How Sarah Chen Became the legendary Diva of Divas

A screenshot from Apple iTunes of a few of Sarah Chen's albums from the late 1970s to early 1980s with Haishan Records.

Unlike some singers who achieved popularity shortly after their debut, Sarah Chen underwent a notably lengthy journey before reaching the first peak of her career. Back then, there were scarcely any professional managers. Her mother doubled up as her business partner. She started by singing English songs, releasing an English album in 1978. She then moved to Taiwan MinYao/Ballad. Under the label "Big Ocean Records 大三洋唱片," she released 3-4 albums with notable tracks like "Good-Bye, Love再会吧 ! 心上人", "I Am Quietly Waiting for You我在静静等你", and "Mother, Where Are You母亲你在何方". However, Chen struggled to find quality songs during a time when Taiwan's music production was in a low phase. She performed many jarring songs with grace. At times, her singing resembled Cinderella dressed in rags, not quite suited for the Royal Ball, but you can tell a princess is in there. 

Nevertheless, Sarah Chen's talent garnered recognition, evidenced by her exclusive contribution to theme songs for several popular movies around 1980. Four of her albums with Haishan Records comprised collections of songs related to the movies, such as 1979《Calm Ocean宁静海》,1980《Road Home归程》,1980《Beauty and Sorrow美丽与哀愁》,and 1981《Spring Comes Again又见春天》, blending Mandopop and MinYao. The young Sarah Chen exhibited clean and bright vocals. Despite the rudimentary musical arrangements, the songs were beautiful and the singing exceptional. They did not, however, propel Chen to the top. 

Chen's career trajectory shifted with her 1982 album "Sunset Follows Me Home"《夕阳伴我归》. The title track, enduringly popular, highlighted her ability to convey joy through her music. The song also showcased her appeal in the mezzo range when her voice exudes a soothing quality. Other notable tracks in this album include 《情深依旧》，《烟雨斜阳》，and《Red Chamber Dream红楼梦》. The album became the best-selling album in Taiwan, marking the first peak in Sarah Chen's career. 

By 1982, Sarah Chen had accumulated several years of professional experience and  released over 10 albums, while doubling up as a TV show host. While not yet established, she was recognized as a rising star. She signed with EMI Studios Singapore, providing her the much needed support for professional development. 

3. The Golden Bell rang for the Best Female Singer (1983-1986)

Sarah Chen had big glass slippers to fill when she joined EMI Studios Singapore in 1983, stepping into the role vacated by the popular diva Tracy Huang. EMI likely saw Chen as a potential successor to retain Huang's fanbase, given the similarity in their vocal qualities and Chen's history of singing in English. The composer duo Xiao Xuan and Tan Jian-Chang took over the production of Sarah Chen's Mandarin albums, while Tracy Huang's former producer Reggie Verghese handled Chen's English albums. Tan recounted his collaboration with Sarah Chen, confirming the involvement of her mother as her business partner.

"I remember when I first worked with Sarah, her mom (Mom was Sarah's irreplaceable and strongest mental support, whether it was in daily routines, contract negotiations, or her work) told me that they would like to maintain Sarah's image as an innocent and graceful young woman, while improving her status in the music circle. I told them that, as the producer of an international music label, my focus was not just on selecting and training Sarah, but also developing her potential and unique style. I was confident that in addition to producing beautiful music, Sarah would develop into an internationally recognized singer. " - Tan

A few albums from Sarah Chen's EMI time (1983-1986). From left to right: Harmonica's Story, Song of the Ocean, Wandering the World, and Black Hair Turns White.

Appreciative of her newfound opportunity, our Cinderella dived into the diverse genres of music that had suddenly become available. She wasted no time, releasing three albums in 1983: an English album "The Right to Sing", a Mandarin album "Harmonica's Story" (also known as Starlight), which reached #7 for the year at 综艺100 charts, and a Western-style Mandarin album featuring both original tracks (such as "Song of the Ocean") and Mandarin renditions of popular English hits. These albums were distinguished by their exceptional quality,  with many songs enjoying enduring popularity for decades, such as "Autumn Fills My Heart," which Sarah performed live at the 1983 综艺100 gala. 

Listeners familiar with Sarah Chen's later work would recognize her distinct style in the 1983 albums. That style was particularly noticeable in songs where Chen covered material originally performed by other artists, such as the English song "Diamonds and Rust," the Mandarin rendition of FlashDance, and Sarah Chen's version of "Beautiful Remembrance," originally made famous by Lin Hui Pin (林慧萍). Although these songs didn't make Sarah Chen famous, her unique style was obvious when contrasted with the original renditions. Perhaps mindful of the stiff competition, Chen seemed to have infused these songs with more of her personal touch, producing a compelling sense of a soul slowly entering and lingering with each note. 

