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Lauren Oxford

by Lauren Oxford

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  • Compact Disc (CD) + Digital Album

    physical media lovers rejoice!
    • the CD comes in a protective sleeve and has a four-panel gatefold case with a plastic tray for the disc & a pocket for the six-page lyric booklet
    • artwork, design, photography, hand lettering, and layout by Lauren Oxford (with help from Emma Oxford)

    Includes unlimited streaming of Lauren Oxford via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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1.
Magnitude 05:00
oh, we should’ve known when our families went a-runnin’ but we ignored the little trembles: we were in love, there was no earthquake coming we thought the rumbles were thunder and we both loved dancing in the rain so we waited for a storm but the waters never came the earth spread between us was always our weakness oh, you were so far away but this gaping chasm—how it happened, i can’t fathom call it distance, but we know it’s something different oh, there was a time when i loved you more than i’ve loved anything i built a life, and it was all around you oh, i was yours, and darling, you were mine but the miles and the silence… love, we drew our own fault lines the earth spread between us was always our weakness oh, you were so far away but this gaping chasm—how it happened, i can’t fathom call it distance, but we know it’s something different oh, they say you can rebuild from ashes into flame but you can’t get it all back; some things will never be the same so, must we decide where to cast the blame? an earthquake is an earthquake— the rubble is all we can claim the earth spread between us was always our weakness oh, you were so far away but this gaping chasm—how it happened, i can’t fathom call it distance, but we know it’s something different
2.
she dyes her hair brown by herself; she has for thirty years reprimands my paw-paw for not “turning up his ears” it was christmas of ‘19 the last i saw her, the memory, now lost to time, is just a blur i go out twice for groceries the two months i’m at home but when i must go back to work, i call her on the phone when my masks come in the mail i nearly cry: the sandwiches she ate to save all those twist ties… paw-paw’s ninety-one now; grandmother’s eighty-nine i thought the choice would make itself, given all this time if i got them sick, i’d never right that wrong but they’re not getting any younger; how long, how long, how long? one year is stretching into two—no giving, only taking uncertainty claws up a heart that’s busy, busy breaking i sit here wondering where is the boundary? how far, what risks—god all i want’s to feel her arms around me
3.
cat’s talked to me about her mom before a snapshot of a moment, a thing she used to say it always made me smile, but i never pressed for more i knew when she was ready, she’d find her way but i couldn’t have prepared myself for the story of maria— her passion for adventure, her levelheadedness, a woman full of courage and good ideas— i’ll try my best to tell it, and it begins with this: she was barely old enough to understand the changing world, her mom’s command to never touch the windows then they pasted them with paper and she couldn’t even look out anymore and so she learned the sacrifice of war: one night, while she was fast asleep, the nazis came and did a sweep and took away her father in the morning light, she woke to find him gone, and even after he returned, she’d seek him out of deep concern even though i never met her, all these things i know about her— how could i not see her in you? she was always there beside you, a steady hand to hold and guide you it’s so clear she’s soaring still in the heart that beats inside you maria grew up tall and wise, fell in love and married job, and in the sky from the plane’s round window, saw their new home like a welcome mat, all wilderness and endless green expanse like a promise, like a chance even though i never met her, all these things i know about her— how could i not see her in you? she was always there beside you, a steady hand to hold and guide you it’s so clear she’s soaring still in the heart that beats inside you in portland, they raised you and jake, led hiking trips and swam in crater lake and then took to the air she was trying for her silver badge, soaring in her glider up above she was doing what she loved. even though i never met her, all these things i know about her— how could i not see her in you? she was always there beside you, a steady hand to hold and guide you it’s so clear she’s soaring still in the heart that beats inside you you talked to me about her some before a snapshot of a moment, a thing she used to say it always made me smile, but i never pressed for more i knew when you were ready, you’d find the way until you never did, at least not how you wanted to pen hovering above a page that’s blurred trying until giving up, a writer through and through who simply couldn’t ever find the words but now… even though i never met her, all these things i know about her— how could i not see her in you? and you were always there beside me, a steady hand to hold and guide me it’s so clear she’s soaring still in the heart that beats inside me
4.
On Death 04:30
my mother told me i didn’t have to look as if she didn’t know that i had to look the flowers on the casket were bold against the white i stood there, stoic, silent, still, and paling at the sight beneath her skin, the blood ran not, the toxins did their job: with makeup and formaldehyde, time itself was stalled i scoured for some traces of the nana that i knew and willed my mind to overlook the fake, the waste, the skew they painted on a face that i had never seen before the fuchsia dress was something that she never would have worn fake nails upon her fingers, pink rouge upon her cheek— they tried their best, but Death had had her marked for o’er a week when you leave the living, there’s nothing left to see it does no good to hold onto a body ceased to be for every other flying, swaying, swimming thing on earth, death is just as natural as its close companion, birth when my time has come to leave the ones i love behind and carry nothing with me but the knowledge i was kind, do not let this body fall into the hands of men who’d try to make me look as if i were alive again i refuse to leech into the soil and the stream for purposes no grander than a money-sucking scheme that tarnishes my memory, the image i now see of her; i lie awake at night and wish it’d leave me be so take me to the body farm and study how i go or let me be a vessel for a cure, for life, for hope if ashes go to ashes and dust blows back to dust then bury not, but plant me, if to ground return i must let me fuse with water clear, with dirt and seed and light let me grow into a perch for weary birds in flight and if you seek my presence, loved one, come sit here with me and realize that this tree and you apart can never be
