陈淑桦-自己的话

Sarah Chen In Her Own Words

陈淑桦MV,电台和广播采访选集

When Sarah Chen retired in 1996, the internet and emails had just become a thing. Many of her media appearances were not digitized and therefore lost. In recent years, snippets of Sarah Chen from TV or radio recordings have been uploaded online. Despite their incompleteness, these snippets reveal a rational and quick-witted mind, shedding light on Chen's music and career.  (中文版在这里)

Unforgettable, Feb 1970 by Sarah Chen (age 11)

陈淑桦 1970年2月《忘也忘不了》(国语原唱; 11岁)

Unforgettable, May 1970 by Teresa Teng (age 17)

邓丽君 1970年5月《忘也忘不了》(17岁)

Though no TV footage exists of Sarah Chen's childhood, an early song performed by both she and Teresa Teng highlights a striking difference in style. Chen was the original performer of the Mandarin version of Unforgettable, released in February 1970 when she was 11. Teng’s cover came three months later, in May 1970, at age 17. 

The adult-themed song, about a woman lamenting lost love, was age inappropriate, especially for Chen. She was given melancholic lines like, 'Ah, you left me, I hate you, hate you, I cannot forget you,' while Teng, known for her cheerful tunes, sang, 'Ah, you left me, I love you, love you, I cannot forget you.' With its faster tempo and lyrical changes, Teng’s version could play at a festival. Chen’s, in contrast, was for those grappling with the bitterness of lost love. 

At age 11, Chen seemed doomed to fail this song—but she didn’t. She gave a remarkably accurate interpretation, in contrast to Teng's cheerful version. That sage-like old soul would haunt Chen's songs in the years that followed. Sarah Chen's later success singing "Dream to Awakening" and "Red Dust" was no accident. Her talent in expressing nuanced emotions and human experiences was evident from the beginning. 

2. 海山成年早期 Early Adulthood with Haishan Records (Early 1980s)

When Sarah Chen came of age in the late 1970s and matured into her jade-like adult singing voice, she struggled to find quality songs. She performed many covers without success, and sang a lot of jarring songs. She 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. As her singing career stalled, Chen took on the role of a TV show host in the early 1980s, showcasing her own songs and those of rising talents. One of these rising stars was Tsai Chin, who would become Sarah Chen's main rival for music awards in the following decade.

Sarah Chen was a TV show host in the early 1980s. May 1980 with rival Tsai Chin.

Feb 1981 with Pan An-Bang.

3. 百代期敲响金钟 EMI Phase: Becoming the Best Singer (Mid 1980s)

The 20th Golden Bell Awards was held on March 24th, 1985. Sarah Chen defeated her fierce competitors Julie Sue and Jeanette Wang to win the Best Female Singer Award. The shocking win left her tearful and nearly speechless on stage. Not long after, she had an opportunity on air to talk for 11 minutes while also playing her songs. Her broadcast was the first, rare document we could find of Chen opening up about her career and life. 

The 1985 Golden Bell Best Female Singer Award was Sarah Chen's first major music award in Taiwan. She was the 5th female singer to receive it.

Sarah Chen's 1983 live performance of "Autumn Fills My Heart." While she was adored for her flawless vocals and handsome features,  it was the emotional and philosophical depth of her music that set Chen apart from other Mandopop singers. 

Sarah Chen began by describing, in vivid terms, her excitement and nervousness as both a performer watched by major networks and a nominee anxious about the results. Her state of mind, she reflected, made her forget about what to say, with the biggest blunder being leaving her mom out. She then thanked Mom, as well as colleagues, journalists, and radio stations that covered her work. While generally cautious about speaking prematurely, Chen gave two hints about her future. Regarding her career, she mentioned that international labels had been interested in her since 1982, but she wanted to first establish herself in Taiwan, so she declined the offers back then. However, this topic resurfaced, with discussions of opening markets in Japan and Southeast Asia. Regarding her personal life, Sarah disclosed that Mom urged her to shift focus to her marriage. She reiterated her reluctance to speak until things became more concrete, leaving the impression that something was in the works. She recommended her song "Let It Be" to represent her views on marriage. Chen asked for prayers for her personal life and gave blessings to her fans. 

