《淑桦的台湾歌》周年 Sarah's Taiwanese Songs
Returning to Roots|归根
庆祝《淑桦的台湾歌》发行34周年。这张专辑于1992年6月19日问世,是陈淑桦为了保存传统台湾民歌的心愿作.1,2 陈淑桦注入她最美的嗓音,华语流行的精致,和诠释微妙情感的天赋。但台语歌牵连着她纠结不清的根,这条归根之路差点要了她的命。我们在这里追溯专辑的来源和陈淑桦归根之路,也记录专辑意外唤起的一场记忆。
We celebrate the 34th anniversary of Sarah’s Taiwanese Songs, released on June 19, 1992. The album fulfilled Sarah Chen’s wish to preserve traditional Taiwanese songs before they disappeared.1,2 Chen brings to the album her finest voice, Mandopop sensibility, and rare talent for interpreting subtle emotions. Yet the roots she returned to were tangled, and the road back to them nearly cost her her life. Here, we trace the album's origins, her journey back to those Taiwanese roots, and an unexpected visitation the album brought on.
The first documented public mention of Sarah’s Taiwanese Songs occurred on February 9, 1989, at a press conference in Kuala Lumpur, Malaysia1,2,24 days before Chen’s Lunar New Year concert.3 One of her New Year’s wishes was to record a Taiwanese album, preserving traditional Taiwanese songs before they were lost. Chen wanted to give these songs modern musical arrangements. But she had not found the right collaborators who shared her vision.2 Her upcoming concert was to include four Taiwanese songs,1 with her dressed as a tea-mountain woman (Figure 1).
This press conference came months before the November 1989 album Talk to You, Listen to You, and three years before she eventually recorded the Taiwanese album. The 1989 press conference shows that Chen was the originator of Sarah’s Taiwanese Songs before anyone else entered the story.
But while time flows in one direction, history is easily erased and rewritten. By 2026, Chen’s role in this album has become secondary. Apple Music says: “Under the supervision and production of ‘the godfather of Mandopop,’ Jonathan Lee, Sarah’s Taiwanese Songs reveals Sarah Chen’s simple, unadorned, graceful, and refreshing side.”4 (在「华语流行乐教父」李宗盛的监制下,这张《淑桦的台湾歌》展现出她简单素朴、婉转清新的一面).
Apple Music did not exist in 1989 and could not have been at the Kuala Lumpur press conference. But absence is no excuse for reframing a woman artist's long-held project under the authority of a man described as a godfather. The yellowing newspaper tells a clear story:1,2,24 Sarah Chen originated the album’s idea.
Finding a collaborator, however, was the least of Chen’s problems. To return to Taiwanese songs, she first had to reckon with a fraught past.
Figure 1. A February 1989 magazine clipping from Malaysia, when Sarah Chen first expressed her wish to record a Taiwanese album.
图一:1989年2月马来西亚报刊剪辑。这是陈淑桦首次表明她希望制作一张台湾民歌专辑。
关于《淑桦的台湾歌》最早的报道来自1989年2月9日,马来西亚吉隆坡的记者招待会1,2,24。那时陈淑桦将在香格里拉酒店举办晚宴演唱会3。记者招待会上,她说新年的一个心愿是录制一张台湾传统民歌专辑,为的是保存那些很老、可能失传的民谣。她希望以现代音乐做包装,但还没找到和她志同道合的制作人2。新年演唱会里她将演唱四首台湾民谣,并以茶山女的装扮出场1 (图一)。
这场记者招待会比1989年底的专辑《跟你说 听你说》早十个月,而台语专辑的录制拖延了三年。这几篇报道表明,《淑桦的台湾歌》的念头来源于陈淑桦本人,她那时还不知道音乐制作人会是谁。
然而,时间虽然不能倒流,历史却很容易被抹去和重写。到2026年,陈淑桦成了专辑的次要角色。Apple Music 苹果音乐在专辑介绍中写道:“在「华语流行乐教父」李宗盛的监制下,这张《淑桦的台湾歌》展现出她简单素朴、婉转清新的一面”4。
苹果音乐在1989年还没诞生,没法出席吉隆坡的记者招待会。但这不等于它可以推卸责任,不假思索地把女艺人的心愿作放在男制作人的权威之下,借“教父”之名来给专辑定位。而事实留在了1989年的报刊里:1,2,24 这张台语专辑的源头,是陈淑桦本人。
但找到音乐合作者并不是陈淑桦最大的问题。要回头演唱台语歌,她首先得面对纠结不清的过去。
Zotero entry of a 1989 press release from Malaysia, one of three documenting Sarah Chen's wish to record a traditional Taiwanese album, which was delayed to 1992.
