexity, but without crossing into overly technical prog territory. I liked the first track so much that it took me awhile to get into the rest of the album, but when I did noticed the melodic elements throughout – hardly pretty and still pitch black, but really appealing. Take the descent-into-madness guitar on “Crimson Spirit” (T4), or the main theme of “Den Naadesloese” (T5) that had me banging my (non-metal)head on Caltrain.  The lyrics in Danish glorify the kings and warriors of the Viking era, though a few tracks are in English, including T9 and T10 with FCCs. Couldn’t really make out the lyrics on T4 and T11, so play at your own risk.

  • Reviewed by lexi glass on June 5, 2018 at 9:20 pm
  • Filed as A Library,Cassette
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