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Susan Ashton was one of Christian music's top artists in the 1990s, churning out now classic albums like Angels of Mercy, Along the Road and A Distant Call. Country music fans are also familiar with the songstress, first for touring with Garth Brooks, and later for a mainstream country album with Capitol Records. After originally signing with Sparrow and then getting scooped up by Capitol, it seemed as though sky was the limit for the multi-market mainstay. However, after her 1999 mainstream debut Closer didn't earn the anticipated response, Ashton found herself without a deal and in the midst of a bit of an identity crisis. Now she's back on track with Lost In Wonder, pairing up with Christine Dente and Michelle Tumes. We recently talked with Ashton about the successes and snags along the way, plus God's recent revelations in her life.

What have you been doing since the release of your first record for Capitol?

Susan Ashton Since that record came out in 1999, I spent three years making a follow-up record for Capitol and then early last year they dropped me from the label. So I've spent the last year being a nanny, sitting, waiting and hearing what God wants me to do with my life. It was really difficult, but at the same time I've I needed some healing and clarity. This past year has been really emotional and ultimately turned out really good. I think I was probably aware that I was going to lose my deal, but it's a whole different story knowing you're going to lose it and then actually having it be gone.

How did you initially deal with that experience, especially after your success as a Christian artist throughout the 1990s?

Ashton For my entire adult life I was an artist signed to major label, and then I found myself no longer in that position. While the name on a record is not your entire identity, it is so much of who you are and how people perceive you and think of you. It caused a bit of an identity crisis with me. I don't think that's all bad, but it had to be worked through. And that's probably been the hardest part.

What went wrong with the unreleased album for Capitol?

Ashton My perspective is that it did not turn out what I wanted it to be. I wanted it to be a great country record because I'm from Texas and I love that music. But the producers I was working with—who I wholeheartedly believed wanted the best for me—loved my Christian records [with Sparrow], and they were trying to emulate those a little bit. I'm proud of those records, but they aren't country records.

What are some of your fondest memories of your Sparrow catalogue?

Ashton First and foremost would be making the very first record [1991's Wakened By the Wind]. That was so special and since I was so young and green, there was a real innocence in that process that's still beautiful to me. I can listen to anything on that record, and it's all very clear with distinct emotions attached to making it. I love everything about the lyrics, musicianship and instrumentation. There's one song, "No One Knows My Heart," where the drummer played a shoebox. On "Suffer in Silence," one of the instruments credited was a "pencil guitar." On the [1993] Susan Ashton record during "Heart Like a Rock," I was messing around doing vocals and singing along trying to sound like an electric guitar. We actually recorded it and that sound of me imitating the guitar is still kept in the final record. There was so much fun stuff on all those records and they were all a reflection of growth and maturity and life experience through those years.

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