Sarah Chen’s musical roots are often traced back to her teenage years, when she performed English songs in Taiwan hotels.5 But beneath that familiar origin story lies a more complex one: Taiwanese roots that expose a painful beginning.6 Those roots began with the 1966 national “Taiwan Folk Song" competition held by the Broadcasting Corporation of China.7
Taiwan was under martial law, and music was subject to state censorship.8 The government did not promote Taiwanese songs, and even banned songs deemed politically suspect, including the folk song “Mending the Torn Net” (補破網).9,10 Nonetheless, it sponsored the competition. Open to all ages, it was won by an eight-year-old girl with the song “Everyone Is Satisfied.” That girl was Sarah Chen;7 she won a large refrigerator.
She soon joined Five Tiger Records, which specialized in Taiwanese folk songs. In 1967, the company produced a Taiwanese album (Figure 2A), Jiang Lei, Chen Shu-hua Becoming Famous Golden Songs, which included the nine-year-old Sarah Chen’s first recording, “Water Wagon Girl” 《水车姑娘》. Chen would continue singing Taiwanese songs at ages 12 and 18, ending with a beautiful duet with Liang Shan in 1976, “Sorrowful Rainy Bridge”《哀愁的风雨桥》(Figure 2B).
By then, martial law had tightened around Taiwanese folk songs, leaving virtually no commercial space for them.10 As the labels failed, Chen’s early recordings were nearly lost.6 Chen may not have mourned their demise: she tried more than once to write off her history as a child singer.5,11 After all, her teenage work lacked the sophistication of her later work.
But her nine-year-old recordings were lovely. “Water Wagon Girl” was widely considered Chen's debut song. Not understanding Taiwanese, I first listened to those recordings with a mother’s tenderness: she melted my heart, sounding like five yet trying like twenty-five. That is, until I read the lyrics and realized what she had been made to sing. I wish I had not read them.
I learned that it was common practice for Taiwan’s child singers to perform adult-themed songs in the 1960s, a practice not limited to Taiwanese songs. And Chen wasn’t the only girl made to ventriloquize a woman: when Teresa Teng debuted at age 14, she sang many ballads. And yet, the fact that the music industry had normalized the practice did not make it any less appalling. Chen became increasingly uncomfortable singing ballads. She would later recount how, at age 14, she had to sing on TV and was relieved to be assigned an age-appropriate song.12
Chen spent the next decade performing exclusively in Mandarin and English, except for two Taiwanese songs she performed in live concerts in Malaysia and Japan in 1986. By 1989, two years after Taiwan lifted martial law,13 she had voluntarily returned to her Taiwanese roots. Her wish to preserve traditional Taiwanese songs11,14 may sound like a cliché, but doing so required revisiting a tangled past.
And yet performing Taiwanese songs on her own terms may have been the only path to finding closure. It was as if the adult Chen had traveled back in time to find her nine-year-old self and reassure her that it would all be okay – that there was value in her Taiwanese folk songs, and that this time, she was singing them for herself.
