陈淑桦作品介绍

Introduction to Sarah Chen Discography

426 songs, 100,000 words, boundless wisdom

四百二十首歌,十万歌词,会不尽的人生哲理

0. Sarah Chen's English Songs 英文歌 (1978-1995; N=52)

Although the vast majority of Sarah Chen's English songs are covers, the three EMI albums are of high quality. In our research on a subset of the songs, comparing the originals (often performed by Western singers) with Chen's versions showed that her covers were highly successful. She was slightly hampered by softer consonants, partly due to the poor sound quality from cassettes, but overall, her articulation did not detract from appreciating her beautiful singing. In most cases, we prefer listening to Chen's covers over the originals because we recognize her soul in these songs and understand her emotions better. Chen steered away from English songs after 1988 for good reasons, but the quality work she put into these English albums was not futile.

Sarah Chen's English songs are significant for several reasons. First, they have historical and cultural importance in music. Sarah Chen presents distinctly different musical personas in her English and Mandarin songs. In her English songs, Sarah is passionate, colorful, open, and at times, even jealous or angry. In contrast, Chen Shuhua, in her Mandarin songs, is traditional, gentle, graceful, and poetic. These differences are partly due to the lyrics, but a large part is also Sarah herself. What makes Sarah Chen's music captivating is her unique interpretation of the songs. Every song, whether English or Mandarin, carries Chen's soul with it. Her willingness to perform English songs that challenge cultural norms, and her success in doing so, is extraordinary. Second, for listeners in English-speaking environments, Chen's English songs broaden her appeal and extend her reach. This, in turn, introduces new audience to her Mandarin work. Sarah Chen's English songs were an important reason for launching the "Sarah Chen Memory Gate." Its long-term maintenance will depend on next generations who may only understand Sarah Chen's English songs. 

陈淑桦在职业生涯中发行了四张英文专辑,但没有官方支持,全散落在民间。她1978年的英文专辑最近被发现。其余三张专辑(1983、1987和1988年)由EMI制作,品质优秀。遗憾的是,随着EMI的解散,陈淑桦的英文歌曲缺少官方支持,带来遗失的可能。

尽管大多数英文歌曲都是翻唱,但三张EMI专辑的质量非常高。在我们对部分歌曲的研究中,比较了原版(通常由西方歌手演唱)和陈淑桦的版本,表明她的翻唱非常成功。她的辅音发音有点轻,部分是由于录音带的音质差而辅音损失了,但总体来说,她的发音非常精确,不影响欣赏她美妙的歌声。在大多数情况下,我们更喜欢听陈淑桦的翻唱,而不是原版,因为我们能在这些歌曲中认出她的灵魂;她的情感更容易理解。陈淑桦在1988年后避开了英文歌曲,但她之前这些英文专辑中投入的高质量工作并非徒劳。

陈淑桦的英文歌曲具有多重意义。首先,这些歌有音乐历史和文化意义。陈淑桦在她的英文和中文歌曲中有截然不同的音乐形象。在英文歌曲中,Sarah热情、充满活力、开放,有时嫉妒,甚至愤怒。相比之下,陈淑桦在中文歌曲中则传统、温柔、优雅和有诗意。这些差异部分归因于歌词,但很大一部分也源于陈淑桦本人。陈淑桦的音乐之所以令人着迷在于她对歌曲的独特诠释。每一首歌,无论是英文还是中文,都承载着她的心灵。她愿意演唱一些挑战台湾文化规范的英文歌曲,并且成功地做到这一点,这非常了不起。其次,对于生活在英语环境中的听众来说,陈淑桦的英文歌扩大了她的影响力。这反过来又把新的听众引向她的中文作品。若不是的英文演唱,我们不太可能建立“陈淑桦记忆的门”。网站将来的维护还得靠只懂陈淑桦英文歌的后人。

Our favorite English song by Sarah Chen is "Diamonds and Rust" (1983), from her first serious English album "The Right to Sing." None of Chen's English albums were digitized or officially maintained. 我们最欣赏的陈淑桦英文歌《砖石和锈》,来自她1983专辑。陈淑桦的英文歌没被数字化,没有重新发行,也没有官方保留,濒临流失。

Sarah Chen released four English albums during her career, but they lack official support as her record labels fell into disarray. Her 1978 English album was recently recovered by a YouTube channel. The other three albums (1983, 1987, and 1988), produced by EMI Studios, were excellent. Unfortunately, the dissolution of EMI led to the near-complete loss of Chen’s English-language music.

