Published: February 21, 2007 05:01 pm      

Tanner performs at Center for Performing Arts

By J OSBORNE

Editor

Performer Dave Tanner played the seventh of eight scheduled concerts to a full house Tuesday.

Each of these concerts was for the benefit of the Gainesville Education Foundation.

At 6:30 p.m. there were seven tickets remaining. When the show began, all tickets were sold.

His last concert of the series, “When Irish Eyes Are Smiling,” is slated for March 13 at the First State Bank Center for Performing Arts.

That program is, according to his Web site, “Dave’s most ambitious program (he plays four instruments, dances a jig, and speaks in a convincing Irish brogue), this is a loving tribute to Ireland and the Irish in all of us March 17th. Between choruses of Tura Lura Lura, and Danny Boy (lyrics provided), you’ll laugh at clean limericks, meet the original Patrick, and learn all about those Wee Folk, the Leprechauns. “

Tanner called last night’s show “Nashville: The Story Behind the Sound.”

He told of the beginnings of the city of Nashville, Tenn. called the Athens of the south and how the city became known as “Music City,” over the objections of the movers and shakers.

Tanner described the legacy of the Vanderbilt’s prestigious university, of other educational institutions and conservatories civic contributions and the rise of the symphony orchestra and opera. He also noted that “hillbilly” music was not looked upon as a favorable sound by the gentry.

He described how in the 1920s an insurance company, Nashville Life Insurance, started a radio station, WSM – for “We Sell Millions” – to advertise their product. The station allowed musicians to perform to fill the air time between commercials, including a two-hour block set aside Saturday for the earthy, back to the soil music of the Tennessee mountain region.

Even though the society didn’t like the music, the insurance company noticed the two hour country music block produced more sales than any other segment. Over the protests of the gentry, Tanner said, changes were made to cater to that segment of the public. Soon the orchestra became the Possum Hunters, the band was called Dixie Clodhoppers, and the station played up the entire hillbilly shtick.

The show got its name when the Master of Ceremonies, Judge Hays, said as lead in to the country segment, “For the last two hours you’ve been listening to Grand Opera. For the next two hours you’re going to be listening to the Grand Ol’ Opry.”

He said performers began to flock to the station. Performers such as Sarah Ophelia Colley, better known as the lovelorn Minnie Pearl. Before her first show, she bought some used clothes including an old hat with the price tag still attached and stood up on the stage and told some of the oldest jokes known. She was on the Grand Ol’ Opry for 40 years.

Tanner said in the ’20s and ’30s there was country music and there was western music. The two had not yet merged. But slowly the western musicians, with their sequined coats and pants started to be heard on the Opry.

In the ’40s he said the city became home to the first publishing house when country music performer Roy Acuff and Nashville talent scout Fred Rose formed Acuff-Rose Music.

He told the audience Eddy Arnold was the first crossover artist played on both pop and country stations. In 1947-1948 Arnold had the number 13 of the top 20 songs.

In the ’50s country was becoming more popular with the masses. Meanwhile the Opry was trying to stick to their acoustic roots and the “back to the soil” songs, ignoring or barely noticing the western songs or the advent of the electric guitar and the introduction of drums into the musical mix.

Tanner said Hank Williams tore the lid off with his wild ways and wild talent.

He said by 1952 Nashville began to refer to itself as Music City. The one thing it didn’t have, Tanner said, was a recording studio. In 1959 that was remedied when Bradley’s Barn was built as a recording to studio. By 1961 200 music writers lived in the city.

Patsy Kline broke onto the scene in the 60s Tanner said. He said she had a look, when she was crossed, that would make a freight train take a dirt road, but she helped many other singers get their start.

Tanner said the country music scene got to the point where every song produced a comedic response, then he performed the response to “Crying Time,” “Football Time.”

Slowly, Tanner said, Country Music became an Amalgam of music, Starting in 1950 when western dressed PeeWee King, with his electric sounds sung the song that would become the Tennessee State Song, the Tennessee Waltz”

In the 60s every song had to have a hook, a unique title that would grab you, such as “Drop Kick Me Jesus through the Goal Posts of Life.” It seemed that if a song was written with a catchy title, it was sure to be a hit.

People were coming to Nashville that you would never think would come to Nashville, including Bob Dylan as well as, “that famous country singer, Dean Martin.”

Tanner said Chet Atkins decided to make his home in Nashville and he assembled a core group, including Boots Randolph on saxophone, Anita Kerr for choral arrangements, Floyd Kramer on piano and assorted members of the symphony. This sound became known as the Nashville Sound.

Nashville, he said, had started going so pop and pop was going so country that it was hard to tell which was which.

In the 70s and 80s Tanner said, “Country was just Rock-n-Rollers with a hat on.”

He said country artists were crossing pop lines everyday. He gave an example as part Native American Shania Twain. Shania, he said was the ojibwa word for “If you bump and grind they will buy it.” Tanner said Nashville was going to be homogenized out of existence.

He said that 9-11, in many ways, was a wake up call. The roots of country captured the spirit of the nation.

Lee Greenwood singing “God Bless the USA,” helped heal the country and returned country music to country.

If you’re happy, Tanner said, there’s a song from Nashville that reflects that. If you’re sad, there’s a Nashville song that shows not only did someone else share your misery, but was able to make a buck while telling about it.

Gainesville ISD Education Foundation Director Marcia Schmitz said the foundation had raised in excess of $200,000 in endowments and so far $110,000 has gone to the teachers for their use. For more information call 665-0255 ext. 8.