The 1983 album "Song of the Ocean" entered the prestigious competition for the Golden Bell Awards, but it failed to advance. Sarah Chen took this setback seriously, acknowledging that the rushed preparation for the competition left her feeling undeserving of victory. Determined to improve, she invested considerable efforts in refining her work, meticulously analyzing her own performance, listening to other singers, and fine-tuning the timing of her articulation. Tan noted that Chen held exceptionally high standards for her work. At times even after receiving approval from Tan, Sarah Chen insisted on redoing her work until she was fully satisfied. 

Sarah Chen at the gathering for the 1985 Golden Bell Awards (left), upon hearing the outcome (middle), and on stage (right).

Sarah Chen's efforts paid off with the release of "Endless Love" in 1984, which reached the final round of the highly coveted Golden Bell "Best Female Singer" Award in 1985. This was followed by her early 1985 release of "Wandering the World," breaking the sales record of EMI Studios. Sarah Chen was nervous at the 1985 Awards ceremony as she faced formidable competition from Julie Sue and Jeanette Wang. The outcome of winning was so shocking that Chen went nearly speechless on stage. So she got a second chance on another day on air, during which she played a few of her favorite songs and shared her thoughts. She thanked the many people who had supported her over the past 2,000 days (that's about 5-7 years). And she thanked her mom, the person who she said, had done the most for her. She went on to say that after she won the Golden Bell, Mom asked if she could now switch her focus and spend time figuring out her personal bell. She ended the broadcast by asking her fans for prayers for this aspect of her life. 

Just as Sarah Chen ascended to diva status, she encountered one of the most serious challenges of her career: the departure of Xuan and Tan from EMI Studios. This was the first major disruption at a time when Chen's fame had peaked and her work had reached its zenith. In 1986, Sarah Chen produced theme songs in the popular Singapore TV series "Samsui Women" in 1986, released her album final album "Black Hair Turns White" with Tan/Xuan, and spent some time traveling the world. By one account, she had considered retiring. After all, nearly a decade had passed since the inception of her career, yielding approximately 20 albums and the lifetime achievement of winning the Golden Bell. At 28 years of age, and in a culture where marriage was the norm for women, Sarah Chen faced a serious decision about when to prioritize her personal life. Instead of retiring, Chen battled on with renewed energy after she joined Rock Records in 1986. She would go on to produce some of the best Mandopop hits in the following decade. 

4. The standard bearer of Rock Records became a diva of divas (1986-1989)

In 1986, structural changes at EMI Studios resulted in the shift of Sarah Chen's music production to Rock Records. Her contract with EMI did not end until after her 1989 album "Talk to You, Listen to You." Rock Records bought the rights for that album, but her earlier work still had the EMI label. The subsequent closure of EMI Studios would limit the access to Sarah Chen's work with them, affecting more than 10 albums, about a third of her work. 

With her diva status firmly established, Sarah Chen remained steadfast in her pursuit of perfection in her work. She became the "First Sister" (一姐) and the standard bearer of Rock Records. Her mere presence in the studio induced a sense of awe. The respect that Sarah Chen commanded was evident in interviews of her colleagues in the 2003 documentary "A Letter to Sarah." Singer Wakin Chau recounted how he sat in awe from a distance during his first encounter with Chen. Jonathan Lee, a few months younger than Sarah and known as "Old Lee," referred to himself as "Little Lee" in Sarah Chen's presence. Bobby Chen said he didn't qualify to sing alongside her and was honored to appear in her music video for a song he had written for Sarah. Video footage of her appearances at Rock Records' New Year concerts in 1986/1987 confirmed her status as a lead singer. 

By then, Rock Records had embraced an Artists and Repertoire (A&R) approach to musical productions. Those close to Sarah Chen recognized that she fit better with the image of an independently minded career woman rather than the traditional, gentle woman image associated with the younger Sarah Chen. Starting from her first album with Rock Records, the 1987 "Waiting for the Storm," Chen's repertoire featured songs portraying women with independent minds.

