254:, and the label always saw itself as political, a response to its years of operation being "the years when CDs took over and vinyl died, when majors set up fake indies and indie became a genre not an ideology ... the years of Margaret Thatcher and John Major, of Clause 28 and the Poll Tax; the years when Lad Culture took hold." Because much of the politics was represented by the label's actions rather than its music, this aspect of Sarah was often missed; but Wadd and Haynes always hoped that those buying the records would discover the politics âby osmosis. One day, theyâd suddenly stop and think, âHang on, why do I have to spend ÂŁ3.49 on this Pastels twelve-inch from Creation when the Sea Urchins seven-inch on Sarah only costs ÂŁ1.49 and they both have three songs on?â And then theyâd set fire to the Houses of Parliament.â Haynes did admit, though, that "few people spotted that our sleeves didnât use the female image as decoration, that singles didnât appear on albums (except compilations), and that compilations didnât include âpreviously unreleasedâ tracks, so maybe our politics was too subtle." The politics was also always tempered by humour: 12" singles were used as a self-consciously hyperbolic metaphor for capitalism, the capitalist mindset of record collectors was mocked by randomly distributing postcards that formed a jigsaw of
298:, "your treatment of women reinforces the status quo of a womanâs role being largely decorative â an object, a stage-prop to be placed at the front of photos ⊠a puppet to smile and dance while the boys at the back (the 'brains') pull the strings. Itâs hard enough for a woman to carve herself an independent role in music. Stupid basic things like going to gigs on your own and getting back afterwards have to be considered on top of societyâs everyday constraints ⊠Add to that the implicit criterion that to succeed you need to be physically desirable. What about the not-so-beautiful, the women who arenât so confident about their appearance/sexuality? ⊠You end up with half the population having no creative input.
301:"Yet even that is eerily disguised because itâs always the purely stereotypical (and therefore hardly qualifying as positive discrimination) FEMALE image within a band that the male writer/camera seeks out." The label was always better received outside the UK, with bands playing to big audiences in Europe and Japan, and, after the label had ended, the attitude of the UK press gradually shifted. In March 2015,
357:, by Michael White, was published by Bloomsbury on 19 November 2015. On 16 October 2023, a second book about Sarah Records was published, called 'These Things Happen: The Sarah Records Story' and written by Jane Duffus. This hardback book contains interviews with members of every single band signed to the label, as well as a huge number of previously unseen pictures.
275:. Each 7" single featured a picture of the city on its centre label, the label's compilation albums were named after places in and around Bristol (and numbered after the buses that went there) and the city's road layout provided the board for Saropoly â the board game about running an indie record label (packaged as a 7" single) that was the label's fiftieth release.
163:
being part of the Sha-la-la organisation, a record label set up solely to produce flexidiscs. Several Sarah releases were fanzines and flexidiscs as, along with the 7"s, it was thought they summed up the aesthetic and politics of the label better than 12" singles and albums. The label also refused to
353:, made by Lucy Dawkins for Yes Please! Productions, was previewed at the Arnolfini Gallery in Bristol on 3 May 2014 as part of the exhibition 'Between Hello and Goodbye: The Secret World of Sarah Records', and had its official premiere at the Hackney Picturehouse in London on 12 April 2015. A book,
291:, the UK press was mostly hostile, something Wadd and Haynes attributed to male journalists missing the point, being annoyed by it, or worrying that liking a label with a girl's name, co-run by a woman, would bring their own masculinity into question.
270:
Being based in
Bristol was very important to Sarah; despite neither being from Bristol, both Wadd and Haynes loved the city and wanted to make the political point that to run a successful record label you didn't have to move to
262:, and the label announced its Autumn 1992 release schedule by taking out quarter-page adverts in the music press, denouncing capitalism and the refusal of bands to accept responsibility for their own marketing practices.
305:
put Sarah at number 2 in its list of greatest indie labels of all time, saying "Sarahâs legacy is in thinking gloriously big, and believing that a label is more than a catalogue of disparate releases."
