The Sarah Records thread

popbands, poplabels, poprecords

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Jangloid Mark
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Post by Jangloid Mark » Sun Oct 07, 2007 17:42

cath wrote:
Jangly Mark wrote:WOW!!!! I didn't know about that!!! What is it on, Cath?
The Boy Has Gone Away EP: http://www.juno.co.uk/products/239689-01.htm

Incidentally, Aberdeen features Beth Arzy (who doesn't sing on Emma's House), who is also in Trembling Blue Stars with Mr Yoda Wratten :wink:
Thanks for that, Cath :)

I like it, but, prefer the original. THat may have been coloured by the fact that I expected something a bit more acoustic...
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Post by gofelt » Mon Oct 08, 2007 20:13

Ach Sarad Records!!

For me, Sarah Records was the best indiepop label. The bands of Sarah along with the Go-betweens changed my life when I was 20. They showed me how to love, cry, and dream. I suppose I will never grow out of Sarah and indiepop music...

As for the Field Mice, Bobby is one of the best songwriters of his era. He's got an amazing knack for writing the most undelievably beautiful and romantic lyrics I've ever heard. Me and crystalball spent three years of our lives maintaining the Trembling Blue Stars website, writing countless letters to Bobby and going to all the gigs they've played in England.
And it was well worth it...Ach, those were the days :)

I still remember the last time i was in Glasgow for the NPL: at the beginning of his set John played Emma's House and there was a guy dancing on his own on the empty dancefloor. I looked at him, as he was singing along, he had a sparkle in his eyes and a smile that warms the heart. That moment meant the "world to me"...

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Post by aorta » Mon Oct 08, 2007 21:52

I bought Where'd You Learn To Kiss That Way? in 2000 knowing nothing about indiepop, but focusing more on the shoegazer tag that was in the product description. After that I got into all those old bands in a major way with finding twee.net and the indiepop-list. As a person who rarely goes to shows, it doesn't really matter about the old/new divide. I think new bands are more important if you wat to see gigs; there is plenty of old records to listen to.

Sarah stuff I own:

Sweetest Ache - Jaguar cassette
Orchids - Thaumaturgy cd
Even As We Speak - Feral Pop Frenzy cd
Even As We Speak - Blue Eyes Deceiving Me cd
Tramway - both singles
Field Mice - Sensitive

Field Mice comp
Secret Shine comp
IT狂人
if i could change your mind, i'd really love to break your heart

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Post by Jangloid Mark » Mon Oct 08, 2007 23:04

aorta wrote:Sweetest Ache - Jaguar cassette
That takes me back!!! A great album!!! Particularly 'Briaris', named after guitarist, Stuart's then flatmate, sadly, Louise, the female singer left Swansea to go to uni, and hence, left the band, but, she just so right singing it. Someone (I forget who, and am feeling too lazy to go dig out the record) covered it years later, and, while it wasn't a bad version, it just didn't sound right with male vocals.

The day it was finished, a bunch of us went down Stuart's flat for some wine, mellowness, and the first airing of the album...the singles had already come out, so, we all had an idea what to expect, but even so...a great album!!!

For those that are interested, Stuart & Simon still record on and off under the name "Mumbles', which is quite acoustic/singer-sonwriter type fare - although in a similar style to 'Jaguar' era Sweetest Ache, and various Sweetest Ache types are now known as Shooter, more indie rock than the Sweetest ache fare...both are well worth a listen...

Ahhhh...memories...

Mumbles : http://profile.myspace.com/index.cfm?fu ... d=69616150

Shooter : http://profile.myspace.com/index.cfm?fu ... d=48346719
Love is a weakness in the knees...it's dangerous on the stairs...

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soft revolution
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Post by soft revolution » Tue Oct 09, 2007 11:56

aorta wrote:I bought Where'd You Learn To Kiss That Way? in 2000 knowing nothing about indiepop, but focusing more on the shoegazer tag that was in the product description. After that I got into all those old bands in a major way with finding twee.net and the indiepop-list.
Are you me?

(that's exactly how I ended up in the world of indiepop)
And by me, I mean, Flexo.

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Post by crystalball » Thu Oct 11, 2007 11:28

Last night I dreamt that I finally found a copy of the seven-inch The Orchids released on CAFF. Bloody CAFF though, eh? Cheekily nicking Sarah's most successful bands for limited edition records that sold out in days. Pfft.

