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David Allan Coe

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Coe, David Allan

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Songwriter, singer

Country performer David Allan Coe is "a bold and inventive artist," according to Alanna Nash of Stereo Review. Yet it is debatable whether he has had greater success as a singer or in writing songs for other country stars. Tanya Tucker's "Would You Lay with Me" and Johnny Paycheck's "Take This Job and Shove It" are both Coe's compositions. As for his own recordings, Coe is perhaps best known for the humorous "You Never Even Called Me by My Name" and "Long-Haired Redneck." Those two hit the top of the country charts during the mid-1970s, but his later work has also received much critical acclaim.

Coe's path to country stardom was difficult. Born on September 6, 1939, in Akron, Ohio, he came from a broken home. Because of his early antisocial attitude, he was sent to a reform school in Michigan when he was nine years old. Coe spent most of his youth in several similar facilities; every time he was released, he managed to do something to get incarcerated again. His early crimes included possession of burglary tools and car theft.

Eventually, at the age of 20, Coe began a series of prison terms in the Ohio State Penitentiary. During one of these, he killed a fellow inmate who made homosexual advances towards him. Despite a possible self-defense motive in the incident, Coe was sentenced to death. While on death row he was reunited with his foster father, who had also been convicted of murder. Coe had found the time during his various prison terms to learn to play the guitar, and he and his foster father occupied themselves by writing songs.

Released Debut Album
Before their sentences could be carried out, Ohio repealed the death penalty and Coe's term was commuted to life. Thus reprieved, he began to take an even greater interest in his music, and was allowed to perform for his fellow inmates. This constructive activity made the parole board look favorably upon Coe, and they freed him in 1967. He headed straight for Nashville, Tennessee. He slept in his old car and sang and played for food. Coe tried to sell the songs he had written in prison; his lyrics reflected his experiences, and were often seen as too raw and harshly realistic for country music. Even so, he was soon signed to the small SSS label and released his debut album, the aptly titled Penitentiary Blues. It was not a popular success, but it received favorable notice from many music critics. Two singles from Penitentiary Blues got a fair amount of airplay—"Tobacco Road" and "Two Tone Brown."

Coe switched to the Plantation label during the early 1970s, recording a spoof called "How High's the Watergate, Martha?," and a minor hit, "Keep Those Big Wheels Running." But he received his first major attention when other artists began recording his compositions. Many famous country singers had gradually begun adding Coe's songs to their albums or performing them in concerts, when his "Would You Lay with Me (In a Field of Stone)" was selected for one of Tanya Tucker's albums. The tune became a huge hit for the young Tucker in 1973, and major record companies noticed its composer.

The Perfect Country Song
One such company was Columbia Records, which asked Coe for some demonstration tapes. Satisfied with what he provided, Columbia signed him, and Coe released his first major album, The Mysterious Rhinestone Cowboy, quickly followed by The Mysterious Rhinestone Cowboy Rides Again. Ironically, his first smash hit, 1975's "You Never Even Called Me by My Name," was not one of his own compositions, but rather Steve Goodman's. Something of a novelty, the song featured Coe's imitations of various famous country singers, including Merle Haggard and Charlie Pride. But it might not have fared as well with fans without the last verse that Coe added. Apparently Goodman had told him that "You Never" was the perfect country song; Coe allegedly replied that Goodman had left out several elements essential for making that claim–getting drunk, rain, prison, trains, trucks, and Mama. So Coe threw them all into a final verse, which described being drunk while driving his pickup truck through the rain to get his mother, who had just gotten out of prison. Unfortunately, he arrives to find that she has just been run over by a train.

Coe's follow-up hit was 1976's "Long-Haired Redneck," which satirized the trials of a performer whose image does not fit the public expectation of what a country singer should be. Though he released other singles during the late 1970s, such as "Willie, Waylon, and Me" and "If This Is Just a Game," perhaps one of his greatest triumphs was when Johnny Paycheck recorded his composition "Take This Job and Shove It." The tune struck a chord with many fans, and received a Grammy nomination for Best Country and Western Song of 1978.

