Our steady-gigging Nashville correspondent faces a ruptured eardrum and considers his recovery.
About three and a half years ago, Graham Nancarrow and I met on a club date in Nashville. We quickly fell in music-love, wrote a bunch of songs, and recorded an album together in 6 days with a few friends laying down bass and drums.
Graham had a headlining gig at Belly Up Tavern in San Diego in early September, and asked me to join him on pedal steel. Monetarily, the gig did not make sense, but love is love, so I cleared my schedule, rounded up a babysitter, and bought a ticket for the wife in an attempt to shoehorn a needed couples vacay into a gig in a beautiful location with beachside accommodations.
The day of the show, I joined Graham surfing. I had never surfed before, and I still haven’t. I just got beat around by waves that pushed plenty of the Pacific into my ears.
“Sometimes, I fear I push my plugs too deep—maybe that did it? The ocean waves didn’t help. The pharmacy ear-cleaning thing definitely did not help. Rock ’n’ roll is a contact sport. You take some hits.”
When we went to soundcheck, my hearing was at about 60 percent, so I walked to a pharmacy to find a miracle remedy. I spent $40 on a kit that douched out my ears and took my hearing down to about 20 percent. My hearing was so bad at soundcheck that I couldn’t tell if my backline amp was blown or I was just hearing it wrong. (It was blown.) I was nauseous and had vertigo and a raging headache. The last time I felt this bad was 30 years ago when I had the misfortune of getting in an altercation with a guy who tested out some karate moves on me. (I don’t recommend it.) He hit me on both ears simultaneously with two open palms and I dropped immediately. Soundcheck felt similar.
Afterwards, my new bandmate Tommy dropped me at an urgent care where the doctor told me I had a ruptured eardrum and a double infection. The diagnosis terrified me; I felt tears welling up as I pondered my new semi-deafness. The doctor quickly put me at ease, assuring me that most ruptured eardrums heal completely. He scripted me some ear drops and pills, and told me to avoid loud sounds and stay out of the ocean. He said I could play the gig that night with earplugs but to take off two to six weeks, get a follow-up appointment, and my ear should be fine.
To define our terms: A ruptured eardrum is a tear in the thin membrane that separates the outer ear from the inner ear. The eardrum can rupture when pressure increases, like from a very loud noise near the ear, or a rapid change in ear pressure, such as when flying, scuba diving, or driving in the mountains. A ruptured eardrum can result in hearing loss and make the middle ear vulnerable to infections. Small holes can heal in three to six weeks, but bigger ones can take many months to heal. Sometimes surgery is needed to repair the eardrum.
I’m not really sure how I ruptured my eardrum. I’m around loud music too often, and as little as 70 dB (the volume of a washing machine) over a prolonged period of time may damage your hearing. Loud noise above 120 dB (a siren) can cause immediate harm to your ears.
I wear earplugs often. That helps protect your ears while simultaneously forcing wax deep into your ears, which eventually will need to be removed, but you put yourself in danger of puncturing your eardrum while attempting to do so. Despite normally using earplugs at loud gigs, I do take the occasional unprotected hit when a rehearsal, session, or gig goes from a safe volume to a punishing roar. Sometimes, I fear I push my plugs too deep—maybe that did it? The ocean waves didn’t help. The pharmacy ear-cleaning thing definitely did not help. Rock ’n’ roll is a contact sport. You take some hits.
As I write this, it’s 15 days later, and I’m doing everything that ear-health experts suggest:
Keep your ears dry. (I’ve been so paranoid, I went for a week without showering. My apologies to my family.)
Avoid cleaning your ears.
Don’t blow your nose hard.
I’ve been evaluating my regular live gigs, determining which are too loud and seeking safer environments.