119:, which it released mostly on 7" singles. On reaching the catalogue number SARAH 100, the label celebrated its 100th release by throwing a party and shutting itself down. In March 2015,
369:, the label was originally going to be called "Metropolitan", but there was already a record label of that name. Shinkansen released new recordings by ex-Sarah artists (including
164:
participate in the multi-formatting that was common at the time, or even include singles on albums, feeling that these practices were unfair on fans. In 1990 Wadd and Haynes told
250:"It's just POLITICS, not as some distant unreal end, but as something encaptured in everyday life" declared the sleevenotes to the label's first compilation LP,
980:
807:
466:
833:
990:
985:
433:
781:
474:
588:
170:
that it was "a record company run from a record buyerâs point of view ... you shouldnât rip off the people who support you".
412:
255:
186:â though greater influences included the late Seventies DIY scene and stylish, imaginative independent labels such as
500:
341:. "We don't do encores", the advert announced, and the label has stuck by this sentiment, with no further releases.
995:
945:
847:
517:
811:
539:
671:
323:, a booklet telling the story of the label along with a CD of representative tracks. A party was held on the
147:
374:
975:
872:
402:
897:
108:
207:
970:
239:
215:
407:
294:
The sexism of the music press was a major issue for the label. As Wadd wrote in a letter to
258:
in the sleeves of ten 7"s whose labels featured photos of consecutive stations on the local
930:
730:
712:
441:
382:
8:
622:
689:
333:, and half-page adverts entitled "A Day For Destroying Things" were taken out in both
584:
496:
259:
231:
785:
330:
219:
195:
187:
557:
365:
After Sarah ended, Haynes established
Shinkansen Recordings in 1996. Named after
211:
191:
370:
235:
227:
199:
964:
179:
138:
756:
644:
378:
166:
782:"Between Hello and Goodbye: The Secret World of Sarah Records â Arnolfini"
283:
Although Sarah releases were featured 15 times as
Singles of the Week in
206:, also experimented with dance sounds. Other bands on the label included
203:
183:
59:
950:
366:
325:
940:
935:
198:; as well as mid-Eighties fanzine culture. Many Sarah bands, notably
156:
116:
63:
178:
Sarah
Records was usually perceived as being grounded in the jangly
223:
67:
955:
125:
declared Sarah to be the second greatest indie label of all time.
925:
142:
134:
112:
96:
85:
272:
808:"We are Publishing a Book about Sarah Records | 333sound"
834:"These Things Happen: The Sarah Records Story by Jane Duffus"
609:
Between Hello and
Goodbye: The Secret World of Sarah Records
386:
344:
319:
Sarah ceased operations in August 1995 with the release of
121:
115:
between 1987 and 1995, best known for its recordings of
393:, dedicated to writing and art inspired by London.
145:scene at the time, Haynes having previously edited
493:The Guinness Who's Who of Indie and New Wave Music
141:by Clare Wadd and Matt Haynes and grew out of the
962:
581:Popkiss: the Life and Afterlife of Sarah Records
355:Popkiss: The Life and Afterlife of Sarah Records
537:
873:"Shinkansen : Interview with Matt Haynes"
314:
669:
515:
431:
385:and Tompot Blenny. Haynes went on to edit a
981:Defunct record labels of the United Kingdom
710:
704:
606:
533:
531:
602:
600:
486:
484:
360:
345:Retrospective film, books and exhibition
663:
528:
309:
963:
898:"diskant » Shinkansen Recordings"
597:
572:
509:
490:
578:
481:
461:
459:
155:. Both these fanzines had given away
731:"A Day For Destroying Things advert"
623:"Sarah Records Trains and Postcards"
550:
413:List of independent UK record labels
256:Bristol Temple Meads railway station
690:"Sarah Records Singles of the Week"
467:"Greatest Indie Labels Of All Time"
425:
13:
692:. sarahrecords.org.uk. 2 June 2014
670:Simpson, Dave (2 September 1995).
607:Wadd, Clare; Haynes, Matt (2014).
456:
377:) as well as other acts including
14:
1007:
991:Record labels established in 1987
986:British independent record labels
919:
434:"A User's Guide To Sarah Records"
278:
16:British independent record label
890:
865:
840:
826:
800:
774:
749:
723:
682:
637:
538:Paphides, Peter (August 1995).
516:True, Everett (4 August 1990).
926:Sarah Records Official Website
615:
473:. 7 March 2015. Archived from
1:
418:
329:, a boat moored in Bristol's
558:"Sarah Records Introduction"
161:Are You Scared To Get Happy?
148:Are You Scared To Get Happy?
7:
931:A Day For Destroying Things
432:Wolk, Douglas (June 2007).
