There was a period of time between about 1995 and 1998 when singer/songwriter rock chicks were all the rage - you could go on a road trip and by flipping between radio stations, listen to nothing but Jewel, Fiona Apple, Alanis Morissette, etc. the entire time. The Christian music world got in line not far behind the mainstream, emulating the trend (and sometimes ripping off established artists), and turning the tables on the sterile sound of Christian pop radio with edgier offerings from the likes of Rebecca St. James, Sarah Masen, Christine Glass, Plumb, and so on. These days, the trend is still present, but it's not as immediately apparent, thanks (?) to the recent surge of teen pop. The aforementioned "rock chicks" are still relevant, for the most part. But in the midst of the huge ocean, there is one fish who was largely overlooked.

Sarah Jahn seemed like she had everything necessary to be "the next big thing" in Christian music. She first showed up on a Petra tribute album in 1996 with her quirky, percussive cover of the classic "Yahweh Love", leaving many wondering what else she had up her sleeve. Then she put out her album Sparkle in 1997, gathering some pretty good reviews. It was a highly recommended album for fans of Christian music who were sick of easy answers and shallow platitudes set to whatever music was trendy, who found more solace in what the "secular" music of the time had to say. But it didn't exactly sound like Alanis or Jewel or whoever else. Sarah took a more subtle approach on this album, refusing to dominate every song with raw guitars, and instead sprinkling them with a mixture of retro-sounding synths, keyboards, accordion and other assorted folksy instruments, and some incredibly catchy beats. This isn't a fast-paced, grab-your-immediate-attention pop album. It's an album designed to soothe the mind and explore the intricacies of the Christian faith while allowing the listener to soak in its groove.

Brand New Name starts things off with a perfect example of Sarah's ideal groove - the smooth beat and her deep voice (yeah, it's low for a "rock chick") hit the ground running, and begins to lay some complex lyrics down: "I know nothing/I am aching silent/Dim the lights/They hurt my eyes/Feel the memory/See the shaken structures/In the past, in the pain/Cleanse the dusty dwelling/Call my heart a brand new name." It may seem confusing at first, but Sarah is pondering her failures and her inadequacy before God. It put me off at first that she would start off with a midtempo song - I expected the pace to pick up, and instead, the beat falls away near the end, leaving only some synths and guitar tones and some interesting higher-range lines from Sarah. It's become my favorite song on the album, but it had to earn its place. (Of course, it makes sense now that it's my favorite; Sarah co-wrote it with Charlie Lowell, keyboardist from Jars of Clay.)

Drinking Water is the closest thing to a traditional rock song on this album, hooking you in immediately with a perky backbeat and a clean (i.e. non-distorted) electric guitar. It's a celebrative song about patience, which makes it even more ironic that it's the fastest-paced song on this CD. It has a fluidity that fits perfectly with lines like "Spilling every worry from my mind" - it invites the listener to relax and let the world turn without feeling the need for constant control.

Crucible may have been a moderate radio hit for Sarah; it's also a good example of her combination of modern rhythms, subtle guitar riffs, and retro sounds (she leaves an amusing explanation of the unorthodox production in the CD jacket). The song is basically a modern take on the idea of "Refiner's Fire" - desiring to have our own will and desires burned up in God's fire, that we may emerge more like Him. The only thing that weakens this song is that it really only has one verse and a chorus. I would have liked more lyrics to really flesh this one out. (FYI - it's one of three songs on the album that Sarah didn't write.)

Face is a lively folk number, driven by a frantically-strummed acoustic guitar, some punchy drums (real ones this time), an the aforementioned accordion. Sarah (or a fictional character) seems to be dealing with a fear of exposure here - not necessarily for something bad she's done, but possibly a fear of being liked or being a celebrity. This seeming stage fright holds her back from pursing her dreams. It really says a lot, for such a short song. Definitely one of the most instantly catchy songs on the album.

Love Learn Happy also has its share of folk influence, but is a more mellow song. Due to the accordion and soft percussion, it is very much a coffeehouse song, but unfortunately the chorus seems a little trite and even whiny. (I suspect that had to do with Connie Harrington, who co-wrote the song with Sarah, but usually works with more standard CCM artists such as Sierra and Carolyn Arends). Still, it gets its point across in the end: "What makes you love/What makes you learn/Do you live in your emotions/Or is life something beautiful inside?"