Country Music Outlaw
During the mid-to-late 1980s, when critics considered many of country music's outlaws to be in artistic decline, Coe continued to make meaningful music. Son of the South, Coe's 1986 album, prompted Nash to exclaim, "It's startling just how good ... Coe can be when he cools his King of the Weirdies act and gets down to the business of music." She went on to praise the songs "Love Is a Never Ending War" and "Cold Turkey." But Coe appeared to return to his usual eccentricities with the following year's A Matter of Life ... and Death—the album cover featured a photograph of his dead father in his coffin, wearing a shirt advertising one of his son's concert tours. Nevertheless, Nash was pleased with this album, too, citing especially the song "Child of God." As he had before, Coe dug into the fabric of his own life, paying tribute to his late father, Donald Mahan Coe. "Coe may have had some hits," wrote Thom Jurek in All Music Guide, "but it's records like this that make one wonder if there wasn't a conspiracy to marginalize him and make him fail."

Following David Allan Coe Live: If That Ain't Country in 1997, Coe released Recommended For Airplay, an album including characteristic songs like "Drink My Wife Away" and "Drink Canada Dry." In 2003 he released another live album, Live at Billy Bob's Texas, and returned to the Top Country Albums chart for the first time since 1987.

In 2002 Coe released Whoopsy Daisy, an audio version of an autobiographical tale originally recorded in 1997. In the book, he tells stories of his own past, from his skirmishes with the IRS to his broken marriages. "Coe comes off not as a complainer," wrote Jurek, "but as a man who has done virtually everything and lived to tell about it." Coe also continued to battle the impressions created by his outlaw image. "Over the years," he noted on his website, "people have gotten the impression that I am prejudiced. ... Sure, I have this thing about controversy. But I don't dislike anybody because of their color or sexual beliefs or whatever."

Although styles in country music have changed a great deal over the course of Coe's career, he has never had difficulty maintaining a fan base. He continues to play as many as 200 dates a year, filling college auditoriums, roadside bars, and state fairs. Coe's website noted, "Each new generation of Rednecks, Kickers, Pickers, Preppies, Skinheads, Deadheads, Hippies and Bikers come to hear David's music."

In 2005 he released For the Soul and For the Mind: Demos of '71-'74, a collection that returned to the start of his career when he worked as a staff songwriter for Window Music. As with his later, better-known material, Coe's songs have revealed his ability to craft hard-hitting lyrics that deliver an emotional wallop. "Say whatever the hell you want about David Allan Coe," wrote Jurek, "but he's one of a kind as a singer, song-writer, and performer."

Selected discography

Singles
"Tobacco Road," SSS, c. 1968.
"Two Tone Brown," SSS, c. 1968.
"How High's the Watergate, Martha," Plantation, c. 1973.
"Keep Those Big Wheels Running," Plantation, c. 1973.
"If I Could Climb the Walls of a Bottle," Columbia, 1974.
"Sad Country Song," Columbia, 1974.
"You Never Even Called Me by My Name," Columbia, 1975.
"Would You Be My Lady?" Columbia, 1975.
"Long-Haired Redneck," Columbia, 1976.
"When She's Got Me," Columbia, 1976.
"Willie, Waylon, and Me," Columbia, 1976.
"Lately I've Been Thinkin' Too Much," Columbia, 1977.
"Face to Face," Columbia, 1977.
"Just to Prove My Love for You," Columbia, 1977.
"Divers Do It Deeper," Columbia, 1978.
"You Can Count on Me," Columbia, 1978.
"If This Is Just a Game," Columbia, 1978.
(With Bill Anderson) "Get a Little Dirt on Your Hands," Columbia, 1980.
"Stand by Your Man," Columbia, 1981.

Albums
Penitentiary Blues, SSS, c. 1968.
The Mysterious Rhinestone Cowboy, Columbia, 1974.
The Mysterious Rhinestone Cowboy Rides Again, Columbia, 1974.
Long-Haired Redneck, Columbia, 1976.
Once Upon a Rhyme, Columbia, 1976.
David Allan Coe Rides Again, Columbia, 1977.
Tattoo, Columbia, 1977.
Family Album, Columbia, 1978.
Human Emotions, Columbia, 1978.
Son of the South, Columbia, 1986.
A Matter of Life ... and Death, Columbia, 1987.
David Allan Coe Live: If That Ain't Country, Sony, 1997.
Recommended For Airplay, Columbia, 1999.
Woopsy Daisy, Coe Pop, 2002.
Live at Billy Bob's Texas, Smith Music Group, 2003.
For the Soul and Mind: Demos of '71-'74, Coe Pop, 2005.

