And here’s the NME reviewing Saint Etienne’s cover of the Field Mice’s Let’s Kiss And Make Up. Some of you might be shocked to see the phrase “Incredibly girlie and irritating” appearing in a supposedly right-on, left-wing, politically correct music paper, but you have to bear in mind that it was absolutely fine to say things like that in 1990. No, really, it was – absolutely fine. That’s why so many people writing for the NME in 1990 still work in the media. Is it just me, by the way, or is the tone of this review vaguely patronising?
Category Archives: Feminism
Sarah Records Investment Portfolio
In 1988, Spiral Scratch – a sort of inept Record Collector (“for those who know the value of nothing but would still quite like to know its price in G/VG condition” – Oscar Wilde) – printed this bit of pro-Tory propaganda suggesting readers invest in Sarah, a label “run by Matt and his girlfriend Clare” (oh dear… not a good start…), because “even if you lose in the collectable stakes, you can console yourself [with] some fine music”… as if listening to Sean Urchins’ dreary Summershine could ever really make up for the loss of 50p and an SAE. Whatever happened to Mr Urchins, I wonder? I hope he’s OK. Shadow Factory was never really going to called Doing It For The Publicity, by the way: that was a dig at Creation’s Doing It For The Kids with its one previously unavailable track…
Heavenly/Bratmobile/Skinned Teen/Linus, Conway Hall, London (Paul Moody, NME)
Heavenly, The Monarch, Camden Town (Ngaire-Ruth, NME)
Five years anniversary advert
Sarah R.I.P. (Dave Simpson, Melody Maker, Sep 1995)
Sarah 70 (inside pages)
Sarah 70 was released in 1993 and was a package containing a 5½” flexidisc (Blueboy performing Cloud Babies live) and three 4-page fanzines (Just As Good As I Should Be, Nice Boys Prefer Vanilla and I Am Telling You Because You Are Far Away). The text in the image below appeared on the inside of the package cover. (A pdf version is on the “Texts/Fanzines” page.)