陈淑桦的生涯起点通常被追溯到大学期间在台湾饭店以英文歌驻唱5。但除了深厚的英文歌背景,她最早的根基建立在台语歌的演唱里6。这段历史还得从中广电台1966年的“全国歌谣赛”说起7。
自建国以来,台湾有很长时间处于戒严时期,音乐受到政府的管制8。那时政府不宣扬台语歌,有些曲目,比如《補破網》,曾因为被怀疑带有反政府谐音而被禁9,10。但中广是政府官方电台,大家可以在节目中唱台湾民歌。社会组比赛没有年龄限制,出人意料,获奖的是一个八岁小女孩演唱的《个个满足》。那个小女孩就是陈淑桦,她赢得一台大冰箱7。
五虎唱片着重于台湾传统民歌,次年发行了陈淑桦和江蕾的台语合集《江蕾、陈淑桦歌唱成名金曲》(图二A),其中收录了陈淑桦在九岁时录制的三首台语歌,包括《水车姑娘》。此后几年,陈淑桦演唱了近10首台语歌(也有国语歌),主要在12岁左右。她的最后一首台语歌发行于1976年,是和良山合唱的《哀愁的风雨桥》(图二B)。
从1976年起,戒严体制更加卡紧了台语民歌的播放,台语歌几乎没了商业市场10。随着唱片公司倒闭,陈淑桦早期的作品也差点失传6。这对她本人来说不见得是坏事:陈淑桦不止一次试图绕开早年演唱史5,11,毕竟她少女时期的嗓音和技术都赶不上成年后的演唱。
但她九岁的演唱优美而可爱。《水车姑娘》通常被视为陈淑桦的出道品。我不懂台语,一两年前刚听她九岁的演唱,一颗母亲般的心被她的歌声融化了:歌声幼稚得像五岁,那认真的劲儿有二十五岁。直到我去读歌词,才明白他们让她唱的是什么。我真后悔去读。
后来,我了解到这种让童星演唱成人歌曲的商业做法在那时台湾乐坛很常见,而且不限于台语歌。邓丽君14岁出道后,头一两年也唱了不少情歌。但娱乐界把这种做法正常化,不等于它就不令人痛恨。陈淑桦开始害怕唱情歌。在1983年的采访中,她回忆14岁时参加电视台的《金曲奖》现场演唱,她说谢天谢地,分给她的是一首和年龄还比较适合的《交叉线》12 。
以下十多年陈淑桦的演唱限于国语和英语;她的两首台语歌(《丢丢铜》和《雨夜花》)出现在1986年的海外现场表演中。1987年,台湾取消了戒严令,台语歌不再受束缚13。当陈淑桦在1989年马来西亚受访时,她已经自愿重返台语歌。她说她想保存可能流失的台语歌;这听起来是谁都可以说的大话11,14。但对陈淑桦来说,归根不是一件简单的事:她得重新面对早年的台语歌唱史。
然而,由她自己做主制作台语专辑,也许是走向和解的必经之路。就好像是成年的陈淑桦穿越时间,回头找到九岁的自己,告诉童年的她一切都会过去——台湾民歌是有价值的。这一次,她是在为自己而唱。
“The charm of musical notes is that they can seep through every opening. No matter what you do, even when you sleep, music is always there, quietly and stealthily making its way into your heart. You cannot shake it off.”——Sarah Chen, 1992
Sarah Chen did not record her Taiwanese album in 1989. Instead, she worked on fulfilling her other long-held wish: using songs to speak to her listeners.15 She pitched this idea to Jonathan Lee (Figure 3A), then Rock Records' deputy general manager, and their collaboration yielded Talk to You, Listen to You, Taiwan's first album to sell over a million copies.
The next year, with Johnny Bug, Chen released an award-winning album, A Lifetime of Waiting, showing that her success was independent of Lee.16 But the narrative of Lee as the mastermind behind her work had spread, diminishing Chen's role in conceptualizing the album and obscuring her outstanding years as the Golden Bell Best Female Singer. It would be repeated by the label,17 colleagues,17 and the news media until it hardened into an unshakable narrative in every Sarah Chen bio4, and in some Jonathan Lee bios.18
As the narrative shifted to the producers, the pressure to keep innovating pushed Chen to take extreme measures. She became gravely ill after a popular weight-loss drug she had taken was found to be adulterated. Rapid weight loss brought on life-threatening conditions.6 There was no space for Taiwanese music – or any music – as she fought for her life. Miraculously, under her mother's care, she managed to record a philosophical album in 1991, Be Wise, Be Easy, as a reminder to herself.