Sources
Books
Coe, David Allan, Just for the Record, Dream Enterprises, 1978.

Periodicals
Country Music, September/October 1986.
People, August 25, 1986.
Stereo Review, October 1986; September 1987.

Online
"David Allan Coe," All Music Guide, http://www.allmusic.com/ (June 10, 2005).
David Allan Coe Official Website, http://www.officialdavidallancoe.com (July 4, 2005).
AMG AllMusic Guide: Pop Artists:

David Allan Coe

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  • Genres: Country

Biography

A life-long renegade, singer/songwriter David Allan Coe was one of the most colorful and unpredictable characters in country music history. One of the pioneering artists of the outlaw country movement of the '70s, he didn't have many big hits -- only three of his singles hit the Top Ten -- but he was among the biggest cult figures in country music throughout his career.

Born in Akron, OH, Coe first got into trouble with the law at age nine. As a result, he was sent to reform school. For the next 20 years, he never spent more than a handful of months outside of a correctional facility -- he spent much of his twenties in the Ohio State Penitentiary. Released from prison in 1967, the wild-haired, earring-wearing, heavily tattooed Coe went straight for Nashville, where he lived in a hearse that he parked in front of the old Ryman Auditorium, the home of the Grand Ole Opry. Although he didn't conform to Nashville's professional standards, he soon gained the attention of the independent label Plantation Records, which released his debut album, Penitentiary Blues, in 1968. Followed within a year by a second volume, all of the songs on these albums were based on his prison experiences.

Coe then toured with Grand Funk Railroad, a signal that he drew as much from rock's traditions as he did from country. Soon, he began performing in a rhinestone suit given to him by Mel Tillis, as well as a Lone Ranger mask, and began calling himself the "Masked Rhinestone Cowboy." Coe's concerts became notorious for their unpredictability -- frequently he would roar up on-stage astride his enormous Harley, swearing at the audience. He cultivated a large cult following with his act, but he couldn't break into the mainstream. However, other artists found success with his songs -- in 1972, Billie Jo Spears had a minor hit with his "Souvenirs & California Mem'rys," and in 1973, Tanya Tucker had a number one hit with Coe's "Would You Lay With Me (In a Field of Stone)." After Tucker's hit, Coe suddenly became one of Nashville's hottest songwriters; some of the biggest country artists -- including Willie Nelson, George Jones, and Tammy Wynette -- recorded his tunes, leading to his own contract with Columbia Records.

Coe's first two singles for Columbia didn't come close to the country Top 40, but his 1975 cover of Steve Goodman's "You Never Even Called Me by My Name" cracked the Top Ten. Although a string of moderate hits followed, he rarely cracked the country Top 40, although in 1977 Johnny Paycheck took Coe's "Take This Job and Shove It" to number one. During his 13-year association with Columbia, Coe released 26 albums, including the double-album set For the Record: The First 10 Years (1984), 1986's Son of the South (featuring Willie, Waylon, Jessi Colter, and other "outlaws"), and the highly regarded A Matter of Life and Death (1987).

Although Coe had a successful career, it was one plagued with many setbacks. The conservative Nashville music industry frequently snubbed him and he had tax problems with the IRS; at one time, they seized his Key West home, and he went to live in a Tennessee cave until he got back on his feet. Toward the end of the '80s, Coe remarried and began to settle down. Throughout the '90s, he was a popular concert attraction in America and Europe. In addition to his musical career, he also acted in a few movies, including The Last Days of Frank and Jesse James. He also published a novel, Psychopath, and an autobiography. The LP Recommended for Airplay was issued in 1999. The new millennium saw the release of Long Haired Country Boy in 2000; Songwriter of the Tear appeared on Cleveland the following year. ~ Sandra Brennan, Rovi
Wikipedia on Answers.com:

David Allan Coe

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David Allan Coe

Coe performing in March, 2009
Background information
Birth name David Alan Coe
Born (1939-09-06) September 6, 1939 (age 72)
Origin Akron, Ohio
Genres Country
Occupations Musician, Songwriter, Actor
Instruments Vocals
Guitar
Years active 1956–present
Labels Columbia, D.A.C., Plantation
Associated acts Confederate Railroad, Bob Wayne and the Outlaw Carnies, Rebel Meets Rebel, Pantera

David Allan Coe (born September 6, 1939) is an American outlaw country music singer who achieved popularity in the 1970s and 1980s. As a singer, his biggest hits were "Mona Lisa Lost Her Smile," "The Ride," "You Never Even Called Me by My Name," "She Used to Love Me a Lot," and "Longhaired Redneck." His best-known compositions are the #1 successes "Would You Lay With Me (In a Field of Stone)," which was covered by Tanya Tucker; and "Take This Job and Shove It," which was later covered by Johnny Paycheck that was later a hit movie (both Coe and Paycheck had minor parts in the film).

Contents

Biography

Coe was born in Akron, Ohio on September 6, 1939.[1] His favorite singer as a child was Johnny Ace.[2] After being sent to a reform school at the age of 9, he spent much of the next 20 years in correctional facilities. Coe received encouragement to begin writing songs from Screamin' Jay Hawkins, with whom he had spent time in prison.[3] Coe was treated poorly by racist inmates because he was friends with African American prisoners.[3] After concluding another prison term in 1967, Coe embarked on a music career in Nashville, living in a hearse which he parked in front of the Ryman Auditorium, where the Grand Ole Opry was located, and caught the attention of the independent record label Plantation Records, and signed a contract with the label.[1]

After the Internal Revenue Service seized his home in Key West, Florida, Coe lived in a cave in Tennessee, and later remarried and got back on his feet.[1]

Music career

Early career

In 1968, Coe released his debut album, Penitentiary Blues, followed by a tour with Grand Funk Railroad.[1] Although he developed a cult following with his performances, he was not able to develop any mainstream success, but other performers achieved charting success by recording songs Coe had written, including Billie Jo Spears' 1972 recording "Souvenirs & California Mem'rys" and Tanya Tucker's 1973 single "Would You Lay With Me (In a Field of Stone)," which was a number one hit, and responsible for Coe becoming one of Nashville's hottest songwriters and Coe himself being signed by Columbia Records.[1] Coe recorded his own version of the song for his second Columbia album, Once Upon a Rhyme, released in 1975.[4] Allmusic writer Thom Jurek said of the song, "The amazing thing is that both versions are definitive."[4] The album also contained a cover of Steve Goodman's and John Prine's "You Never Even Called Me by My Name," which was a Top Ten Billboard hit, and was followed by a string of moderately successful hits.[1]

Coe was a featured performer in Heartworn Highways, a 1975 documentary film by James Szalapski. Other performers featured in this film included Guy Clark, Townes Van Zandt, Rodney Crowell, Steve Young, Steve Earle, and The Charlie Daniels Band. In 1977 Johnny Paycheck released a cover of Coe's "Take This Job And Shove It," which was a number one hit and Coe's most successful song.[1]

Underground albums

While Coe lived in Key West, Shel Silverstein played his comedy album Freakin' at the Freakers Ball for Coe, spurring him to perform his own comedic songs for Silverstein, who encouraged Coe to record them, leading to the production of the independently released Nothing Sacred.[5] Jimmy Buffett accused Coe of plagiarizing the melody of "Divers Do It Deeper" from Buffett's "Changes in Latitudes, Changes in Attitudes," stating "I would have sued him, but I didn't want to give Coe the pleasure of having his name in the paper."[6] In response to the success of Buffett's song, Coe wrote a song insulting Buffett, and it appeared on Nothing Sacred.[6] The album was released by mail order in 1978, through the back pages of the biker magazine Easyriders.[5] Coe's 1979 Columbia album Spectrum VII contained a note stating "Jimmy Buffett doesn't live in Key West anymore," a lyric from a song from Nothing Sacred.[6]

In 1982, Coe released another independent album, Underground Album, which contained his most controversial song, "Nigger Fucker," which resulted in Coe being accused of racism.[7][8] Coe responded to the accusations by stating "Anyone that hears this album and says I'm a racist is full of shit."[3] Coe's drummer at the time, Kerry Brown, is African American and married to a white woman, as was Brown's late father, Clarence "Gatemouth" Brown.[5]

Later career

During the 1980s, Coe enjoyed a resurgence in mainstream popularity, twice hitting the top 10 of the Billboard Hot Country Singles chart with "The Ride" (1983) and "Mona Lisa Lost Her Smile" (1984). "The Ride" recounts a drifter's encounter with the ghost of country music legend Hank Williams. "Mona Lisa" is a mid-tempo ballad about a broken love affair, featuring allusions to the iconic Da Vinci painting. He also just missed the top 10 in early 1985 with "She Used to Love Me a Lot."