4. 滚石早期 Early Rock Records (1986-1991)

Sarah Chen’s popularity soared after winning the Golden Bell Award. From 1987 to 1989, she appeared frequently on TV, often performing live or participating in sketch comedy, sometimes both. Still graceful but now also more sophisticated, Chen’s emotive singing was enhanced by her expressive body language. She had evolved from being just a singer to an actor, storyteller, and mental health counselor. Music became her tool to express and experience the many facets of life—the beauty and sorrow of human existence.

Sarah Chen frequently gave live performances in her heydays.

Sarah Chen singing "Dream to Awakening" live for the first time in Nov. 1989. 

Still single, Sarah Chen faced significant societal and workplace pressure over her personal life. TV hosts openly questioned her dating status, colleagues mildly reproached her for staying "clean" of dating scandals, and sketch comedies poke fun of her mother's role in keeping men at a distance. Chen deflected these intrusions with humor and grace, but she couldn't stop the backlash against her and her mother, which persisted for decades. 

Interview with Liu Jie (1990): On gender roles in relationships

Shortly before Christmas in 1990, Sarah Chen took to the airwaves with Liu Jie for an hour-long conversation around gender roles in relationships, the most candid interview of her career.  Both were sharp, posing challenging questions to each other. While Chen seemed to have found an intellectual equal in Liu, her views on gender roles were far ahead of his. 

Sarah Chen gave her most candid interview to Liu Jie in Dec. 1990 on gender roles in relationships.

Chen advocated for equal rights in relationships, with space for her own ideas and autonomy in her own affairs. However, she acknowledged societal constraints, recognizing the entrenched privilege that boys are raised with that carries into adulthood. She was curious about Liu's approach to disagreements with a partner. Confident in his conviction, Liu believed he would usually hold the final say, assuming he would most likely be right, but he supported women having their own opinions in case men were wrong. Sensing the inequality in Liu's view, Chen concluded that while she desired independence, it was a precarious position that may prevent her from finding the "Mr. Right". 

5. 滚石晚期 Late Rock Records (1991/92-1995/98)

As Sarah Chen's career soared, her life took a sharp downturn in the early 1990s due to a weight-loss episode that left her seriously ill. Unbearable pressure from Taiwan forced her into exile, where she spent months in physical and mental anguish, rethinking her life priorities. Her mother, who had provided unwavering support since Chen entered the music industry at age 9, stayed by her side throughout the ordeal.

The 1991 album Be Wise, Be Easy was likely recorded during Chen's illness. When she was well enough, she returned to Taiwan in November 1991 to promote the album, though she appeared noticeably subdued. Music had become a burden, no longer her refuge.

Sarah Chen performing "Be Wise, Be Easy" live (1991), a philosophical masterpiece recorded during her illness. Version with English Lyrics

Sarah Chen, the jukebox, sang on-demand during her promotion of the 1991 album "Be Wise, Be Easy" (Dec. 18, 1991).

The first time Sarah Chen opened up about the weight-loss episode was during a 1992 interview with Gui Ya-Lei.

By 1992, Sarah Chen had returned to live performances as well as a concert tour in China. Some of her most memorable live performances came from this period, including her hit songs Red Dust (with Lo Ta-Yu), So Transparent is My Heart (with Jackie Chan), and Question about Love.

Live performance of "Red Dust", late 1990 

Live performance of "So Transparent is My Heart", 1993

Live performance of "Question about Love", 1992 (Version with English Lyrics).