Although mostly covers, Chen's English songs held cultural significance. The gentle, poetic singer in her Mandarin work adopted a much bolder persona in her English songs. Chen defied cultural norms and threw away personal restraint in her open declarations of love, shielded only by the language barrier. 

Famed for her dictionary-standard Mandarin singing, Chen also deserves credit for perfecting her English articulation, no doubt a testament to her immense talent and hard work.

Sarah Chen "Cello" (1988) was from her final English album "Hold Me Now," when Chen was 30. After her extraordinary success with "Dream to Awakening," Chen stopped performing English songs. 陈淑桦的《大提琴》来自她1988专辑,她当时30岁。《梦醒时分》后她没再录制英文专辑。

陈淑桦在职业生涯中发行了四张英文专辑,但没有官方支持,全散落在民间。她1978年的英文专辑最近被发现。其余三张专辑(1983、1987和1988年)由EMI制作,品质优秀。遗憾的是,随着EMI的解散,陈淑桦的英文歌曲缺少官方支持,带来遗失的可能。

尽管几乎全是翻唱,陈淑桦的英文歌曲具有文化和音乐历史意义。她在国语作品中温柔诗意的形象,在英文歌曲中却展现出大胆的个性。陈淑桦抛开台湾文化规范和她自己的保守,毫无保留地在英文歌中公开表达爱意,仅受语言差异的掩护。

淑桦因字典般的标准普通话演唱闻名,她对英文发音的完美也同样值得称赞,这无疑体现了她的语言天赋和后天努力。

Notable songs include: Diamonds & Rust; Cello; Little Girl; Love's Got a Line on You; Jealous Lover; and Wings of Love.

1。儿时至少女早期作品 Childhood Work (1967-1978; N=86)

陈淑桦八岁赢得台湾歌唱比赛冠军,进入歌坛。九岁发了三张闽南语单曲,12岁开始发国语曲目,15岁由海山唱片发第一张完整的个人专辑,《爱的太阳》。她小时候的歌曲主题过于成熟,不适合年幼的她;歌声没有成年后动听。但如果你仔细聆听,会发现她在很小时就对歌有深刻的诠译,比如12岁时演唱的《珊瑚恋》。陈淑桦小时候的天赋不在音质上,但在她对曲调的敏感和歌情感的解释。

在《爱的太阳》之后三年,陈淑桦没有再出唱片;相反,邓丽君15-18岁之间录制了200多首歌。从某种意义上说,陈淑桦错过了少女期的发展。一方面是她选择了学业,另一方面,在七十年代初,台湾乐坛创作赶不上;那段时间邓丽君的主要发展是在日本。陈淑桦做了些电视广播和英文演唱。

1976年陈淑桦18岁后,转为专业歌手。最早的演唱有不少翻唱。 她的嗓音在18岁成熟后变得无比的美,和她小时候似乎有质的变化。那年(1976)陈淑桦录制了几首动人的歌曲,包括《再會吧! 心上人》、《夜來香》、《相思河畔》、《我在靜靜等你》和《母親你在何方》。但这些大都是翻唱,没有获得认可,往往被其他歌手后来的版本掩盖,比如邓丽君的《夜來香》和蔡琴的《相思河畔》。这段时间陈淑桦原创作品不仅少,而且歌很次,到1978年这个职业阶段结束时,陈淑桦已经唱了近百首歌,但就找不出代表作。而且大概三分之一的歌已流失。这些情况显示,陈淑桦的早期事业不成功。

出了什么问题?有三点:(1)陈淑桦缺乏好的原创歌曲来建立自己的名声。(2)她面临激烈的竞争:《夜來香》,《永遠愛我》等都是邓丽君也演唱过的歌曲,突显了她们的声音适合类似的歌曲。要从邓丽君的影子里走出来没那么容易。(3)童年的陈淑桦演唱的歌曲不适合她的年龄。童星的经历虽然给陈淑桦打了极深的功底,但也阻碍了她成年后的早期职业发展。

陈淑桦面临着几乎不可战胜的职业障碍。她随后的突破是奇迹,是她坚韧,敬业,和优秀的见证。

Sarah Chen stepped into the music scene after winning a Taiwan national singing competition at age 8. By age 15, she had recorded about 30 songs, including an entire album "Love's Sun" in 1973. Unfortunately, songs she performed during this period were inappropriate for her young age. Her developing voice did not impress. However, even at the young age of 12, Sarah Chen had shown an unmatched talent in grasping the deep emotions of her songs (see her 1970 "Coral Love"). 