As she recovered from her illness, Chen was interviewed in New York by the Voice of Chinese Americans19 (Figure 3B). Given Chen’s history as a child singer, the host asked her whether, given the chance to do it again, she would still choose a singing career. Chen paused, then asked the host to give her time to think, and after a short moment, answered, “Yes.” She said that she had thought about this a lot during the ten-month illness. But she would choose to sing again because “the charm of musical notes is that they can seep through every opening. No matter what you do, even when you sleep, music is always there, quietly and stealthily making its way into your heart. You cannot shake it off.”
The three-year delay, the near-death experience, the months of soul searching – Sarah Chen was ready to make her Taiwanese album. She returned to the people she had worked with in 1989: producers Jonathan Lee and Huang Jian-Chang, and arranger Ken Shima. These were not the team behind the intervening albums. The return of the 1989 team, with no obvious Taiwanese-music specialist added, suggests that Chen had arranged the project in 1989 while working with this team.
Figure 3A. A 1989 magazine clipping showing that Sarah Chen conceptualized her album “Talk to You, Listen to You,” pitching the idea to Jonathan Lee.
1989年的报刊剪辑,文章表明「跟你说 听你说」专辑概念来自陈淑桦,她将这个构思转告李宗盛
Figure 3B. Career reflection in 1992, when Chen reaffirmed that, if given a chance to do it again, she would choose a career in singing.
1992年纽约华人电台“今夜星光燦爛”采访陈淑桦,她说如果重来一次,她还是会选择歌唱事业
1989年陈淑桦没有录成她的台语歌。那年她实现的是另一个酝酿已久的愿望:以歌曲来和听众交流15。她把这个构思告知当时已经是滚石副总经理的李宗盛(图三A),他们合作制作了《跟你说 听你说》,台湾首张破百万销量的专辑。
第二年,陈淑桦和小虫合作,推出《一生守候》,一举获得金曲奖最佳女歌手奖16,表明她的成功不限于和李宗盛的合作。但滚石的宣传注重制作人,虽然专辑概念来自陈淑桦,“陈淑桦被李宗盛转型”的宣传说法传开了,不仅违背事实,还掩蔽了她之前作为金钟歌后卓越的演唱史。后来唱片公司、同事和媒体不断重复这种说法17,如今烙成了铁打不动的论调,成了陈淑桦事业的定论4,也是对李宗盛生平惯常的写法18。
当年的宣传不仅转向制作人,商业上的成功也逼得陈淑桦不断再创新高。在《一生守候》推出那段时间,陈淑桦服用的一种在台湾流行的、控制体重的中药被药师掺假,导致体重迅速下降,带来危及生命的病症6。她没有功夫录制台语歌。1991年推出的《聪明糊涂心》是奇迹,是在母亲的照料下用血泪换来的心灵之作。
1992年陈淑桦康复了,在纽约接受了美籍华人电台「今夜星光灿烂」的电话采访19(图三B)。 也许是因为陈淑桦童星起家,主持人问她如果重来一次,她是不是还是会选择歌唱事业。陈淑桦没有立刻回答,要主持人给她几秒钟想一想,随后她说: “我会。” 她说她在过去十个月病重时考虑过这个问题,但是她还是会选择歌唱事业,因为“我觉得音符的那种魅力,它是无孔不入,无论你在睡觉的时候,你在做什么,音符它是无时无刻,偷偷摸摸地侵进去你的心里,挥洒不去”。
三年的延期,几乎丧命的经历,十个月跟自己的对话——陈淑桦准备好录制她的台语专辑了。她回到了1989年和她合作过的音乐制作团队:制作人李宗盛和黄建昌,以及日本编曲家Ken Shima (島健) 。这个团队没有介入中间两年的专辑制作,但在1992年又聚在一起,还没有另加台语音乐专家。看来这张专辑的制作是在1989年的合作时就敲定了,是陈淑桦在吉隆坡记者招待会后做的策划。
「音符的那种魅力,它是无孔不入,无论你在睡觉的时候,你在做什么,音符它是无时无刻,偷偷摸摸地侵进去你的心里,挥洒不去。」——陈淑桦,1992
Sarah Chen Autumn Wind, Night Rain | 陈淑桦 1992 秋风夜雨
Sarah Chen gave two interviews to Gui Ya-Lei in 1992 about her new Taiwanese album,14,16 the only documented promotional attempts I could find. This diverged sharply from her earlier collaborations with Jonathan Lee, which were heavily promoted. In a 1992 interview, Lee expressed low expectations for Taiwanese songs, saying he was satisfied with making an album suitable for playing in Hyatt Hotels23.