Anonymous

Post by Anonymous » Thu Oct 11, 2007 11:33

and Bitch Magnet

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JohnDTraynor
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Post by JohnDTraynor » Tue Oct 16, 2007 12:28

There are some comments above decrying Sarah's worth in the history of music. I'm not sure what such comments are a response to. Praise of Sarah Records isn't a comparison with other things, it is merely joyful praise.

Sarah was a continuation of what had happened immediately previously: Matt and Clare's fanzines, Everett True's fanzine 'The Legend!' and many other fanzines. These fanzines were a true alternative to the music press and talked about music that, otherwise, was not known. The music itself was influenced by Marine Girls, Young Marble Giants, Postcard, Pale Fountains and punk. The Subway Organisation already existed, (Shop Assistants, Razorcuts, etc.), coincidently also in Bristol.

What Sarah did, and why it was able to last ten years, was to have a strong quality control while, at the same time, not being the least bit concerned whether a band fitted any current trend in music. That didn't mean they didn't want the music to be popular; Clare and Matt relied on their own judgment of what was a good song.

Sarah stands out due to its longetivity coupled with a very high average quality.

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Post by soft revolution » Tue Oct 16, 2007 12:43

Also, the new Los Campesinos! single has a cover of "C Is The Heavenly Option" on the B side.

Going back to comment about indiepop being very backward looking and maybe we should have a name change. If following the LC! single we all changed our club/band/website descriptions to say that we're the Tweexcore Underground, someone at NME will "break" the scene and we'll all become very popular indeed. It literally is as easy as that.

That's half tongue in cheek, but half genuine because I want to see what would happen and I want to play Glastonbury.

Then again "breaking a scene" is never good for the style. Look at what happened to emo! From Cap'n Jazz to Funeral for a Friend in one step. The horror.
And by me, I mean, Flexo.

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Post by crystalball » Tue Oct 16, 2007 12:48

That's very nicely put, John. I too think that comparisons are pointless at that level because everyone was in it for the same reasons and I for one wouldn't think of trying to choose between The Sea Urchins and The Flatmates because, well, there's no reason to do it. :)

I was listening to The Springfields the other day. How ace were they?

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Post by crystalball » Tue Oct 16, 2007 12:51

soft revolution wrote: Going back to comment about indiepop being very backward looking and maybe we should have a name change. If following the LC! single we all changed our club/band/website descriptions to say that we're the Tweexcore Underground, someone at NME will "break" the scene and we'll all become very popular indeed. It literally is as easy as that.

That's half tongue in cheek, but half genuine because I want to see what would happen and I want to play Glastonbury.
Am I the only one who finds that Los Campesinos! single annoying then?

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Post by gloom button » Tue Oct 16, 2007 12:55

crystalball wrote:
soft revolution wrote: Going back to comment about indiepop being very backward looking and maybe we should have a name change. If following the LC! single we all changed our club/band/website descriptions to say that we're the Tweexcore Underground, someone at NME will "break" the scene and we'll all become very popular indeed. It literally is as easy as that.

That's half tongue in cheek, but half genuine because I want to see what would happen and I want to play Glastonbury.
Am I the only one who finds that Los Campesinos! single annoying then?
The international tweecore underground one? I hate it with the fiery passion of a thousand suns. I hate just looking at those three words together. I put it on last night just because I hate it so much. The bits where the girl sings 'blahblah never meant anything to me' are so horribly, awfully, painfully clunky.

I quite like some of their songs.
the trouble with personalities, they're too wrapped up in style
it's too personal; they're in love with their own guile

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soft revolution
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Post by soft revolution » Tue Oct 16, 2007 13:51

Um, I've not actually heard it - I just assumed it would be the same quality as their earlier stuff.

I'm going to stop assuming that from now on as its an assumption that seems to keep dropping me in it.
And by me, I mean, Flexo.

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Post by jamie » Wed Oct 17, 2007 13:39

I'm hoping they're being sarcastic - "Amelia Fletcher / Sarah Records never meant anything to me". But i can't tell.