5.
Siren 06:00
you’re lost on a sea that you sailed on now it’s cold and rough where you are it’s a harsh wind blowing but i did not call this storm you see i’ve just been here, open-armed, invitingly i’ve been alone on this sea for so long i wanted to touch, i had to feel love before these waves took me under but [ava] you came to me in the dark, in the dark and as gentle as a siren can be i caught you and i held you down oh if the pink light of morning would wash all the demons out of here i could lie down on your ground and pull my body near but the knots in my stomach are telling, there’s nowhere to rest, there’s no place to go, and the shadows, they keep on with their shanty song it’s the darkest horse that’s chasing me down and the gods here have no care where you go when you drown i’ve been mistaken for something i’m not for something i wished i could be: pretty and fine, i’d draw the line at just singing soothingly but i’ve been a liar i have been ugly, i can be ugly and we’ll join the venture and the morning star singing haul away my laddie-o... you’re lost on a sea that you sailed on now it’s cold and rough * [ava] was the name i substituted to make this song a little gayer; in Joan Shelley's version, "Aden" is what was written and sung. i also possibly changed a couple of other words, made everything lowercase, and added extra punctuation as i am wont to do
6.
Sleeping 03:50
started off driving an hour just to sleep beside her third floor, one bed apartment no elevator snuggled up close ‘til we got tired, a kiss goodnight and then scoot to our separate sides of her childhood bed, size twin i’m pressed against the wall, our pillows overlapping, twisting to accommodate her cat between us napping now we just walk a few feet to our bedroom down the hall a pillowy, plush queen bed with room for both to sprawl except when now we slumber, it’s close and warm and soft i need her there to touch, to hold, to ground my drifting off deep in sleep she follows me each time i toss or turn like dancing puzzle pieces taught, unconsciously, to yearn
7.
bimonthly, i’m going to therapy i’m trying my best to write songs i let people tell me they love me and i try not to tell them they’re wrong some say you can’t love others until you love yourself speaking on behalf of us with imperfect mental health but i don’t see how that can be true when so much of me is my love for you and why would i hurt somebody else when i can take any bad thing out on myself? if there’s anything that’s true for me, if there’s anything i’ve learned i’ve gotta live with the bridges i’ve built and the bridges that i’ve burned got an arsenal of answers that i use to survive: distract, devote, consume, fawn, and self-deprive because why would i hurt somebody else when i can take any bad thing out on myself? it’s hard for me to understand how you’re still here steadfast in your belief that this fog will clear i can’t make any sense of what you see in me when i’m drinking up the waters of the self-hating sea i worry that it’s too late to paint myself anew but if i can’t do it for me, then i’ll do it for you is that wrong? is that wrong? am i wrong? am i wrong? ‘cause why would i hurt somebody else when i can take any bad thing out on myself? there’s all this love that hums somewhere deep inside of me and it’s all reserved for others and something that i never see and is it healthy? no, but it’s what i do to cope we’re all doing whatever we must, whatever we can, to cope: bimonthly, i’m going to therapy i’m trying my best to write songs i let people tell me they love me and i try not to tell them they’re wrong
8.
amber streetlight birds through the window made their home in her flyaway hairs shrouding her, surrounding her—a halo, a glow kissing every last strand as i stared wondering just what i’d done to deserve her as the sight snatched the breath from my lungs and my heart through the tears saw a great golden blur and it knew, and it knew she’s the one amber streetlight birds through the window made their home in her flyaway hairs shrouding her, surrounding her—a halo, a glow kissing every last strand as i stared wondering just what i’d done to deserve her as the sight snatched the breath from my lungs and my heart through the tears saw a great golden blur and it knew, and it knew she’s the one oh, my heart through the tears saw a great golden blur and i knew, and i know you’re the one
9.
the worry comes, it stays a while walks holes into my shoes it dulls the edges of my smile it loves the dark and sings the blues beguiling lies it speaks to me in manner logical and plain, says, “if you love her, set her free; she’s trapped and you’re the windowpane” that worry comes more than it goes, but this is what rings true: not every love will last, i know, but some of them do, some of them do but i cannot draw a line now, say what’s yours and what is mine my soup of dreams and fears allowed with yours to intertwine makes dreams the spice and hope the broth and fear the steam to rise and fall away; we cook the excess off and eat tomorrow what’s made today the worry comes more than it goes, but this is what rings true: not every love will last, i know, but some of them do, some of them do love is not the biggest gestures love is not the highest highs it’s a series of conjectures you will constantly revise i know i’m more than what i’ve learned from my parents, from the world a fading, lonely moth once burned, my wings would not give up their furl but you were scared and lonely too we made our home, we took a chance our wings now warm, we flew and flew diurnal moths in sunlight dance my worries come more than they go, but this is what rings true: not every love will last, i know, but some of them do, some of them do my worries come more than they go, but this is what rings true: not every love will last, i know, but some of them do, some of them do.

