According to critically acclaimed singer-songwriter Michael McArthur, writing music is a form of therapy. But as listeners, we realize we also feel highly affected… McArthur has a voice that soars like a kite in the wind. His vibrato, like the flutters of wings- effortless.

His latest release “Too Hard, Too Fast” begins with layers and layers of hand percussion. Next, enter acoustic guitar and bass….McArthur’s bluesy down-to-earth and folkish sound comes to life. Vocally, we’re immediately reminded of a more earthen and poetic Gavin Degraw (circa 2010).

We are painted an unexpected and eclectic picture…“Hard hands on a matador (and I’m out that door)…We’re left wondering- what could he possibly mean?

Then we land on the phrase: “What a cryin’ shame, I won’t remember your name”

Guitar pings, exposed vocals, hand claps, and light percussion all meld into this raw thing- a forest if you will. McArthur performs sections of sing-song-speak vocals which range from pure and melodic to sassy ones with a bit of a bite.

“When you go too hard, too fast (It’s a lonely road)”

Out of the deep strings, percussive shakers, tambourines, and shells emerge a distinct feeling: Unease.

“Press blues, a diamond ring, dress shoes…”

Lyrically we shift from “I won’t remember your name” to “We won’t remember your name” and get the sense that the melancholic feeling or problem is being passed from person to person…

The next musical event is a distorted guitar solo- It is laid back yet melismatic at the end of phrases (overall perpetuating that wistful and forlorn feel).

We reach the conclusion again: “When you go too hard too fast, it’s a lonely road”. The vocals thicken and double during this line, giving it more emphasis and presence than the last time. The sentiment grows and grows…

Next saxophones emerge out of the thicket of sound. They swell to the right of the sonic space and strong percussive hits take the stompy folk feeling and turn it into something new.

“With both feet on the gas, you’re gonna sink (like a storm)”

“Too Hard, Too Fast” ends abruptly with a court guitar strum and vocal riff.

Is this song a warning?

It is certainly twisted with feelings of regret.

Who is going the wrong way?

Maybe all of it- Like a contagion, the energy seems to spread… sneakily…

Q&A

At the beginning of the song, what is the person talking in the background saying?

I’m not sure exactly what’s being said. Aaron Marsh and I recorded this song together. We also played all of the instruments. What we would do is press record and pick up a tambourine or get behind the congas, or clap, etc. There’s always conversation happening. It could be something as simple as “all right, here we go.” We decided to leave it all in to help lift up the inherent authenticity in the song.

Who is it that’s going too hard and too fast in the song?

Too Hard, Too Fast is a song about standing up for yourself and being resilient in struggle. There are three verses and each verse tells the story of a different type of struggle, physical, spiritual, and psychological. The person going too hard, too fast is the abuser.

Who played saxophone(s) on the track?

That’s actually a trombone. Aaron played that. He’s a multi-instrumentalist and trombone is one of his many gifts.

Your line “Press blues, a diamond ring” is very poetic. What does it mean?

Well, it’s meant to create imagery of someone who is in a position of power where money is the source of their perceived power.

The photo you chose for this one-what does it mean? It is purposefully desolate looking?

I took this photo at White Sands National Park in New Mexico using a Canon AE-1 35mm camera with Kodak Tri-X 400 black and white negative film. White Sands is a beautiful place, and I’d love to go back sometime, but there’s something about the desolation in this particular photo, along with that grain and grit that felt right for the song. It gives that lonely vibe.

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