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Post by darvé » Wed Oct 17, 2007 13:53

I thought it was supposed to be a 2 way conversation - Twee Vs hardcore, i presume the Sarah records never meant anything to me (and the Calvin Johnson never meant anything to me - which is when my ears pricked up) is supposed to be the hardcore/rollins fan with the reply coming from the Sarah fan, admittedly i havent really paid that much attention to it. They reminded me of more polished Bearsuit, i wasn't inspired to pay any more attention than that.

I wander if they wrote it on the back of the Rollins/Cathy Roger's 'Scrapheap challenge' show?
and that snare drum, that drum roll
means we've got a winner

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Post by jamie » Wed Oct 17, 2007 16:40

That's what I was hoping. Just seen the video and i think you're right.

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Post by gofelt » Thu Oct 18, 2007 20:08

crystalball wrote:
soft revolution wrote: Going back to comment about indiepop being very backward looking and maybe we should have a name change. If following the LC! single we all changed our club/band/website descriptions to say that we're the Tweexcore Underground, someone at NME will "break" the scene and we'll all become very popular indeed. It literally is as easy as that.

That's half tongue in cheek, but half genuine because I want to see what would happen and I want to play Glastonbury.
Am I the only one who finds that Los Campesinos! single annoying then?
I don't think LC are any special at all. When I went to see them a couple of months ago I left the venue after 15 min. I would say they are quite boring, nothing original there... As for the single itself, I believe, is overrated - too much fuss over nothing.

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Post by darvé » Fri Oct 19, 2007 00:35

gofelt wrote: I don't think LC are any special at all. When I went to see them a couple of months ago I left the venue after 15 min. I would say they are quite boring, nothing original there... As for the single itself, I believe, is overrated - too much fuss over nothing.
It's trying too hard, it wants to be something that it's not, it wants to fit in with the current indiepop gang, but it's just shite.

(It's = They're)

and the worst thing is, they'll probably be quite big and people will think thats an accurate indication of the current twee/indiepop scene.

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Post by soft revolution » Fri Oct 19, 2007 15:14

davo wrote:It's trying too hard, it wants to be something that it's not, it wants to fit in with the current indiepop gang, but it's just shite.

(It's = They're)
I think this is a bit harsh? I've not picked up that it's (they're) trying to be something that it's (they're) not? All I've seen is a band who are just doing their own thing and trying to enjoy themselves - which is how it should be. The record label and gig in Japan etc is just a bonus on top of that.
davo wrote:and the worst thing is, they'll probably be quite big and people will think thats an accurate indication of the current twee/indiepop scene.
As opposed to now where readers of The Fly/NME/etc aren't aware of a twee/indiepop 'scene' (I really dont like that word because it reminds me of the word 'scenesters').

If it gets people asking "so who was Amelia Fletcher and where can I hear her records" and coming to indiepop clubnights, enjoying themselves because of lovely music, getting into more bands, buying stuff from indie record labels, then I don't think I'm that worried about it.
And by me, I mean, Flexo.

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Post by darvé » Fri Oct 19, 2007 15:25

soft revolution wrote:
davo wrote:It's trying too hard, it wants to be something that it's not, it wants to fit in with the current indiepop gang, but it's just shite.

(It's = They're)
I think you're being a bit harsh here? I've not picked up that it's (they're) trying to be something that it's (they're) not? All I've seen is a band who are just doing their own thing and trying to enjoy themselves - which is how it should be. The record label and gig in Japan etc is just a bonus on top of that.
davo wrote:and the worst thing is, they'll probably be quite big and people will think thats an accurate indication of the current twee/indiepop scene.
As opposed to now where readers of The Fly/NME/etc aren't aware of a twee/indiepop 'scene' (I really dont like that word because it reminds me of the word 'scenesters').

If it gets people asking "so who was Amelia Fletcher and where can I hear her records" and coming to indiepop clubnights, enjoying themselves because of lovely music, getting into more bands, buying stuff from indie record labels, then I don't think I'm that worried about it.
Bloody hell, did i write that !?! That doesn't make any sense really does it, i had a work do last night and quite probably had too much free booze.

erm, i don't care much for LC myself, but i don't get where i was going with much of that, it was just drunken rambling.

If i was new to the scene (sorry, but it's the easiest term) then yeah, it would make me sit up, i still don't see the NME devoting a page to Amelia or Calvin or Sarah records but i'm willing to be proved wrong.

I used the term gang too, shocking

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