Interview with Chinese American Voice (1992): Career reflection

Around Christmas 1992, Sarah Chen gave the most informative interview of her career to the New York Chinese American Voice. The host, a young woman around Chen’s age, had met her earlier in New York. Their interview was conducted as a Q&A over the phone. Although the format didn’t allow for back-and-forth conversations, Chen had to answer some tough questions. The questions already hinted at the backlash Chen and her mother faced for her remaining single, but the answers she gave, including those she chose to deflect, offered clues about her eventual exit from the music industry.

A segment on career choice from Sarah Chen's 1992 interview with the Chinese American Voice. 

Perhaps because Sarah Chen started as a child singer, or due to growing displeasure from some quarters over her mother’s involvement, the host asked if she would choose music again if given another chance. Chen responded affirmatively, explaining that during her illness, she had reflected on this question a lot, but the significance of music in people’s lives, along with her lifelong passion for it, convinced her she would choose it again.

However, Chen sidestepped questions about her long-term plans, an early sign that she was preparing to leave music for good. She also avoided discussing how her music had evolved over the years or her feelings about songs written for her at Rock Records, steering clear of the 'transformation' narrative.

When asked about her romantic life, Chen shifted the conversation into a philosophical reflection on fate. She was firm, though, in defending her mother’s role as her business partner. Her mother knew her better than she knew herself, Chen said, and while it wasn’t always ideal, she was content with their partnership and willing to accept its drawbacks.

Chen could have answered those questions very differently, but what she said—and what she left unsaid— shed light on her plan to leave music, only she needed time to work out the details. 

Final albums (1995)

In May 1995, Sarah Chen made a frenzy of media appearances to promote her album Forever, Taiwan’s first R&B album. She had spent three years working on this and a related album, Paradise Lost, though the latter wasn’t released until January 1998, creating a confusing timeline for the end of her career. 

Later that year, Chen released what was likely her final recording, Forever, Sarah. This farewell album, with its beautiful artistry, was her gift to fans, binding them to her music for decades to come, even as the singer herself seemed to have disappeared. 

This beautiful music video features Sarah Chen’s 1995 re-recording of Tomorrow, Will You Love Me. Chen chose to retire at the height of her career, cutting all ties with the music industry afterward.

Sarah Chen's penultimate 1995 album, Forever, Sarah, was likely her true final recording. She won the 1996 Golden Melody Award for Best Female Singer, but was not present to receive it. English lyrics

6. 退艺 Post Retirement

Aside from two brief TV appearances, Sarah Chen withdrew from the public eye after the release of Forever, Sarah. Her cheerful demeanor in the rare appearances suggested she was content with her life's work. Following the release of Paradise Lost in 1998 and her mother's unexpected passing, Chen severed ties with the music industry. 

Rumors about Chen prompted a brief phone call with Matilda Tao in 2003, during which she categorically denied recent media reports of her. She expressed interest in returning to music but acknowledged that other pressing matters in life required her attention.

This undated video of Sarah Chen's singing The Mundane World was likely from Spring 1996, her final live performance.

Sarah Chen’s 2003 phone call with Matilda Tao was her last public interview, during which she expressed interest in a potential return.

That Letter to Sarah

In an attempt to draw Sarah Chen back, Rock Records released the documentary A Letter to Sarah, where colleagues talked about her contributions and their experiences working with her, cementing her musical legacy. However, the documentary also highlighted problems in Chen's work environment, likely eliminating any possibilities of her ever returning. 

Rock Records' documentary "A Letter to Sarah" both cemented Sarah Chen's musical legacy and highlighted gender and power imbalances in her work environment. 

Colleagues praised Chen's flawless vocals, excellent articulation, and good looks. Her success across multiple eras and genres was unmatched, her style unique, and her achievements unlikely to be replicated.

However, the interviews reiterated the 'transformation theory,' downplaying Chen's intellectual contributions, musical depth, and dedication. The male songwriters went on a tangent about Chen's personality, subtly reproaching her for attempting to keep private life separate from work. As the film unfolded, what was meant to bring Chen back instead revealed stark power imbalances between men and women, and between singers and songwriters. 

Chen did not make a comeback.