My right ear still feels a bit plugged, and I still have headaches and some vertigo. That said, I’m confident I’ll recover, perhaps with some more battle scars, but functioning fine. What is happening to us, is happening for us. Sometimes, God, the Universe, your higher self, tells you to pump the brakes, reassess, find a balance and take some time to let ourselves heal. Sometimes we listen.
Supported by Keeley, Scan the code or visit robertkeeley.com/lastcall for a special offer!
The legendary Elvis sideman was a pioneer of rockabilly guitar, and his approach to merging blues and country influenced generations of guitar pickers. Here’s how he did it.
Chops: Intermediate
Theory: Beginner
Lesson Overview:
• Craft simple blues-based phrases that lie within the CAGED system.
• Understand how double-stops are used in rockabilly music.
• Improve your Travis picking.
Click here to download a printable PDF of this lesson's notation.
In 2016 we lost one of the most influential guitarists and unsung heroes the world has ever known. The driving force behind Elvis Presley’s first recordings, Winfield Scott “Scotty” Moore III helped shape the sound of rock ’n’ roll and inspire generations of fans. Born in 1931, Scotty caught his big break in 1954 when he was called to do a session with Elvis at Sam Phillip’s Sun Studio in Memphis. History was made that day when Elvis recorded “That’s All Right,” and for about four years, Scotty provided 6-string magic for such Elvis hits as “Heartbreak Hotel,” “Hound Dog,” and “Jailhouse Rock.”
A huge Chet Atkins fan, Scotty grew up listening to country and jazz. This blend would have a dramatic impact on his sound, as he would mix Travis picking with some ear-twisting note choices based on chords, rather than using an obvious scalar approach.
I used a thumbpick on the examples in this lesson to sound as authentic as possible. Using a thumbpick on some notes makes them stand out in comparison to those plucked with the remaining fingertips. Ex. 1 is a classic Scotty-type rhythm riff in E that uses some Travis picking. Play the notes on the 6th and 4th strings with your thumb, and use your index and middle fingers for the double-stops on the 3rd and 2nd strings. This is illustrated in the notation: Attack all the up-stemmed notes with your fingers and down-stemmed notes with your thumb.
Click here for Ex. 1
The next example (Ex. 2) reveals one of the more common elements of Scotty’s lead work: double-stops. It makes sense when you consider that Scotty often performed with just a bass player and drummer, so when it came time to play a solo, he needed to create a strong sense of harmony. The first three phrases begin in the “E” shape of the CAGED system before moving down to the “A” shape and returning to the “E” shape. Those last two measures sit squarely in the “E” shape at the 12th position.
Click here for Ex. 2
Ex. 3 returns to Scotty’s Travis-picking influence by outlining an A chord before leading the idea in a new direction with double-stops. The example begins in the “C” shape and resolves in the “E” shape, though this wouldn’t have meant anything to the legendary guitarist. However, his reliance on moving the five basic chord shapes around the neck is undeniable.
In this version of “Hound Dog”—a song originally recorded by Big Mama Thornton—Moore takes a bluesy solo starting at :45.
Click here for Ex. 3
The blues was an essential part of Scotty’s style, and Ex. 4 shows something he might play over the first eight measures of a blues in E. To use the moves in any given key, it’s important to understand how intervals work within a chord. For example, over the E7, I’m approaching the root and 3 (G#) with a half-step slide. With that information, you’re able to transpose this musical shape all over the neck. Approach each double-stop with this method, and you’ll get a lot of mileage out of this rather simple lick.
Click here for Ex. 4
Ex. 5 shows some of Scotty’s single-note ideas, though the phrase still begins with a double-stop on the top two strings to grab the listener’s attention. Measures three and four use a strange collection of notes. Scotty isn’t thinking of a scale here. The phrase begins with a bluesy flourish and a melodic descent to the root. When he gets there, he moves down a half-step to the 7 (an unusual note to play on a dominant chord, but if it sounds good, it is good), and then up again to resolve to the A chord.