In 1990, Coe reissued his independent albums Nothing Sacred and Underground Album on compact disc, as well as the compilation 18 X-Rated Hits.[5] Throughout the 1990s, Coe had a successful career as a concert performer in the United States and Europe.[1] In 1999, Coe met Pantera guitarist Dimebag Darrell in Fort Worth, Texas, and the two musicians, struck by the similarity of the approaches between country and heavy metal, agreed to work together, and began production on an album.[3][9]

In 2000, Coe toured as the opening act for Kid Rock, and The New York Times published an article by journalist Neil Strauss, who described the material on Nothing Sacred and Underground Album as "among the most racist, misogynist, homophobic and obscene songs recorded by a popular songwriter."[10] During the writing of the article, Coe contacted Strauss, but Strauss did not acknowledge any interaction between the two in his article, which only stated that Coe's manager refused to speak on the record.[5][10]

In 2003, Coe wrote a song for Kid Rock, "Single Father," which appeared on Kid Rock's self-titled album, and was released as a single, which peaked at #50 on the Billboard Country Singles chart.[11][12] Rebel Meets Rebel, with Dimebag Darrell, Vinnie Paul and Rex Brown, recorded sporadically between 1999 and 2003, was released in 2006, two years after Dimebag Darrel's murder.[3][9] Allmusic described it as a "groundbreaking" country metal album.[13]

Style

Coe's musical style derives from blues, rock and country music traditions.[1][14] His vocal style is described as a "throaty baritone."[14] His lyrical content is often humorous or comedic, with William Ruhlmann describing him as a "near-parody of a country singer."[15] Stephen Thomas Erlewine describes Coe as "a great, unashamed country singer, singing the purest honky-tonk and hardest country of his era [...] He may not be the most original outlaw, but there's none more outlaw than him."[16]

Coe's lyrics frequently include references to alcohol and drug use, and are often boisterous and cocky.[13] Coe's debut album, Penitentiary Blues was described as "voodoo blues" and "redneck music" by Allmusic's Thom Jurek.[17] It focused on themes such as working for the first time, blood tests from veins used to inject heroin, prison time, hoodoo imagery and death.[17] The album's influences included Charlie Rich, Jerry Lee Lewis, Bo Diddley, Lightnin' Hopkins, and Tony Joe White.[17]

Coe's first country album, The Mysterious Rhinestone Cowboy, has been described as alt-country, "pre-punk" and "a hillbilly version of Marc Bolan's glitz and glitter."[18] Credited influences on the album include Merle Haggard.[18]

Coe's albums Nothing Sacred and Underground Album contained profane, sexually explicit material, including songs making reference to an orgy in Nashville's Centennial Park, sex with pornographic film star Linda Lovelace and insults directed at Jimmy Buffett and Anita Bryant.[6][7] The album Rebel Meets Rebel featured an anti-racist song, "Cherokee Cry," which criticizes the United States government's treatment of Native Americans.[13]

In his early career, Coe was known for his unpredictable live performances, in which he would ride a Harley-Davidson motorcycle onto the stage and curse at his audience.[1] Coe has also performed in a rhinestone suit and a mask which resembled that of The Lone Ranger, calling himself the "Masked Rhinestone Cowboy."[1]

Discography

Main article: David Allan Coe discography

Bibliography

  • Just for the Record...the Autobiography
  • The Book of David
  • Ex-Convict
  • Poems, Prose and Short Stories
  • Psychopath
  • Whoopsy Daisy (audio book)