396:
367:the Japanese "bullet train"
315:A Day For Destroying Things
245:
10:
1012:
902:Diskant.marcelinesmith.com
848:"Shinkansen: introduction"
265:
128:
43:Clare Wadd and Matt Haynes
403:Sarah Records discography
321:There and Back Again Lane
92:
81:
73:
55:
47:
39:
31:
26:
951:Sarah Records on TweeNet
941:Smoke: a London Peculiar
713:"Letter to Melody Maker"
391:Smoke: a London Peculiar
349:A film about the label,
173:
133:The label was formed in
109:independent record label
996:Indie pop record labels
761:Storyofsarahrecords.com
579:White, Michael (2015).
495:. Guinness Publishing.
491:Larkin, Colin (1992).
946:Shinkansen Recordings
877:Pennyblackmusic.co.uk
625:. sarahrecords.org.uk
560:. sarahrecords.org.uk
408:List of record labels
361:Shinkansen Recordings
97:Sarah Records Website
711:Wadd, Clare (1991).
611:. Arnolfini Gallery.
444:on 22 September 2008
383:Trembling Blue Stars
310:Ending and aftermath
182:-pop sensibility of
852:Sarahrecords.org.uk
735:Sarahrecords.org.uk
649:Sarahreocrds.org.uk
737:. 13 January 2014
651:. 27 January 2016
590:978-1-6289-2218-9
260:Severn Beach Line
232:Another Sunny Day
102:
101:
74:Country of origin
1003:
976:Music in Bristol
913:
912:
910:
908:
894:
888:
887:
885:
883:
869:
863:
862:
860:
858:
844:
838:
837:
830:
824:
823:
821:
819:
810:. Archived from
804:
798:
797:
795:
793:
784:. Archived from
778:
772:
771:
769:
767:
753:
747:
746:
744:
742:
727:
721:
720:
708:
702:
701:
699:
697:
686:
680:
679:
667:
661:
660:
658:
656:
641:
635:
634:
632:
630:
619:
613:
612:
604:
595:
594:
576:
570:
569:
567:
565:
554:
548:
547:
535:
526:
525:
513:
507:
506:
488:
479:
478:
477:on 6 March 2016.
463:
454:
453:
451:
449:
440:. Archived from
429:
331:Floating Harbour
220:Even As We Speak
188:Postcard Records
93:Official website
24:
23:
1011:
1010:
1006:
1005:
1004:
1002:
1001:
1000:
961:
960:
922:
917:
916:
906:
904:
896:
895:
891:
881:
879:
871:
870:
866:
856:
854:
846:
845:
841:
832:
831:
827:
817:
815:
814:on 28 July 2014
806:
805:
801:
791:
789:
788:on 15 July 2014
780:
779:
775:
765:
763:
755:
754:
750:
740:
738:
729:
728:
724:
709:
705:
695:
693:
688:
687:
683:
668:
664:
654:
652:
643:
642:
638:
628:
626:
621:
620:
616:
605:
598:
591:
577:
573:
563:
561:
556:
555:
551:
536:
529:
514:
510:
503:
489:
482:
465:
464:
457:
447:
445:
438:eMusic Magazine
430:
426:
421:
399:
375:Harvey Williams
363:
351:My Secret World
347:
317:
312:
281:
268:
248:
240:St. Christopher
212:East River Pipe
176:
131:
66:
62:
22:
17:
12:
11:
5:
1009:
999:
998:
993:
988:
983:
978:
973:
959:
958:
956:Indiepop Radio
953:
948:
943:
938:
933:
928:
921:
920:External links
918:
915:
914:
889:
864:
839:
825:
799:
773:
748:
722:
703:
681:
662:
636:
614:
596:
589:
583:. Bloomsbury.