In her interviews, Chen told Gui that she had long wanted to record a Taiwanese album as a way to reach her grandmother. “My ancestry is Taiwanese,” she said, “although my records sold well, whenever I talked with my grandma, it seemed that we had no common topic." Her family's reaction to her Mandarin album, she said, was more like "that's good, it's you singing, after all." So three years earlier she had wanted to make a Taiwanese album, but only now had she found suitable arrangements.
Using “Remembering” (思想起) as an example, she said whenever she went to a karaoke lounge she would sing it, only to find the key too high and the rhythm wrong. She wanted to set the terms herself. These interviews show that the album wasn’t a random collection of covers, but Chen's own rethinking of Taiwanese songs.
Although the project was delayed by three years, Chen was still fully in command of her vocal power. It was prime Sarah Chen that went into these 10 songs, with her finest voice, most tender feelings, and inimitable style. The album has modern arrangements, with blues and jazz inflections, creating a cultural blend of traditional Taiwanese folk, Mandopop sensibility, and Chen’s Western-style singing.
She chose 10 traditional songs that flow through time and space, best representing emotions of longing, reflection, and hope. The album starts with the 1930s Japanese-occupation-era “Moonlit Sorrow” (月夜愁), as she waits alone at night for a person who will not come, then moves to the 1970s “Revolving Lantern” (走马灯), a philosophical musing about the churn of life, before reaching the once-banned song “Mending the Torn Net” (補破網), in which a broken net is repaired.
But Chen did not end on a hopeful note. The final song, “Lonely Flower of Love” (孤恋花), returns to a lonely woman waiting as flowers and leaves fall. Yes, we may find hope, but life keeps us waiting.
1992年,陈淑桦两度受邀出席归亚蕾主持的音乐节目,播放了《淑桦的台湾歌》里的曲目14,16,这是我能找到的唯一宣传工作。在新马地区的报刊里几乎没有这张专辑的宣传,和上两张与李宗盛合作的专辑截然不同。1992年,记者采访李宗盛,他说对台语市场雄心不大,只是“希望做一张可在凯悦酒店播放的台湾歌专辑而已”23。
陈淑桦告诉归亚蕾她一直想录制一张台语专辑来和祖母交流。"我的祖籍是台湾的,虽然我的唱片卖得很好,每次跟祖母聊天的时候,好像都没有共同的话题。” 陈淑桦说家人对她华语歌的反应是“很开心,是你唱的嘛“,但不见得欣赏和了解,所以她三年前就想做一张台语专辑,但到现在才找到适合的、既现代又古典的编曲。她说每次去歌厅点歌,她都会点《思想起》,但觉得歌厅设的音调太高,节奏也不对口,所以希望自己来定调。这些访谈表明《淑桦的台湾歌》不是一张随心所欲的翻唱组合,而是陈淑桦以自己的心得,对台语歌作出的全新诠释。
虽然这张专辑的制作拖延了三年,1992年陈淑桦的歌声仍然非常优美。这十首歌保留的是“巅峰淑桦”:精美的嗓音,无比的温柔,无法模仿的曲风。专辑的编曲带有布鲁斯和爵士乐色彩,加上陈淑桦偏西式的唱法,在台湾传统民歌里融合了多种文化和音乐方式。
她在专辑里选录了十首横跨时空的经典民歌,表述的情感是等待、回思和寻求希望。专辑主打歌是日军统治时期著名的《月夜愁》,描述对一个不归之人的等待。 第二主打是七十年代的一首感叹人生的歌《走马灯》。B面快结束时排入的是曾受禁、但充满希望的《補破網》。然而陈淑桦没有以希望给专辑画句号。最后一首歌是《孤恋花》,回到了孤单女人在落花流水中的等待。人们是可以找到希望,但生命是一场没有止境的等待。
A few nights ago, I decided to listen to the final track on Sarah’s Taiwanese Songs, an instrumental version of “Remembering” (思想起). I had never listened to the piece, having excluded it from Chen’s discography, but I wanted to know how she wrapped up the album after “Lonely Flower of Love” (孤恋花).
