Sarah Records

The label was formed in Bristol in 1987 by Clare Wadd and Matt Haynes and grew out of the fanzine scene at the time, Haynes having previously edited Are You Scared To Get Happy?[3] and Wadd Kvatch. Both these fanzines had given away flexidiscs, with Are You Scared To Get Happy? 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.[3] The label also refused to 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 Melody Maker that it was "a record company run from a record buyer’s point of view ... you shouldn’t rip off the people who support you".[4]

Sarah Records was usually perceived as being grounded in the jangly indie-pop sensibility of C86 – though greater influences included the late Seventies DIY scene and stylish, imaginative independent labels such as Postcard Records, Factory and Creation; as well as mid-Eighties fanzine culture. Many Sarah bands, notably The Field Mice and The Orchids, also experimented with dance sounds. Other bands on the label included Heavenly, East River Pipe, The Hit Parade, Even As We Speak, Boyracer, Brighter, Blueboy, Another Sunny Day, Shelley and St. Christopher.

"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, Shadow Factory, and the label always saw itself as political,[5] 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."[6] 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 “by osmosis. One day, they’d suddenly stop and think, ‘Hang on, why do I have to spend £3.49 on this Pastels twelve-inch from Creation when the Sea Urchins seven-inch on Sarah only costs £1.49 and they both have three songs on?’ And then they’d set fire to the Houses of Parliament.”[7] Haynes did admit, though, that "few people spotted that our sleeves didn’t use the female image as decoration, that singles didn’t appear on albums (except compilations), and that compilations didn’t include ‘previously unreleased’ tracks, so maybe our politics was too subtle."[8] 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 Bristol Temple Meads railway station in the sleeves of ten 7"s whose labels featured photos of consecutive stations on the local Severn Beach Line,[9] and the label announced its Autumn 1992 release schedule by taking out quarter-page adverts[10] in the music press, denouncing capitalism and the refusal of bands to accept responsibility for their own marketing practices.

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 London.[11] 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 – the board game about running an indie record label (packaged as a 7" single) that was the label's fiftieth release.

Although Sarah releases were featured 15 times as Singles of the Week in NME and Melody Maker,[12] 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.[8]

The sexism of the music press was a major issue for the label. As Wadd wrote in a letter to Melody Maker, "your treatment of women reinforces the status quo of a woman’s role being largely decorative – 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. It’s 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 society’s 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 aren’t so confident about their appearance/sexuality? … You end up with half the population having no creative input.

"Yet even that is eerily disguised because it’s always the purely stereotypical (and therefore hardly qualifying as positive discrimination) FEMALE image within a band that the male writer/camera seeks out."[13] The label was always better received outside the UK, with bands playing to big audiences in Europe and Japan,[5] and, after the label had ended, the attitude of the UK press gradually shifted. In March 2015, NME put Sarah at number 2 in its list of greatest indie labels of all time, saying "Sarah’s legacy is in thinking gloriously big, and believing that a label is more than a catalogue of disparate releases."[2]

• Sarah Records discography
• List of record labels
• List of independent UK record labels

• Sarah Records Official Website
• A Day For Destroying Things
• Fan site
• Smoke: a London Peculiar
• Shinkansen Recordings
• Sarah Records on TweeNet
• Indiepop Radio