Sarah Chen's second 1988 album, "Tomorrow, Will You Still Love Me," was a collaboration with Bobby Chen, who instead of crafting songs that fit a virtual image of an urban woman, aimed to create songs that authentically reflected Sarah Chen's emotions and personality. This attempt was only partially successful, as Sarah Chen was reluctant to divulge her personal life. While she did not receive credit for songwriting, she gave her all in interpreting the lyrically complex songs.  Assisted by the young Kay Huang with musical arrangements, this album contained a diverse range of songs spanning various emotions, genres, and tempos. The album succeeded in demonstrating the multifaceted nature of Sarah Chen's powerful vocals, producing some of the most beautiful songs in Sarah Chen's repertoire and was one of her own favorite albums, with Sarah Chen recording at least three versions of the title track. However, the marketing of this album clashed with her English album "Hold Me Now," released just two months later. Not long after, the 1989 album came out, overshadowing Chen's previous work. 

The 1989 album, "Talk to You, Listen to You," was a historical success for Rock Records and a defining moment in Sarah Chen's career. Within just one month of its release, the album had sold 400,000 copies, a milestone coveted by even the most successful albums. Shortly after, it became the first album in Taiwan to surpass the 1-million-sales mark. While all 9 songs were well-received, the opening tract, "Dream to Awakening梦醒时分," played a pivotal role in its success. In this song, Sarah Chen assumed the role of a counselor, empathizing with the listener's heartbreaks and offering a message of letting go. The song's most memorable lines "You should have known that heartbreaks are inevitable, so why bother being so deeply in love? Because love is always hard to part from, why care about that little bit of tenderness?" resonated deeply with audiences then and continue to do so more than 30 years later, as analyzed in the article "Sarah The Therapist."The album earned Sarah Chen the title of "voice of the urban woman" and elevated her to the status of the "diva of divas." Whether she liked it or not, Sarah Chen became forever associated with "Dream to Awakening."

5. A delicate balance between life and career (1990-1992)

The pressure generated by the success of the 1989 album was crushing. Although accustomed to handling setbacks, Sarah Chen "could not breath" in the mounting pressure for continued success. Additionally, societal expectations regarding marriage became evident through the questions posed by hosts during Sarah's TV appearances.  To compound matters,  Chen faced a blow - a serious health scare from a weight-loss episode. With major career and personal challenges, Sarah Chen trotted on with a new perspective on life.

In the second half of her career, Sarah Chen increasingly found herself ensnared by Taiwan's societal expectations surrounding marriage. Pressure mounted from various quarters, often overtly, probing into Chen's private life. An advocate for gender equality in personal relationships, Chen remained single. She maintained strictly professional relationships with men in her workplace, sometimes seeking her mother's help to deflect unwanted male attention. Her mother, who had previously urged Chen to marry, was a reluctant helper. Mom's involvement with Sarah Chen's personal life was well-known, but Chen had a trusting relationship with her mom and did not object to portrayals of her mother as involved. It was her own choice, she told the host in her 1992 interview with the New York Chinese American Voice, and she was fully aware of both the advantages and disadvantages. Nevertheless, Sarah Chen was unable to dispel the backlash against herself and her mom for her nonconformity with societal norms regarding marriage.

Three interviews of Sarah Chen in the early 1990s, by Lie Jie (1990), 歸亞蕾 (1992), and New York Chinese American Voice (1992).

The precise timing of Sarah's health crisis was unclear, as she was initially reluctant to discuss it. She opened up in interviews in 1992, revealing that she had suffered from an episode of rapid weight loss, resulting in severe illnesses lasting about 10 months around 1991. Consequently, she stopped live performances during this period.  Sarah Chen told 歸亞蕾 that the title track of the 1991 album was her friend's gentle reminder to prioritize self-care. Remarkably, despite her illness, Sarah Chen managed to produce two popular albums, along with major hits in theme songs and classical duets. Her album "A Lifetime of Waiting," which featured the major hit song "Red Dust," earned Chen her first Golden Melody Awards for Best Female Singer in 1992. Her duet with Jackie Chan, "So Transparent is My Heart," earned the duo the Best Mandarin Song Award at the 1992 RTHK Top 10 Gold Songs Awards. 

Sarah Chen spent much of her time from 1990-1992 in the US, Japan, and elsewhere, dealing with her personal health crisis. This ordeal profoundly influenced her views about her career and life, changing her priorities, attitudes, and approach toward music. It likely also shaped her phased retirement plan and post-retirement life.

 Some fans speculate that Sarah Chen's illness not only gave her new insights into life but also infused her songs with new feelings, reflecting both an appreciation for life and a sense of liberation from mundane burdens, illustrated by her captivating rendition of the song "The Mundane World". 

6. The legend bowed out after ticking off her music bucket list (1992-1998)

The last five albums of Sarah Chen were arguably her effort to tick off her music bucket list. Screenshot from Apple iTunes.