You know that feeling when a song is so everywhere that it almost starts to feel like it doesn’t belong to anyone anymore? That’s "Kiss Me." It’s the sonic equivalent of a 1990s rom-com montage. But here’s the thing: most people who can hum that hook couldn't tell you a single other thing about the Sixpence None the Richer Sixpence None the Richer album.
That's a shame. Honestly.
Released in late 1997, this self-titled record wasn't just a vehicle for a mega-hit. It was a weird, beautiful, and deeply sophisticated pivot for a band that had spent years grinding in the "Contemporary Christian Music" (CCM) scene. Leigh Nash and Matt Slocum were basically kids when they started, but by the time this record hit the shelves, they were making some of the most lush, melancholic pop-rock of the decade. They weren't just "Christian artists" anymore. They were just... artists. And they were good.
Moving Past the "One-Hit Wonder" Tag
People call them a one-hit wonder. It’s a lie. Okay, maybe commercially it’s "mostly" true if you're looking strictly at the Billboard Hot 100, but "There She Goes" (the La's cover) was a massive radio staple, and "Breathe Your Name" found its way onto plenty of playlists later on. Still, the Sixpence None the Richer Sixpence None the Richer album is the one that defines them.
It’s an album that sounds like velvet.
The production, handled largely by Steve Taylor, is surprisingly dense. If you listen to "We Have Forgotten," the opening track, you aren't greeted with a bubblegum pop explosion. Instead, you get this atmospheric, swirling guitar work and Leigh Nash’s voice, which—let’s be real—is one of the most distinctive instruments in 90s music. It’s airy but grounded. It’s sweet but never saccharine.
The Squall Records Era
The band was signed to Steve Taylor’s Squall Records. This is a crucial bit of history. Squall was a tiny label. They didn't have the muscle of a major label like Columbia or Warner. When "Kiss Me" started gaining traction, it was a slow burn. It wasn't an overnight success. It took months of radio play and eventually a placement in She's All That and Dawson’s Creek to turn the album into a multi-platinum powerhouse.
Think about that for a second. A small-label band from New Braunfels, Texas, ended up playing on the world stage because of a song about sitting on "milky twilight" grass. It’s wild.
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What Most People Get Wrong About the Lyrics
There is this huge misconception that because the band had roots in the church, the Sixpence None the Richer Sixpence None the Richer album is a "worship" record. It isn't. Not really. Matt Slocum, the primary songwriter, was reading C.S. Lewis (where the band name comes from) and listening to The Sundays and 10,000 Maniacs.
The lyrics are actually pretty dark in places.
Take "The Lines of My Earth." It’s a song about depression and feeling spiritually adrift. It’s slow, somber, and features a cello that just breaks your heart. Slocum wasn't writing "Jesus is my friend" anthems; he was writing about the existential dread of being a human being. He was exploring the "dark night of the soul."
- "Sister, Mother" deals with complex family dynamics.
- "I Can't Catch You" is an upbeat track that masks a deep sense of longing and pursuit.
- "Love" is almost claustrophobic in its honesty.
The contrast between Nash's "angelic" voice and the often-heavy lyrical content is what gives the album its staying power. If you only listen to the hits, you miss the grit. You miss the part where they're wrestling with silence and doubt.
The Sonic Architecture of 1997
Musically, this album is a masterclass in "less is more."
Wait. Actually, that’s not quite right.
It’s more like "exactly enough is just right." The guitars aren't overdriven or crunchy in a way that screams "grunge," which was still dying out in '97. Instead, they are clean, chorused, and jangly. It’s very British-sounding for a Texas band. You can hear the influence of bands like Cocteau Twins in the textures.
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Key Track Breakdown
- "Anything": This should have been a much bigger hit. It has this driving rhythm and a melody that just sticks. It’s the bridge between their indie-rock past and their pop-superstar future.
- "Kiss Me": We have to talk about it. Produced by Steve Taylor, it’s a perfect pop song. The accordion, the acoustic strumming—it’s flawless. Even if you’ve heard it ten thousand times in grocery stores, try to listen to it with fresh ears. It’s a technical marvel of songwriting.
