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Atomic X \/ Who Cares \/ Fast Car \/ She Is The Boy \/ Pretty Nun<\/a><\/p>\n Confusion \/ Bored Housewifes \/ Lost In Space \/ Subtitles \/ Jeen Dreems<\/a><\/p>\n Before the Spice Girls, everybody’s favorite all girl band was The Androids Of Mu, which featured Suze Da Blooze from Here And Now on vocals.<\/p>\n From the hands of Grant Showbiz down in deepest Street Level Studios, and released ‘in house’ on Fuck Off Records, this non masterpiece still has\u00a0a huge\u00a0sackful\u00a0of charm and if you try hard enough, you can jump around the room to it ‘but only when yer mum’s gone out!’ *<\/p>\n From the same Weird Tales tours as The Mob, The Astronauts and Zounds,\u00a0Androids had tracks on the ‘Tribute to Bert Weedon’ cassette that I was going to upload until I realised it may scupper some Mob sales on the recently released CD on Overground Records as those tracks on the CD are in demand (ditto Ching demo) – so I didn’t bother, so you will have to have this LP instead!<\/p>\n * Television Personalities lyric in case you thought I had suddenly lost it big time…<\/p>\n Below is a snippet of an interview from the No Class fanzine.<\/p>\n As the people from No Class landed in Shepherds Bush, London W12, the keys to the flat were thrown out of the window to us, ready to let an interview with Bess and Corrina from the Androids of Mu take place, which went like this:<\/p>\n NC: Why was the LP called Blood Robots?<\/p>\n C: By calling it Blood Robots we threw more light on what our name is about. I don\u2019t wanna be too precise about that, because I wanna leave a bit more to the imagination. A lot of our stuff at the same time was about everyday people and situations, but through our minds, from a completely different point of view.<\/p>\n NC: So are your songs protest songs?<\/p>\n B: Yes, most of them.<\/p>\n C: We would like to change things if we could. Generally we are supporting change, of attitudes and for the better. But on the other hand, sometimes what we do is just observation. It\u2019s more like making people think, rather than opinionating and asking for people to accept our opinions.<\/p>\n NC: So you do benefit gigs?<\/p>\n C: Yeah, loads, cos we\u2019re not playing for money. We aren\u2019t making any money and even when we play ordinary commercial gigs we only get our expenses and when we play benefits we get our expenses, so from that point of view it\u2019s not much different. It\u2019s better that we\u2019re actually supporting something that is worthwhile if we play a benefit, so we do.<\/p>\n NC: Did you lose money on the free tours?<\/p>\n C: Yes we did, because it cost us a lot to set it up in the first place, like posters and getting a vehicle in condition, so that we could do it. Our actual expenses on the road had been met but not the expenses that it cost us to prepare the whole thing. Everyone involved lost about \u00a370. If you put all that together, there was three bands, it cost a lot of money.<\/p>\n B:Doing about two tours, free tours, made us realise that we didn\u2019t wanna do it again cos\u2026<\/p>\n C: We can\u2019t do it, we can\u2019t afford to.<\/p>\n B: As well as that, we realise that people want to pay. I really think so. They wanna pay to get in and enjoy themselves.<\/p>\n C: It was all part of an attempt to change existing attitudes, in the sense that if a person comes into a venue and they pay because they realise that by paying they support the whole idea, and at the same time they give opportunity to people who have got nothing to come in, That\u2019s good but it just doesn\u2019t work like that, because people\u2019s attitudes were that if it\u2019s free it\u2019s not worth anything.<\/p>\n B: But another idea why we started doing free tours was because we thought music is something so nice there shouldn\u2019t be a packaged price on it. You get gigs at Rainbow, \u00a33 or whatever, depends on the seats if you\u2019re at the front or the back, but we thought music should be left to people: what they think it\u2019s worth. Some people at the time thought it was 10p, others 50p. I think that\u2019s great because people paid money what they think; they don\u2019t feel ripped off.<\/p>\n NC: I think it\u2019s a good idea.<\/p>\n B: But it doesn\u2019t work that way. There\u2019s not many people thinking that. Maybe more down in London, they\u2019re more open minded about things, but in North of England\u2026 It\u2019s being conditioned, isn\u2019t it? Most young people they work 9 till 5 and they go out on Friday, Saturday and Sunday nights. And if they pay money to get into a gig they enjoy themselves. It\u2019s like a routine.<\/p>\n NC: Didn\u2019t you get people going along to try it out, because it was free?<\/p>\n B: Yeah, half of it was like that, they were really supporting us, but not other half.<\/p>\n C: Another thing was that usually they spent all their money on drinks, so that even if they wanted to give, they didn\u2019t have any money left.<\/p>\n B: No, but we sussed that out didn\u2019t we? We were doing a gig with three bands. By the time the second band came on we would go round with the hat and collect money.<\/p>\n NC: Could you tell us how Girlfriend Records came about?<\/p>\n C: It just sprung out of the fact that I\u2019m a sound engineer and I\u2019ve been working at Street Level studios. All the time I\u2019ve been working in there there\u2019s been about one percent of the people that come to the studio were women. Because of that I knew a lot of female musicians. They used to say we really wanna come into record something but we can\u2019t afford to or we don\u2019t know where to start or \u2026. things like that. I realised that there was a need to do something and I was just in the right place at the right time. It wasn\u2019t that we decided it was gonna be Girlfriend Records, it just came out of the events leading up to it that I started recording all these women bands and it grew into an LP (Making Waves various artists compilation). Everyone thought it was a good idea that it came out on an independent label and we thought \u2018Why not start a label?\u2019<\/p>\n B: It involved all twelve bands, they all helped out in some way. It\u2019s very difficult to be a record company by yourself. C: Suzy who was with us at the time, she found this poster\u2026<\/p>\n B: There was a big gallery, posters and poetry done by women. We saw this painting on a wall and she said that could be the cover, and we all went Wow! What a good idea. We did a coloured printing, but the colours didn\u2019t come out right. It was too much contrast, black and brown.<\/p>\n NC: Is it the original that was used, the one in the gallery?<\/p>\n B: Yes, the woman who done that (Monica Sjoo), we wrote to her. We haven\u2019t met her. She said of course you can use it.<\/p>\n NC: Can you tell us about your deal with Crass?<\/p>\n B: Two years ago, when they wanted to do a single with us, they didn\u2019t want our drummer to play on it cos she was playing out of time. They wanted their own drummer, and we all thought it would sound like Crass again, so we refused it straight away.<\/p>\n Review with bigger text here<\/a><\/strong><\/p>\n![](\"http:\/\/i192.photobucket.com\/albums\/z149\/pengy1966\/KYPP34.jpg\")
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\nNC: And what about Blood Robots?<\/p>\n