Click here for Ex. 5
Scotty was also a big fan of using three-note grips. In Ex. 6, you can see how these ear-grabbing sounds would work over our blues progression. It begins with an E triad in the “D” shape. It’s genuinely amazing how many great chordal licks Scotty could come up with by using just a few chord forms.
Click here for Ex. 6
Ex. 7 is a little trickier, but a great example of how to move from an A chord to an E chord using some double-stops and single notes along with position shifts and sixths. This is very much a country phrase and evidence of the genre’s importance to the rockabilly sound.
Click here for Ex. 7
The final example (Ex. 8) is a longer, 20-measure piece outlining a full progression with Scotty's superb Travis-picking ideas. While this isn’t a column specifically on Travis picking with a collection of exercises to develop that skill, here are a couple of simple tips that should help you navigate this music.
First, focus only on the bass notes. The thumb needs to be automatic. Strive to put no thought into playing the bass part. This takes time but eventually you’ll be free to concentrate on the melody. The last part to absorb is the excellent ending chord. It’s a maj6/9 with the root on top—very common in the rockabilly style.
Click here for Ex. 8
From here it’s easy to hear Scotty’s immense influence on guitardom. It would be well worth your time to go down a rabbit hole of YouTube vids from the CAAS (Chet Atkins Appreciation Society) conference. Nearly every player from that scene owes a debt to Mr. Moore.
Nashville's historic Gruhn Guitars give PG an exclusive look at a very early amp that is a piece of rock history that preceded the heralded JTM45. Amp builder and reverb aficionado Eric Borash of Ebo Sounds shares his expertise on this rare amp's lineage, while John Bohlinger plugs in Dan Auerbach's old '60s ES-335 to test it out.
Metallica's M72 World Tour will be extended into a third year with 21 North American shows spanning April, May, and June 2025.
The M72 World Tour’s 2025 itinerary will continue the hallowed No Repeat Weekend tradition, with each night of the two-show stands featuring entirely different setlists and support lineups. These will include the band’s first Nashville shows in five years on May 1 and 3 at Nissan Stadium, as well as Metallica’s return to Tampa after 15 years on June 6 and 8 at Raymond James Stadium. M72 has also confirmed its much anticipated Bay Area hometown play, to take place June 20 and 22 with the band’s debut performances at Levi's Stadium in Santa Clara.
In a new twist, M72 2025 will feature several single shows bringing the tour’s full production, with its massive in-the-round stage, to venues including two college football stadiums: JMA Wireless Dome in Syracuse, New York on April 19, and Metallica's first ever visit to Blacksburg, Virginia, home of the Virginia Tech Hokies. The May 7 show at Lane Stadium will mark the culmination of 20+ years of “Enter Sandman” playing as the Hokies take the field.
In addition to playing football stadiums across the nation, the M72 World Tour’s 2025 itinerary will also include two festival headlines—the first being the opening night of the run April 12 at Sick New World at the Las Vegas Festival Grounds. May 9 and 11 will then mark a festival/No Repeat Weekend combo as Metallica plays two headline sets at Sonic Temple at Historic Crew Stadium in Columbus, Ohio.
Support on M72’s 2025 North American run will come from Pantera, Limp Bizkit, Suicidal Tendencies and Ice Nine Kills. See below for specifics.
Additionally, M72 2025 will see Metallica’s long-awaited return to Australia and New Zealand.
M72’s 2025 North American leg is produced by Live Nation and presented by new sponsor inKind. inKind rewards diners with special offers and credit back when they use the app to pay at 2,000+ top-rated restaurants nationwide. The company provides innovative financing to participating restaurants in a way that enables new levels of sustainability and success. Metallica fans can learn more at inkind.com.
Citi is the official card of the M72 tour. Citi cardmembers will have access to presale tickets beginning Tuesday, September 24 at 10am local time until Thursday, September 26 at 10pm local time through the Citi Entertainment program.