Sarah Chen did not release any more songs for three years after her 1973 album. In contrast, Teresa Teng recorded over 200 songs between the ages of 15 and 18. Sarah Chen missed that period of development, in part because she chose to complete her education, and in part because Taiwan's music industry was under-developed in the early 1970s. Even Teresa Teng, a veteran by then, shifted to Japanese songs. 

By 1976, when Sarah Chen turned pro at age 18, her vocals had matured, showing dramatic improvements. She recorded several lovely songs, including "Good-Bye! My Love", "Night Jasemine", "Lovers' Riverside", "I Am Quietly Waiting for You", and "Mother, Where Are You". But these were mainly cover songs that didn't gain much popularity, often overshadowed by other singers' versions, like Teresa Teng's "Night Jasmine" and Tsai Chin's "Lovers' Riverside". The original songs she performed were poorly composed. Despite recording nearly 100 songs by the end of this phase, Sarah Chen had not a single hit. In fact, nearly 1/3 of her work from Phase 1 was lost. The data show that Sarah Chen's early career was a flop.

What went wrong? Three problems. 1. Sarah Chen lacked good original songs to establish her name; 2. She faced stiff competitions: "Night Jasmine" and "Love Me Forever" were songs that Teresa Teng also sang, highlighting their similar vocal suitability. Getting out of Teng's shadow was easier said than done. 3. Songs performed by the young Sarah Chen were inappropriate for her age. Although Sarah Chen's experience as a child singer built a strong singing foundation for the long-run, it also impeded her career development during the early-adult years.

Sarah Chen faced "mission impossible." It was a miracle, a testament to her dedication, resilience, and excellence that she later achieved breakthrough. 

Sarah Chen "I am quietly waiting for you" (1976; age 18), one of her several unknown but beautifully rendered covers. 陈淑桦18岁时演唱的《我在静静等你》是她录制的好几首优美但默默无名的翻唱之一。

Sarah Chen began her music career at age 8 after winning a national singing competition in Taiwan. Her first single was released at age 9, and by 15, she had recorded about 30 songs, including a full album with Haishan Records. Despite this early start, Chen faced enormous career challenges, including a shortage of quality songs, career overlap with Teresa Teng, and the negative effects of performing adult songs as a child singer. Through these hardships, she developed a resilient character, transforming her difficult early experiences into greater depth in her music.

In 1976, Sarah Chen recorded a tender and sweet version of "Lover's Riverside," a popular cover song with heavier interpretations by numerous famous singers. 陈淑桦18岁时录制了一个温柔甜美的《相思河畔》,与后来更有名的歌星的沉重版成为对比。

陈淑桦8岁时赢得了台湾全国歌唱比赛开启了她的音乐生涯9岁时发行了第一张单曲,到15岁时,她已录制了大约30首歌,包括与海山唱片合作的整张专辑。尽管起步很早,陈淑桦的职业生涯充满挑战,包括缺乏好歌、与邓丽君的职业重叠,以及作为童星演唱成人歌带来的负面影响。通过这些磨难,她养成了坚韧的性格,将早期的痛苦转化为她音乐中的情感和哲理深度。

这段时间很难找出代表作。成年初期的好歌似乎全是翻唱: 我在静静等你,母亲你在何方,  夜来香,相思河畔, 再會吧! 心上人

2。成年后海山作品 Young Adulthood With Haishan (1979-1982; N=90)

1979年,21岁的陈淑桦签约海山唱片后不再翻唱。然而,庸俗的歌曲缠上了她;海山期前两张专辑像灰姑娘穿着破衣服,她优雅而欢快地唱了些难听的歌,让人不知道该替她鼓掌还是赶她下场。

