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Been
Thinking Too Much Lately” and Donnie Murphy's “Laid Back and Wasted” chronicle hardcore alcohol and drug abuse in the face of crushing failure and lost love. But Coe also remained uncompromising when it came to his lifestyle and language, even though it kept him off country playlists and award shows. “The House We’ve Been Calling Home,” for example, explores the theme of polygamy (“Me and my wives have been spending our lives in a house we’ve been calling a home..."), while the final cut on the album, “If That Ain’t Country (I’ll Kiss Your Ass),” finds Coe uttering a racial slur on record for the first time, singing the line “Workin’ like a nigger for my room and board.” The song paints a picture of a Texas family that verges on caricature, with the narrator describing his tattooed father as “veteran proud” and deeming his oldest sister “a first-rate whore.” While comparatively tame next to the pair of underground X-rated albums he would record later, the song further alienated Coe from the country mainstream and kick-started accusations that he was a racist, a charge he always vehemently denied. In 2004 he remarked:
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something. To me, songwriting is painting a picture and all you have to work with is words… I grew up with all my life hearing, “lazy as a
Mexican,” “stingy as a Jew,” “working like a nigger,” or “dumb as a Polock.” It’s stereotype stuff that you hear growing up that immediately puts a picture in your head.
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I am a songwriter, you know, and to me it has always bothered me that actors in the movies can say whatever they want to say, kill people, rape people and do things and no one ever accuses them personally of being that way. But when you write a song and then all of a sudden you are being accused of
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Regardless of the galling impression he made on some of his peers, no one could deny Coe's ability to write stellar country songs and sing them with stunning conviction, as is evident on “Greener Than the Grass We Laid On” and the cheating honky tonk ballad “Under Rachel's Wings," while “Lately I’ve
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was the fourth album Coe recorded for
Columbia produced by Ron Bledsoe. The songs crossfade without the usual silences between tracks, which was unusual for country music, and feature Coe's heavily phased guitar. Coe was also permitted to use his own band on several tracks, a major concession for
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on, and I had my pistol in my pocket and I rode my motorcycle up on stage while Waylon was singing. I got off my motorcycle and went out and started singing with Waylon. And then Willie came out and sang with us. There was a picture of us in the paper that had an arrow pointing to the pistol in my
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for killing an inmate who tried to rape him was debunked when a Texas documentarian discovered Coe had done time for possessing burglary tools and indecent materials, never murder. Criticisms such as these notwithstanding, Coe always maintained he was integral to the movement getting its name,
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in 1974, his major label debut. Although capable of writing deeply tender love songs, Coe's outrageous appearance, defiant attitude, and controversial background kept him from being fully embraced by the mainstream in the same way some of his peers would be. By 1977, Coe considered himself as
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eschewed
Nashville's strict studio regime and fought to record their own music their way, producing albums featuring music that brought a new realism previously unheard to country music. These albums often included compositions by groundbreaking songwriters such as
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Columbia at the time. The album opens with the title track, a barrelling outlaw country anthem that celebrates the musical vision and individuality of several rock acts such as
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pocket and another arrow pointing to where it said, “Outlaws, Florida.” The headline said, “The
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integral as anyone in the evolution of the outlaw country genre, and began saying so in his music. As noted in Thom Jurek's
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531:"If That Ain't Country" (Coe, Deborah L. Coe, Fred Spears) – 4:50
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Giving the album three out of five stars, AllMusic laments that
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Outlaw: Waylon, Willie, Kris, and the
Renegades of Nashville
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Outlaw: Waylon, Willie, Kris, and the
Renegades of Nashville
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movement was nearing its apex, having seen the release of
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512:"Willie, Waylon and Me (Reprise)" – 1:10
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638:"The Original Outlaw: David Allan Coe"
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55:adding citations to reliable sources
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338:. It was released in 1977 on
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902:Take Time to Know Her
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453:. I had my Outlaws'
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267:Professional ratings
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356:Wanted! The Outlaws
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874:Longhaired Redneck
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362:’s blockbuster LP
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561:. Retrieved
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49:Please help
44:verification
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992:1977 albums
947:Discography
740:Rides Again
647:January 15,
621:January 14,
479:Rides Again
417:Rides Again
406:Rides Again
327:Rides Again
243:Rides Again
215:Ron Bledsoe
135:Rides Again
981:Categories
747:Texas Moon
536:References
430:The Eagles
346:Background
252:Texas Moon
223:chronology
77:newspapers
473:Reception
438:death row
426:The Byrds
412:Recording
334:musician
909:The Ride
558:Allmusic
402:AllMusic
340:Columbia
286:Allmusic
211:Producer
204:Columbia
162:Released
152: by
859:Singles
332:country
256:(1977)
247:(1977)
238:(1976)
176:Country
91:scholar
754:Tattoo
616:Review
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455:colors
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379:, and
280:Rating
277:Source
182:Length
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171:Genre
98:JSTOR
84:books
649:2020
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591:ISBN
565:2011
318:link
70:news
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