Verizon will offer an exclusive presale for the M72 tour in the U.S through Verizon Access, just for being a customer. Verizon Access Presale tickets for select shows will begin Tuesday, September 24 at 10am local time until Thursday, September 26 at 10pm local time.
* Citi and Verizon presales will not be available for Sick New World, Sonic Temple or the Toronto dates. Verizon presale will not be available for the Nashville, Blacksburg or Landover shows.
As always, a portion of proceeds from every ticket sold will go to local charities via the band’s All Within My Hands foundation. Established in 2017 as a way to give back to communities that have supported Metallica over the years, All Within My Hands has raised over $15 million – providing $8.2 million in grants to career and technical education programs including the ground-breaking Metallica Scholars Initiative, now in its sixth year, over $3.6 million to combat food insecurity, more than $3.5 million to disaster relief efforts.
For more information, please visit metallica.com.
Metallica M72 North America 2025 Tour Dates
April 12 Las Vegas, NV Sick New World @ Las Vegas Festival Grounds
April 19 Syracuse, NY JMA Wireless Dome *
April 24 Toronto, ON Rogers Centre *
April 26 Toronto, ON Rogers Centre +
May 1 Nashville, TN Nissan Stadium *
May 3 Nashville, TN Nissan Stadium +
May 7 Blacksburg, VA Lane Stadium *
May 9 Columbus, OH Sonic Temple @ Historic Crew Stadium
May 11 Columbus, OH Sonic Temple @ Historic Crew Stadium
May 23 Philadelphia, PA Lincoln Financial Field +
May 25 Philadelphia, PA Lincoln Financial Field *
May 28 Landover, MD Northwest Stadium *
May 31 Charlotte, NC Bank of America Stadium *
June 3 Atlanta, GA Mercedes-Benz Stadium *
June 6 Tampa, FL Raymond James Stadium +
June 8 Tampa, FL Raymond James Stadium *
June 14 Houston, TX NRG Stadium *
June 20 Santa Clara, CA Levi's Stadium +
June 22 Santa Clara, CA Levi's Stadium *
June 27 Denver, CO Empower Field at Mile High +
June 29 Denver, CO Empower Field at Mile High *
* Pantera and Suicidal Tendencies support
+ Limp Bizkit and Ice Nine Kills supp
Beetronics FX Tuna Fuzz pedal offers vintage-style fuzz in a quirky tuna can enclosure.
With a single "Stinker" knob for volume control and adjustable fuzz gain from your guitar's volume knob, this pedal is both unique and versatile.
"The unique tuna can format embodies the creative spirit that has always been the heart of Beetronics, but don’t let the unusual package fool you: the Tuna Fuzz is a serious pedal with great tone. It offers a preset level of vintage-style fuzz in a super simple single-knob format. Its “Stinker” knob controls the amount of volume boost. You can control the amount of fuzz with your guitar’s volume knob, and the Tuna Fuzz cleans up amazingly well when you roll back the volume on your guitar. To top it off, Beetronics has added a cool Tunabee design on the PCB, visible through the plastic back cover."
The Tuna Fuzz draws inspiration from Beetronics founder Filipe's early days of tinkering, when limitedfunds led him to repurpose tuna cans as pedal enclosures. Filipe even shared his ingenuity by teachingclasses in Brazil, showing kids how to build pedals using these unconventional housings. Although Filipe eventually stopped making pedals with tuna cans, the early units were a hit on social media whenever photos were posted.
Tuna Fuzz features include:
- Single knob control – “Stinker” – for controlling output volume
- Preset fuzz gain, adjustable from your guitar’s volume knob
- 9-volt DC operation using standard external power supply – no battery compartment
- True bypass switching
One of the goals of this project was to offer an affordable price so that everyone could own a Beetronicspedal. For that reason, the pedal will be sold exclusively on beetronicsfx.com for a sweet $99.99.
For more information, please visit beetronicsfx.com.