就在这破衣烂衫快把灰姑娘窒息之际,新年钟声敲响——1980年到了。陈淑桦的首批旋律优美的专辑《归程》和《美丽与哀愁》随之而来。这些专辑是她歌唱生涯的真正开端;上天朝她一笑,暂时中断十多年来对她的考验。

她的演唱多么动人!1980至1982年间发的五张专辑中藏满了宝。陈淑桦的职业以1982年的《夕阳伴我归》突破,这首简单而轻快的歌展现了她声音之美。她自己最钟爱的作品是《红楼梦》,是她唯一后来重录过两次的歌。而我们最喜欢的则是《夜语》,陈淑桦唱得无比优美和浪漫,是值得献给爱人的礼物。

如果说邓丽君的演唱是金子,那么陈淑桦的演唱是块玉:无色、无形、无味,却如此平顺、安慰人心,充满情感。她1982年专辑的平淡旋律反而让陈淑桦发挥得淋漓尽致。虽然陈淑桦能轻易唱高音,但在稍微降低音调时,她的歌声有奇特的疗愈力,在1982年的好几首歌里可以听出来。你若是感情受了挫折,对生命产生怀疑,心酸心痛,只需听一首淑桦歌,便会茅塞顿开。后来随着年龄增长,陈淑桦的嗓音自然变深沉了一些,成了她的优势,在90年代唱了多首经典国语流行金曲。但她抚慰人心的演唱早在十年前就已经藏不住。

关于这一时期的最佳歌曲,大家可能有不同的意见,但毫无疑问,其中有许多宝石等待被发掘。

Sarah Chen stopped doing covers after signing with Haishan Records in 1979 at age 21. Yet the lackluster followed her. Her first batch of songs were jarring, but Chen bored them with a godly amount of grace and cheerfulness, leaving listeners torn between cheering for the lovely singer and cringing at the awkward tunes.

Just as our Cinderella seemed doomed to suffocate in her rags, the bell tolled for a new decade—1980. Along came Sarah Chen's first melodic albums, Road Home and Beauty and Sorrow. These albums felt like the true start of her career. Heaven smiled at her, temporarily stopping the harsh trial of the previous decade.

What beautiful singing she delivered! The five albums released between 1980 and 1982 contained numerous hidden gems. Chen achieved her breakthrough with the 1982 Sunset Follows Me Home, a simple yet melodic song that shows the natural beauty of her voice. Her personal favorite was Red Chamber Dream, the only song she would re-record twice in later years. Our favorite was Night Whisper—a song so beautiful and romantic it seemed meant only for one's true love.

If Teresa Teng sings gold, Sarah Chen sings jade: colorless, shapeless, tasteless, yet smooth, comforting, and deeply expressive. The melodically flat songs on her 1982 albums ironically brought out the best in Chen. Though she could easily hit high notes, Chen's voice was almost therapeutic when she lowered it slightly. This was evident in her 1982 albums. If you have had a bad breakup, tough day, doubted life, and felt miserable, go play a Sarah Chen song and you’ll find solace in her comforting voice. That magically soothing voice would later produce multiple classic Mandopop hits in the 1990s as Chen's voice naturally deepened with age. But the signs were already there a decade earlier.

We may debate which songs from this period are the best, but there are certainly many gems to be discovered.

Our favorite early Sarah Chen song is Night Whisper (1980). Only one's true love deserves this touching and romantic song. 《夜语》是我们最喜欢的陈淑桦早期歌,献给最爱。

The four years Sarah Chen spent with Haishan Records (1979-1982, ages 21-24) were critical for her career. She released 7 albums and a few singles, totaling around 90 songs. Not only were the songs original, but some were melodically beautiful, nearly matching Chen’s jade-like voice. The 1980 album Road Home was her first serious work, marking the true beginning of her career. She achieved her first career breakthrough with the 1982 "Sunset Follows Me Home," a simple but melodic song that highlighted Chen's appeal in the mezzo range. 

By the end of this period, Chen had not only silenced doubts about her continued success but was also on the verge of becoming Taiwan's best singer.