References

General
Specific
  1. ^ a b c d e f g h i j k All Music Guide to Country Michael Erlewine pp. 95–96 ISBN 0-87930-475-8 
  2. ^ James Sullivan (Jan 15th 2010). "Twisted Tales: David Allan Coe Takes the Outlaw Country Lifestyle to the Extreme". Spinner. http://www.spinner.com/2010/01/15/twisted-tales-david-allan-coe-takes-the-outlaw-country-lifestyl/. Retrieved 21 August 2011. 
  3. ^ a b c d e Dan Leroy (July 14, 2005). "Coe Revisits Penitentiary". Rolling Stone. http://www.rollingstone.com/music/news/coe-revisits-penitentiary-20050714. Retrieved 21 August 2011. 
  4. ^ a b "Once Upon a Rhyme - David Allan Coe". Allmusic. http://www.allmusic.com/album/once-upon-a-rhyme-r105958/review. Retrieved 6 September 2011. 
  5. ^ a b c d e Tom Netherland (November 2000). "David Allan Coe rebuts racism charge". Country Standard Time. http://www.countrystandardtime.com/d/article.asp?xid=360. Retrieved 21 August 2011. 
  6. ^ a b c d "Hello, Textas--Hello, St. Barts (and Montserrat)" Jimmy Buffett: The Man from Margaritaville Revealed p. 217 ISBN 0-312-16875-6 
  7. ^ a b "White trash alchemies of the abject sublime" Bad music: the music we love to hate Christopher Washburne, Maiken Derno p. 37 ISBN 0-415-94366-3 
  8. ^ Dixie Lullaby: A Story of Music, Race, and New Beginnings in a New South p. 204 ISBN 0-8203-2872-3 
  9. ^ a b Steve Leggett. "Rebel Meets Rebel". http://www.allmusic.com/artist/rebel-meets-rebel-p771849/biography. Retrieved 21 August 2011. 
  10. ^ a b Neil Strauss (September 4, 2000). "Songwriter's Racist Songs From 1980's Haunt Him". The New York Times. http://www.nytimes.com/2000/09/04/arts/songwriter-s-racist-songs-from-1980-s-haunt-him.html. Retrieved 21 August 2011. 
  11. ^ "Kid Rock - Kid Rock - Billboard Singles". AllMusic. 5 October 2011. http://www.allmusic.com/album/kid-rock-r663144/charts-awards/billboard-single. 
  12. ^ "Are ya ready for some country? So's the Kid". Arizona Daily Star. October 7, 2004. http://nl.newsbank.com/nl-search/we/Archives?p_product=ADSB&s_site=azstarnet&f_site=azstarnet&f_sitename=Arizona+Daily+Star%2C+The+%28AZ%29&p_multi=ADSB&p_theme=gannett&p_action=search&p_maxdocs=200&p_topdoc=1&p_text_direct-0=10603E0CE24CF87B&p_field_direct-0=document_id&p_perpage=10&p_sort=YMD_date:D&s_trackval=GooglePM. Retrieved 5 October 2011. "the miseries of single parenting on the Coe-copenned "Single Father."" 
  13. ^ a b c Megan Frye. "Rebel Meets Rebel - AllMusic". http://www.allmusic.com/album/rebel-meets-rebel-r828723/review. Retrieved 21 August 2011. 
  14. ^ a b William Ruhlmann. "Recommended for Airplay - David Allan Coe". AllMusic. http://www.allmusic.com/album/recommended-for-airplay-r400746/review. Retrieved 21 August 2011. 
  15. ^ William Ruhlmann. "Super Hits, Vol. 2". AllMusic. http://allmusic.com/album/super-hits-vol-2-r235027/review. Retrieved 21 August 2011. 
  16. ^ Stephen Thomas Erlewine. "For the Record: The First 10 Years". AllMusic. http://www.allmusic.com/album/for-the-record-the-first-10-years-r92049/review. Retrieved 21 August 2011. 
  17. ^ a b c Thom Jurek. "Penitentiary Blues - David Allan Coe". Allmusic. http://www.allmusic.com/album/penitentiary-blues-r92039/review. Retrieved 6 September 2011. 
  18. ^ a b Thom Jurek. "The Mysterious Rhinestone Cowboy - David Allan Coe". Allmusic. http://www.allmusic.com/album/the-mysterious-rhinestone-cowboy-r637930/review. Retrieved 6 September 2011. 



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