After an initial segment identical to her song, the erhu – so unexpected – suddenly drew me in. It sent me back to nights when my family sang to my father’s erhu, to the years afterward, when his music was the closest thing left of him. Tears poured out as I experienced a moment of visitation.
I was certain that I had heard this melody before, somewhere in my father’s repertoire, but I also knew it was likely a memory error, an illusion created by Chen’s song and the erhu’s texture. From all that I’ve read, “Remembering” (思想起) is a traditional Taiwanese folk song passed down through generations.20 My father had not had contact with that tradition; if he knew the tune, he would have found it somewhere else. But was the memory his, or mine?
I come from a family of people who lived by memory. Books were scarce at the time; my father read borrowed books overnight, memorized them, and taught us from memory. Much of what I learned came this way. I did not fully grasp how extraordinary this was until after he died, when the musical notes he left behind matched modern recordings precisely. I inherited something of that capacity, except for memory of my own life.
This is what makes the “Remembering” 思想起 flashback so puzzling. The memory is likely false, reconstructed from Chen's album. Yet it may be true. Much as Sephardic ballads emerged from shared medieval roots,21 “Remembering” 思想起 might have ancient roots from the Ming-Qing dynasties24. The melodies may then have evolved independently in multiple regions, retained in my father's memory—and mine.
Whatever the flashback was, it came from listening to Sarah's Taiwanese Songs. Perhaps it is my reward for tending this memory gate.
陈淑桦 1992年 《思想起》曲:鄉土民謠 词:許丙丁
1992 "Remembering": Singer - Sarah Chen; Composer: Country Folk; Lyrics: Xu Bing-Ding
1992年《淑桦的台湾歌》演奏曲《思想起》二胡:温金龙
1992 Instrumental version of "Remembering" in Sarah Chen's album. Erhu: Wen Jin-Long
几天前的午夜,我终于决定听一听《淑桦的台湾歌》里最后一首演奏曲。我从来没听过它,由于这是首演奏曲,没有陈淑桦的歌声,我没有将它收进陈淑桦的作品集中。但为了写这篇台语专辑的《归根》,我想还是听一下她在《孤恋花》后怎样给专辑收场。
演奏曲一开始和她演唱的《思想起》过门相同,但是我完全没有想到接下来的是二胡演奏,一下就被它震住了。在黑暗中,这首二胡曲突然将我带到多年前的景物,从伴着父亲的演奏唱歌,到后来收藏他记录下来的曲目。那一瞬间强烈的记忆闪回,仿佛是他短暂回归,引来悄然泪下。
我当时非常确定在父亲的演奏中听过这首曲子,但同时,我也知道更可能是记错了,这种熟悉感是种幻觉,将陈淑桦唱的曲调和二胡的音质混在了一起。在我查到的资料里,《思想起》是一首古老的恒春民谣,四十年代由陈达传唱时,这首曲子已经在台湾传了好几代22。我父亲没有接触过那些音乐。如果他的曲目里有类似的曲调,来源必定更早。所以这种熟悉感到底起源于他的记忆,还是我的记忆?
我们一家靠记忆谋生。那时书本不容易找,从别人家借了书,父亲便连夜读一遍,记住了,再教我们。这种口述传承教会了我很多东西。那时我没有意识到这有多难,直到他过世后,找到他记录下的曲谱,才发现他的记忆和现代录音有多接近。我对很多信息也可以过目不忘,对自己的经历却偏偏记不住。
正因为这种记忆结构,《思想起》带来的闪回还真是个谜。它应该是虚幻,可能是陈淑桦的演唱曲带来的熟悉感。但不完全排除这是真的:就如塞法迪民谣从共同的中世纪根源分化而来那样23,《思想起》也许有从明清时代传下来的曲调痕迹24,然后在多个地区独立传承,进入我父亲的记忆,再埋藏在我的记忆里。
无论那段回灵之感是虚幻还是回忆,它都是由《淑桦的台湾歌》激发的。也许,这便是我整理「陈淑桦记忆的门」工作的回报。
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