Sarah Chen achieved her first career breakthrough with the 1982 "Sunset Follows Me Home." Chen has a jade-like soothing voice that draws the best out of a song. 陈淑桦以《夕阳伴我归》突破。她像碧玉版的嗓音突显歌的优美。

陈淑桦在海山唱片的四年(1979-1982,21至24岁)对她的职业发展至关重要。她发行了7张专辑和几张单曲,总共约90首歌。这些歌曲不仅是原创音乐,其中有些旋律优美,几乎如同她玉般的歌声一样动人。1980年的专辑《归程》算是她的第一部严肃作品,陈淑桦事业的真正开始。她的职业突破来自1982年的《夕阳伴我归》,其简单的旋律反而衬托陈淑桦在中音段的魅力。

在这一阶段结束时,陈淑桦不仅平息别人对她前途的疑问,还很快将成为台湾最佳女歌手。

这段时间好歌包括: 微微的一笑,娃娃的故事,母亲的笑颜,思念总在分手后,那个人,秋别,《美丽与哀愁》全集(包括《夜语》),小风小雨,烟雨斜阳,夕阳伴我归,红楼梦,明月寄情,最后一次携手,七里香,秋夜的低语,雾,红砖路。

3。中期百代国语作品 Mid-career with EMI (1983-1986; N=73)

Sarah Chen's EMI classic " Autumn Fills My Heart" (1983) was one of few songs she re-recorded in her career.  "秋意上心头"是陈淑桦EMI的经典,是她极少的重新录制歌之一。

Sarah Chen's time with EMI (1983-1986/1988) was her most productive, daring, diverse, and successful phase. In just four years, she produced six poetic Mandarin albums with Tan Jian-Chang, alongside three English albums, totaling over 100 songs. The shapeless, colorless, and tasteless jade-like voice took on many shapes, colors, and flavors, earning Chen the acclaimed Golden Bell 'Best Female Singer' award in 1985. Tan and other collaborators wisely took a backseat, giving Sarah Chen the recognition and credit she deserved. The only regret—and a significant one—was the dissolution of EMI Studios. It not only disrupted Chen’s successful career but also resulted in the near-total loss of her EMI work, with only a small portion re-released in later years.

Sarah Chen's mid-career work "Wandering the World" (1984/1985).  Every song from this phase was beautiful. But the dissolution of the label led to the near-total loss of her EMI work, now supported only by YouTube fans. "浪迹天涯"是陈淑桦职业中期杰作。这段时间她每一首歌都很美。但EMI的解散导致她大量作品无家可归,只靠歌迷网上上传。

陈淑桦在EMI的时期(1983-1986/1988)是她最有成效、大胆、多样性和成功的阶段。短短四年里,她与谭健常合作制作了六张国语专辑。加上三张英文专辑,总共超过100首歌。无形无色无味的玉唱了有形有色有味的歌,让陈淑桦在1985年获得金钟奖‘最佳女歌手’奖。谭健常和其他合作伙伴明智地退居幕后,陈淑桦得到应得的认可和荣誉。唯一的遗憾——而且是一个重大遗憾——是EMI唱片的解散。不仅打断了陈淑桦的成功事业,还导致她的作品遗失,只有少部分在后来得以重新发行。

这段时间所有的歌曲都很美比如 秋意上心头,如梦令,想不尽是前尘,星光满天,海洋之歌,梦里的呼唤,相见在梦中,云的故乡,就让它吧,拥抱我,梦里年华,《浪迹天涯》全集 (风中哭泣的女孩,散落的诗篇,梦痕,泛黄的书签,来到我身旁),四季花开,黑发变白发,窗前雨,请问芳名,红头巾,艳阳下的日子。

4。滚石早期 Early years with Rock Records/EMI (1987-1991; N=70)

陈淑桦的歌声随年龄增长而越有治愈力和安慰感。加入滚石是陈淑桦做的最好和最坏的决定。一方面,陈淑桦在滚石期间唱的华语顶尖热门歌使她成为永恒的不朽。但另一方面,滚石对她宣传失误,她的职业独立性丢失,三十年后也没有去掉“被转型和捧红”的无理论调。

陈淑桦在1986年作为金钟奖最佳女歌手加入滚石时,是唱片公司的大拿,身边的人可以从她的成功中获益。滚石唱片的宣传捧着重制作人而不是歌手。早期的专辑强调制作人对陈淑桦的转型,而后期的专辑则对歌曲做抽象空洞的描述。那么有活力和情感的歌手,除了优美的歌喉和几张美照,从自己的专辑里消失了。