- "The Waiting Room": This is where Slocum’s classical influences shine. It’s moody. It’s atmospheric. It feels like a rainy afternoon in a city you’ve never visited.
The album isn't just a collection of singles. It’s a cohesive mood. It’s meant to be heard from start to finish. In an era where we just shuffle everything, there’s something special about how "We Have Forgotten" leads you into this world and "Moving On" (the hidden track) eventually closes the door.
Why It Almost Didn't Happen
The story of the Sixpence None the Richer Sixpence None the Richer album is also a story of industry frustration. The band had finished This Beautiful Mess in 1995 and then hit a wall of legal and label issues. They were stuck.
They were basically broke.
Leigh Nash has talked in interviews about how they weren't sure if the band would even continue. When they finally got into the studio for the self-titled record, there was a sense of desperation and "nothing to lose." That’s often when the best art happens. They weren't trying to write a radio hit; they were trying to survive.
When "Kiss Me" blew up, it was almost a fluke. The song was a late addition to the sessions. It was written quickly. Sometimes the universe just aligns, and the song you thought was "just a nice little tune" becomes the anthem for a generation of teenagers.
The Legacy of the Self-Titled Record
Does it hold up?
Yeah. It really does. Unlike a lot of late-90s production that feels dated—thanks to those weird electronic "beeps" and "boops" everyone was obsessed with—Sixpence stayed organic. They used real strings. They used real drums. They focused on melody over gimmicks.
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If you put this record on today, it doesn't sound like a museum piece. It sounds like a timeless indie-pop record. It paved the way for artists like Sarah McLachlan to dominate the charts, and you can hear its echoes in modern "cottagecore" aesthetics.
Why the Critics Were Split
Back in '97, critics didn't always know what to do with them. The "Christian" label followed them like a shadow. Secular critics were wary of "preachiness," while the CCM market was scandalized by them moving into mainstream spaces. It was a weird "no man's land." But over time, that baggage has dropped away. Now, people just see it for what it is: a brilliant pop-rock record.
Beyond the Surface: Hidden Details
There’s a complexity to the arrangements that people overlook. Matt Slocum is a cellist. He thinks like a composer. The string arrangements on "The Lines of My Earth" aren't just background padding; they are essential to the counterpoint of the melody.
Also, can we talk about the bass lines? Dale Baker (drums) and Justin Cary (bass) provided a rhythm section that was incredibly tasteful. They never overplayed. On a track like "I Can't Catch You," the bass is doing some really melodic work that drives the song forward without you even noticing it.
The album sold over 2 million copies in the US alone. That’s staggering for a band that started out playing small church basements and indie venues. It’s a testament to the fact that high-quality, thoughtful music can actually win sometimes.
Actionable Steps for Music Lovers
If you want to actually appreciate the Sixpence None the Richer Sixpence None the Richer album beyond the surface level, don't just stream it on a loop while you're doing chores.
- Listen on Vinyl or High-Res Audio: The layers of acoustic guitars and strings in "Kiss Me" and "Anything" get lost in low-bitrate MP3s. You need the dynamic range to hear the "air" around Leigh's voice.
- Read the Lyrics While Listening: Pay attention to the references. Look for the influence of C.S. Lewis and the themes of displacement. It changes the experience.
- Check Out the B-Sides: Tracks like "Sad But True" (not the Metallica song!) and the various remixes of "Kiss Me" show different sides of the band’s personality during this era.
- Compare to The Sundays: If you like this record, go listen to Reading, Writing and Arithmetic by The Sundays. You’ll see exactly where Sixpence was drawing their inspiration from, and it makes you appreciate their unique twist on the genre even more.
The reality is that Sixpence None the Richer created a masterpiece that got overshadowed by its own success. "Kiss Me" is the sun, and the rest of the album is the solar system—often invisible because the sun is so bright, but essential to the whole structure.
Go back. Listen to the deep cuts. Forget the rom-coms for a second and just listen to the music. You’ll find an album that is much darker, much smarter, and much more rewarding than the radio ever let on. It’s a record about being lost and trying to find a way home, which is something that never goes out of style.
Next time you hear that iconic opening guitar lick of "Kiss Me" at the grocery store, remember there’s a whole world of 90s melancholia waiting for you on the rest of that disc. It’s worth the trip.