David Allan Coe A Matter Of Life, plus

David Allan Coe: A Matter Of Life, plus

1-CD with 40-page booklet, 23 tracks. Playing time approx.77 mns.

The final album in our series, ‚A Matter of Life And Death … Plus‘ features David Allan Coe's last LP for Columbia, together with some truly amazing bonus tracks. There's a single that he recorded for Cabut Records in West Virginia waiting for his parole to be up so that he could move to Nashville. The title One Way Ticket To Nashville. There's also his ultra-rare political single, How High's The Watergate, Martha? together with some previously unreleased demos.

Next year (2014), the renegade outlaw will turn 75! But he's still on the road, still making impassioned music, and still turning heads. We're proud to be the only company offering a full documentation of
David Allan Coe's best recordings.

1-CD with 40-page booklet, 23 tracks. Playing time approx.77 mns

Songs

Artikeleigenschaften von David Allan Coe: A Matter Of Life, plus

• Interpret: David Allan Coe

• Albumtitel: A Matter Of Life, plus

• Format CD

• Genre Country

• Music Genre Country Music
• Music Style Songwriter / Outlaw / Country Rock
• Music Sub-Genre 009 Songwriter/Outlaw/Country Rock
• Title A Matter Of Life, plus

• Label BEAR FAMILY RECORDS

• Price code AH

• SubGenre Country - General

• EAN: 4000127161338

• weight in Kg 0.115

Artist description "Coe, David Allan"

DAVID ALLAN COE

David Allan Coe auf Bear Family Records Wir sind ehrlich stolz darauf, das einzige Label zu sein, das Coes beste Aufnahmen in dieser umfassenden Form anbieten darf. (Bear Family Records) David Allan Coe Der ewig aufmüpfige Außenseiter gehört zu den schillerndsten und unberechenbarsten Künstlern der Country Music und der gesamten Musikszene.

Als Pionier der Outlaw-Bewegung hatte David Allan Coe selbst zwar keine Hits, schrieb aber etliche für andere Interpreten, darunter Would You Lay With Me In A Field Of Stone und Take This Job And Shove It. Coe war hyperaktiv: Während seiner 13 Jahre bei Columbia hat er fast jedes Jahr zwei Alben veröffentlicht. Diesmal geht es um die Zeit von 1982 bis 1985. 'Castles In The Sand' und 'Hello In There'entstanden 1983. Kritiker sind sich einig: 'Castles In The Sand' gehört zu den unterschätztesten Alben jener Zeit – und zu den ungewöhnlichsten. Coe schrieb für dieses Album nur drei Songs, bei einem weiteren war er Co-Autor. Der Titel-Song ist Bob Dylan gewidmet, einem der beiden am häufigtsen falsch verstandenen Künstler ihrer Generation – der andere ist Coe selbst. David Allan Coe ahmt Dylans Stimme während der kompletten Strophen nach und singt die Refrains mit seiner eigenen. Titel 2 ist eine Funky-Version von Dylans Gotta Serve Somebody, eingespielt mit Lacy J. Dalton. Ebenfalls ein Highlight ist die unheimliche Cover-Version von The Ride, einem Nr.-4-Country-Hit von 1983: Darin erscheint der Geist von Hank Williams, um seine Hilfe anzubieten.

Hello In There läuft zweigleisig: Provinz & Stadt. Einmal mehr mischt David Allan Coe Eigenkompositionen mit Cover-Versionen und Ausgrabungen, die seine Gefühle zu jener Zeit reflektieren. Anspiel-Tips sind Hello In There von John Prine, Jerry Butlers He (Will Break Your Heart) und Gotta Travel On von Billy Grammer.

DAVID ALLAN COE

Epic self-mythologist David Allan Coe arrived in Nashville on November 3, 1968, one year and one day after his release from Marion Correctional Institute in Ohio. He signed with music publisher Audie Ashworth, who'd just signed J.J. Cale. After trying to land a contract for Coe without any success, Ashworth encouraged him to get a day job. Coe resisted. "If you get a steady job you start living like citizen people," he said. "You run up debt, and then you need the steady job to pay off the debt." And so Coe stayed with friends and got by on little.

"Columnist Jack Hurst was the guy that really got me started," said Coe. "He'd seen my car, the hearse, parked down at the Grand Ole Opry. He come down, wrote a story about me." Hurst's piece piqued the interest of producer-label owner Shelby Singleton, who was flush with money from Harper Valley PTA. With that money, he bought the old Sun Records catalog, and along with the Sun tapes came a would-be producer from Memphis named Teddy Paige, who'd been in one of the last acts on Sun, the Jesters. "I talked to Coe," said Singleton, "and he told his stories. He wanted to be a country singer. I said, 'Lemme hear something.' He started singing all these songs about prison life. I said, 'Hell, ain't none of them songs country.' He said he had hundreds more prison songs up in Ohio, so I give him and Teddy Paige two hundred dollars and told them to bring 'em back." This was the only song on Coe's first LP that he didn't write or cowrite. It was the work of one of Ashworth's songwriters, Hank Mills, who'd written the best song ever about Nashville, Kay. Like the rest of the LP, it was set to an insistent Jimmy Reed beat.

 

Coe went on to write Would You Lay With Me In A Field Of Stone and Take This Job And Shove It. There were rumors that Paige died in the Jonestown massacre, but the truth was stranger. He went to Hastings, England where he became a medievalist named Count Edward MacDonald. Forsaking the guitar for the lute, he played at restaurants and medieval festivals. In June 2003, he was arrested for wounding a neighbor with a sword. Jailed for life, he was taken to Ashen Hill medium secure psychiatric hospital in Sussex, England.

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