职场复杂的人际关系局部渗透到陈淑桦的音乐中。1988年的《明天还爱我吗》试图将陈淑桦的情感生活融入歌中,但并未成功。陈淑桦不透露个人感情,让词曲作者靠想象来填补空白。陈淑桦几乎出淤泥而不染;只有心存疑心的人才能觉察到歌中的反击。而反击则在《给淑桦的一封信》中一目了然。

但我们很感谢滚石多年来对她作品的保存。也感谢同事对陈淑桦形象的保护。

Sarah Chen's voice became incredibly soothing and comforting as she grew older. Joining Rock Records was the best and worst decision she made. On one hand, the top Mandopop hits she performed during this time made Chen practically immortal. On the other hand, Rock Records failed to promote her properly, contributing to the loss of her career independence. Thirty-years later, Sarah Chen has not shed the damaging narrative of her reliance on the Rock Records producers. 

Online data from Sarah Chen's time at Rock Records reveals a complex relationship. When Chen, the Golden Bell "Best Female Singer," joined the label in 1986, she had much to offer, and those around her stood to gain from her success. Unlike EMI, Rock Records did not prioritize promoting their star singer, instead emphasizing the contributions of producers and songwriters. Early albums focused on the producers' efforts in "transforming" Chen, while later albums were marked by vague, abstract descriptions of the songs. Aside from her beautiful voice and glamorous photos, the vibrant and wise singer was nonexistent in her own albums. 

Chen also had to navigate complicated personal dynamics at work, some of which seeped into her music. The 1988 album "Tomorrow, Will You Still Love Me" unsuccessfully attempted to incorporate Chen’s personal life into the songs. She disclosed very little, leaving the songwriters to fill the gaps with their own imaginations. Chen emerged from the murky water nearly unscathed; it would take a suspicious mind to detect traces of the backlash in her songs. This backlash was more apparent in the documentary "A Letter to Sarah," ironically an attempt to draw Chen back to music. 

Still, we are grateful for Rock Records' preservation of Sarah Chen's work, and for her colleagues' continued efforts safeguarding her image. 

Sarah Chen performing her top hit "Dream to Awakening" live for the first time in 1989. Video with English lyrics. 陈淑桦在1989年11月首次现场演唱《梦醒时分》

If Sarah Chen sang poetry at EMI, she told stories at Rock Records. Her new collaborators, mostly young men, attempted to write songs that reflected Chen's personal life to resonate with a modern, youthful audience. In today's practice, Chen likely would have received credit for some of the songwriting. She didn't, but she imposed her unique interpretations on the songs. Chen fully used her expressive voice, evoking vivid images of longing souls in the wind, old friends meeting for coffee, and insecure lovers seeking reassurance. The magic she created was otherworldly. Her success was so remarkable that it soon became contentious as to whom the credit belonged. The damaging notion that Chen was transformed by producers took hold. Not outspoken, Chen stayed out of the debate, letting her beautiful work speak for itself. 

Sarah Chen's timeless classic, "Red Dust" (1990), was the theme song for the film of the same title.  With its rich emotions and deep cultural roots, the song is a reflection of the singer. Article about the song.《滚滚红尘》是电影插曲。它丰富的情感和深入的文化根基是陈淑桦的倒映。

如果陈淑桦在EMI唱的是诗歌,那么在滚石她讲的是故事。词曲作者大多是年轻男生,试图根据陈淑桦的感情世界写出吸引现代年轻听众的歌。按今天的音乐制作规范,陈淑桦应得到参与写歌的功劳;她虽没有得到,但以自己的方式对歌进行诠译。她对唱歌毫无保留。歌声唤起了风中等待的灵魂、久别重逢的好友、寻求安慰的恋人。她奇特的演唱非凡人之作,属于另一个世界。她的成功如此非凡,以至引发了功劳归的问题。对她不利的都市女子转型论就此冒出。陈淑桦没有参与争论,只留下美作不言自明。