about

For so many reasons, this would not have happened without the filk community, which boasts so many wicked talented musicians who wove a whole lot of magic into my songs, and who just so happen to be some of my dearest friends (I think that love shines through the music in a big way). Every instrument you hear on my album was played by a woman, an intentional choice made by a very stubborn lesbian. There are strings, woodwinds, harp, percussion, and more that help color in the lines drawn by my oft-alt tuned guitar, banjo, and ukulele.

I guess this is where it all begins for me in an official sense, slapping my brand new married name onto my first album as if I know who that is, as if songs rooted in the relationships I have with other people and with myself are the thesis statement of who I always will be as a musician. But at the same time, I want more than anything for this labor of love, this outpouring of friendship and generosity, these songs that I hope offer a pearl of something universal in the oyster of the personal, to be a part of who I always will be.

So, maybe "Lauren Oxford" will stand the test of time.

And maybe one day Lauren Oxford will learn not to take herself so seriously.

credits

released October 28, 2022

all songs by Lauren Oxford
except for "Siren" by Joan Shelley (used with permission)

Executively Produced by Peter Popovich
Produced by Lauren Oxford & Eric Distad
Mixed, Mastered, Engineered, & Mostly Recorded by Eric Distad
at Sidekicks Studios in Oregon City, Oregon, USA

Lauren Oxford: lead vocals, guitar, banjo, ukulele; harmony vocals (5)
Jen Midkiff: lever harp; harmony vocals (4 & 9)
Sunnie Larsen: violin, viola; harmony vocals (4 & 7)
Betsy Tinney: cello
Jen Distad: bass, shaker, tambourine, drum programming
Cathy McManamon: recorder, bamboo flute
Dr. Mary Crowell: clarinet, bass clarinet
Dr. Cat Faber: mandolin, octave mandolin
Brenda Sutton: bodhrán
Dr. Sally Childs-Helton: cajon, djembe

cajon, djembe, & bodhrán recorded by Bill Sutton
cello recorded by Betsy Tinney
mandolin & octave mandolin recorded by Cat Faber
clarinet & bass clarinet recorded by Mary Crowell

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about

Lauren Oxford Sevierville, Tennessee

Lauren Oxford is a songwriter, folksinger, and filker who lives in the mountains of East Tennessee with her wife Emma & their three cats. Her debut album combines soul-bearing, heartfelt lyricism and lush, thoughtful orchestration, courtesy of some of her dearest friends.

She is also a member of folk “queertet” The Starlight Darlins, whose first EP is also available on Bandcamp. (see link below)
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