571:
549:
527:
508:
501:
480:
455:
423:
422:
420:
417:
416:
415:
410:
405:
398:
395:
362:
359:
346:
343:
316:
313:
311:
308:
280:
279:Press response
277:
267:
264:
252:Shadow Factory
247:
244:
216:The Hit Parade
200:The Field Mice
175:
172:
130:
127:
107:was a British
100:
99:
94:
90:
89:
83:
79:
78:
77:United Kingdom
75:
71:
70:
57:
53:
52:
49:
45:
44:
41:
37:
36:
33:
29:
28:
20:
15:
9:
6:
4:
3:
2:
1008:
997:
994:
992:
989:
987:
984:
982:
979:
977:
974:
972:
971:Sarah Records
969:
968:
966:
957:
954:
952:
949:
947:
944:
942:
939:
937:
934:
932:
929:
927:
924:
923:
903:
899:
893:
878:
874:
868:
853:
849:
843:
835:
829:
813:
809:
803:
787:
783:
777:
762:
758:
752:
736:
732:
726:
718:
714:
707:
691:
685:
677:
673:
666:
650:
646:
640:
624:
618:
610:
603:
601:
592:
586:
582:
575:
559:
553:
545:
541:
534:
532:
523:
519:
518:"Cutie Calls"
512:
504:
502:0-85112-579-4
498:
494:
487:
485:
476:
472:
468:
462:
460:
443:
439:
435:
428:
424:
414:
411:
409:
406:
404:
401:
400:
394:
392:
388:
384:
380:
376:
372:
368:
358:
356:
352:
342:
340:
336:
332:
328:
327:
322:
307:
304:
299:
297:
292:
290:
286:
276:
274:
263:
261:
257:
253:
243:
241:
237:
233:
229:
225:
221:
217:
213:
209:
205:
201:
197:
193:
189:
185:
181:
171:
169:
168:
162:
158:
154:
150:
149:
144:
140:
136:
126:
124:
123:
118:
114:
110:
106:
105:Sarah Records
98:
95:
91:
87:
84:
80:
76:
72:
69:
65:
61:
58:
54:
50:
46:
42:
38:
35:November 1987
34:
30:
27:Sarah Records
25:
19:
905:. Retrieved
901:
892:
880:. Retrieved
876:
867:
855:. Retrieved
851:
842:
828:
816:. Retrieved
812:the original
802:
790:. Retrieved
786:the original
776:
764:. Retrieved
760:
751:
739:. Retrieved
734:
725:
717:Melody Maker
716:
706:
694:. Retrieved
684:
676:Melody Maker
675:
665:
653:. Retrieved
648:
639:
627:. Retrieved
617:
608:
580:
574:
562:. Retrieved
552:
543:
522:Melody Maker
521:
511:
492:
475:the original
470:
446:. Retrieved
442:the original
437:
427:
390:
364:
354:
350:
348:
339:Melody Maker
338:
334:
324:
320:
318:
302:
300:
296:Melody Maker
295:
293:
289:Melody Maker
288:
284:
282:
269:
251:
249:
226:, Brighter,
177:
167:Melody Maker
165:
160:
152:
146:
132:
120:
104:
103:
21:Record label
18:
672:"Sarah RIP"
540:"Que Sarah"
204:The Orchids
51:August 1995
965:Categories
564:8 November
419:References
157:flexidiscs
111:active in
645:"Adverts"
151:and Wadd
117:indie pop
88:, England
64:Indie pop
936:Fan site
544:Time Out
397:See also
246:Politics
224:Boyracer
208:Heavenly
196:Creation
82:Location
68:Twee pop
857:20 June
818:23 July
792:19 July
766:20 June
696:8 March
655:20 June
629:8 March
448:8 March
371:Blueboy
266:Bristol
236:Shelley
228:Blueboy
192:Factory
159:, with
143:fanzine
135:Bristol
129:Origins
113:Bristol
86:Bristol
48:Defunct
40:Founder
32:Founded
907:16 May
882:16 May
757:"HOME"
587:
499:
326:Thekla
273:London
153:Kvatch
741:2 May
379:Fosca
180:indie
174:Music
56:Genre
909:2014
884:2014
859:2021
820:2014
794:2014
768:2021
743:2020
698:2015
657:2021
631:2015
585:ISBN
566:2017
497:ISBN
450:2008
387:zine
373:and
337:and
287:and
238:and
202:and
194:and
139:1987
471:NME
335:NME
303:NME
285:NME
184:C86
137:in
122:NME
60:C86
967::
900:.
875:.
850:.
759:.
733:.
715:.
674:.
647:.
599:^
542:.
530:^
520:.
483:^
469:.
458:^
436:.
389:,
381:,
242:.
234:,
230:,
222:,
218:,
214:,
210:,
190:,
911:.
886:.
861:.
836:.
822:.
796:.
770:.
745:.
719:.
700:.
678:.
659:.
633:.
593:.
568:.
546:.
524:.
505:.
452:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.