这段时间好歌包括:皇帝与公主,水湄,那一夜你喝了酒,别说可惜,我只为你美丽,明天还爱我吗》全集,《跟你说,听你说》全集,情关,一生守候,不要随便说Bye-Bye,滚滚红尘,东方的朋友,春去春又回,明明白白我的心,这样爱你对不对,聪明糊涂心,夜游,想你的人没有睡。

5。滚石晚期 Late years with Rock Records (1992-1998; N=57)

Only Sarah Chen could adequately interpret the philosophical depth of "The Mundane World" (1993/1994). The theme song for the Swordsman movies belonged to the formidable Kung Fu character "Invincible East," portrayed by Brigitte Lin.  Video with English lyrics. 《笑红尘》是"笑傲江湖"的主题歌,是林青霞扮演的东方不败唱的歌,也契合九十年代华语流行"东方不败"陈淑桦。歌的哲理性只有陈淑桦可以掌控。

The natural progression after singing poetry and stories is philosophy. The philosopher of Mandopop, in her later years with Roch Records, Sarah Chen offered wisdom from traditional Taiwanese songs, Wuxia films and novels, Western R&B, and her own heart and mind. She won Taiwan's Best Female Singer award again in 1996, but Chen was done with music, her refuge and her burden. And we know where the path leads—to religion, except it is no longer connected to Chen's music. 

诗歌和故事之后自然引向哲学。华语流行音乐的哲人,陈淑桦带给听众多方智慧,滚石晚期取材于台湾传统歌曲、武侠电影和小说、西方R&B,和她自己的心灵。1996年,她再次获得台湾最佳女歌手奖,但陈淑桦已告别乐坛。 音乐既是她的避风港,也是她的负担。这条漫长的路注定会通向宗教,只是陈淑桦不再将它与音乐挂钩。

这段时间好歌包括:《淑桦的台湾歌》全集,爱的进行式,梦田,问,萍水相逢,流光飞舞,笑红尘,说你爱我,爱得比较深,爱的换日线,不做情人不做朋友,失乐园,爱来时,一半一半,不想当真就好,生生世世,《生生世世》全集里所有重录的歌。

Sarah Chen bowed out with "Autumn Farewell" (1995). A singer who had long practiced hiding her pain and sorrows, Chen could not suppress a faint cry in this song. 《秋别》是陈淑桦离别歌坛的杰作,只有她能唱出其中复杂的心情。她已习惯隐藏伤感,但没能完全控制住内心轻轻的哭泣。

With her 1995 album Forever, Sarah, Sarah Chen quietly bowed out. There was no public engagement after 1997, except for a brief phone call with Matilda Tao in 2003, during which Chen expressed an interest in a possible comeback. That year, Rock Records produced a documentary aimed at drawing her back. While interviews of colleagues cemented Chen's musical legacy, they also revealed a stark gender and power imbalance in her workplace. Chen did not return.

陈淑桦在1995年底发行了告别专辑《生生世世》后悄然退出歌坛。1997年后,陈淑桦没有公开露面,只在2003年与陶晶莹的电话里表达对音乐持久的兴趣。同年,滚石唱片制作了一部旨在吸引她复出的纪录片。虽然同事的谈话巩固了陈淑桦的音乐成就,但也揭示了她工作环境中明显的性别和权力不平衡。陈淑桦没有复出。

Sarah Chen began and ended her career alongside Teresa Teng. Her slower rise and later boom gave the impression she was a decade behind Teng, but in reality, they were contemporaries. With a unique understanding of human experiences and emotions, Sarah Chen was 'one with her music.' While she never wielded Teresa Teng's influence (and no Mandopop singer could), she cultivated a loyal fan base, drawn to the depth, introspection, and philosophical nature of her music. She leaves a treasure trove of music, filled with rich human experiences and deep emotions, for us to enjoy and explore. 

陈淑桦与邓丽君几乎同时开启并结束她的职业生涯。她较慢的起步和更晚的突破让人觉得她落后邓丽君十年,但实际上,她们是同代人。陈淑桦对情感与人生体验有超人的理解,并将音乐与她的生命融为一体。虽然她没有邓丽君的影响力(也没有其它华语歌手能赶上邓丽君),但陈淑桦因她深刻、内省和富有哲理的音乐而赢得忠实的歌迷。她留下宝藏歌曲,充满形形色色的情感和经历,让我们在欣赏中寻求答案。