Paradox contains some of the most profound lyrics I've ever heard; it's a shame that Sarah didn't write it. It's another straight-ahead rock song, not as bright as "Drinking Water", but definitely holding its share of hope in the midst of doubt. Unlike the majority of Christian songs which seems convinced that doubt is nothing but a tool of Satan and all questions must be snuffed out before they can be asked, "Paradox" conveys a wise theological understanding: "I could trust my God with all my might/In the light of what I know/But if I close the door on doubt, I find/That the light will never grow." If we are not open to our questions, and we are not able to believe that God does not derive some wicked pleasure from keeping us in the dark, then we will remain immature Christians at best, appearing to have it all together but being incredibly repressed on the inside.

Chronic is a deeply personal song set against a thick, slow beat, and a bed of crickets (who are credited as playing themselves in the liner notes). It was written from the point of view of Sarah's mother, who suffers from chronic sleep disorder (yes, you can relax; it's not about marijuana). Again, there are no easy answers here - she describes her feelings of being constantly tired and having a difficult time paying attention to others and assuring them she still cares for them. Rather than lie to the listener and say "Everything will be fixed immediately if you just say Jesus enough times", she wisely recounts her struggle: "I've touched the cloak a thousand times/My hands are searching for those promises/Should I believe what I can see/Or should I look past the reality/It's outside of me/I want to be healed/I want to be healed like you." Perhaps there is a reason for the sickness; a deeper meaning, but the bottom line here is that not being healed does not correlate to some sort of a lack of faith (contrary to what they may tell you on TBN).

Lullaby is a great choice to follow "Chronic" - a song to soothe the afflicted as she sleeps. A pretty guitar line starts in as the crickets fade away, backed by a lighter beat. This tune doesn't have as much range as some of the other songs, but it is very beautiful in its simplicity. It deals very simply with the concept of letting go, framed in the metaphor of falling asleep. It works really well - how many times have you lost sleep because you were worried about something? Sarah provides simple solace here, "finding hope in words unsaid", knowing that from God's point of view, there is nothing to worry about, even if we humans can't always convince ourselves of that fact.

I Found the Time is a bit of an exercise in patience - it has a moody guitar line, those trademark old-school synths, and an intriguing lyric, but it really feels like it should be faster. The drums here are real again, and they just seem a bit clunky compared to the flowing grooves of many of the other tunes. The funny thing is that the song seems to deal with the impatience of youth and the seeming need for instant gratification as Sarah looks to the "elder ones" and ponders how she would ever be able to live their laid-back way of life. If you're patient, the song makes more sense and you appreciate it more. Still, it leaves a bit to be desired.

Home is a short and sweet benediction, with a slightly haunting echo on the guitars. It's virtually percussionless, led by a calm electric guitar and a quicker acoustic strum in the background. It wraps up the record nicely with a quick "prodigal son" type of scenario: "And though you've been deceived/And doubted everything that you believed/And fallen now and then/You're coming home again." After all the questions and doubts that Sarah has shared with us, there is the assurance that we will find our way home.

There is a refreshing hope that permeates this album - even in its darkest moments, Sarah is not whining or complaining about her lack of faith, but rather, she is bravely honest about her faults and her questions, because she is assured that she who seeks will find. Even more so than the smooth musical flavors that Sarah plays with, the redemptive lyrics are what keep me coming back to this album time and time again long after most of the rest of the CCM world seems to have forgotten her.

I hope to find out what Sarah is up to and if she plans on recording again. She definitely still has a place in Christian music alongside "thinking" artists like Sarah Masen, Margaret Becker, and even Nicole C. Mullen, who have all played with their own blends of rock, folk, and R&B.

One thought: Sarah's pictures in the CD jacket are a little weird. Sort of a cross between Miss Angie (remember her?) and Fiona Apple (if you own Tidal, you know what I'm talking about.) It kind of makes you expect something a little more bizarre and dark.

TRACK REVIEW SUMMARY
Excellent: Brand New Name, Face, Chronic, Drinking Water, Paradox
Good: Crucible, Lullaby, Home
Decent: Love Learn Happy, I Found the Time
Weak: NONE
Skippable: NONE

Website: At present, Sarah doesn't appear to have an up-to-date web page. Her old record label, Warner/Alliance, had one up for a while, but their collapse is probably a big part of the reason for Sarah's apparent disappearance. Look for her to possibly crop up again in the indie music world.

Recommended: Yes

Great Music to Play While: Reading or Studying