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David Allan Coe Concert Tickets

A life-long renegade, singer/songwriter David Allan Coe is 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 hasn't had many big hits — only three of his singles hit the Top Ten — but he has been 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. Check our available David Allan Coe concert ticket inventory and get your tickets here at ConcertBank now. Sign up for an email alert to be notified the moment we have tickets!

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David Allan Coe Reviews

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5.0 (based on 9 reviews)

David Allan Coe's secondalbum, 1973's RequiemFor A Harlequin, thoughnot a patch on his debut,Penitentiary Blues (1969),achieved notoriety when itwas found to have two sides,titled The Beginning and TheEnd, and no further need fortrack information. Luckily heupped his game for 1974'sThe Mysterious RhinestoneCowboy, covered MickeyNewbury's 33rd Of Augustand Guy Clark's DesperadosWaiting For A Train, andmade the Nashvilleestablishment acknowledgethat his idiosyncrasies mightbe worth indulgence.
Oh yeah, the original country bad boy. For all the tough guys who acted the part, snarled and swaggered, none could hold a candle to David Allan Coe, who spent a good amount of his younger years in prison before he headed to Nashville to make it big in country music. He was bad ass and prison tough before it was cool. But once the big boys decided it was cool, they all came crawling back, dying to hear Coe's tales of life behind bars...
Castles in the Sand is one of David Allan Coe's most underrated and consistent. Coming well after his glory -- and scandal -- years in the 1970s, Coe and producer Billy Sherrill integrated their partnership into a seamless whole. Coe wrote a big chunk of the album, and his tunes are as solid as the material on 1982's Rough Rider and DAC...
DAC was written mostly on tour, and is divided into two categories (remember this was still the LP era): the "Thinking Side" and the "Drinking Side." Coe wrote everything on the set, and it's a stunner. Side one contains some of Coe's bitterest, most accusatory breakup songs, including "Looking in the Mirror," "Lyin' Comes So Easy to Your Lips," and the deeply moving "The Last Time She'll Leave Me This Time...
Live: If That Ain't Country... captures David Allan Coe in concert in the mid-'90s, running through most of his best-known songs ("Would You Lay with Me [In a Field of Stone]," "Take This Job and Shove It," "Willie, Waylon and Me"), illustrating that he delivers them nearly as well -- and often a whole lot more country -- than the artists who made them famous...
David Allan Coe's debut album for Columbia proves beyond the shadow of doubt that he was the original alt-country antihero. Released in 1974, Coe revealed an adopted persona: The Mysterious Rhinestone Cowboy...
Even though Rides Again marks the first time David Allan Coe was allowed to use his own band on half of the album -- a major concession on the part of Columbia Records because he hit pay dirt a couple of times -- this stands as his most disappointingly inconsistent record of the 1970s. The last track on his previous album, "Dakota the Dancing Bear, Part II," was an exercise in cynical, pointless counterculture idiocy and, unfortunately, was the first of Coe's "novelty" songs...
Following his 1997 live album, David Allan Coe releases a new studio album on Sony Music's Lucky Dog imprint, Recommended for Airplay, and not much has changed since the '70s and '80s, when he was putting albums out on sister label Columbia. The songs, all written by Coe, are still full of references to drinking ("Drink Canada Dry"), riding motorcycles ("A Harley Someday") and having trouble maintaining romantic relationships ("Drink My Wife Away," "She's Already Gone")...
Darlin', Darlin' is one of the strangest records in David Allan Coe's catalog. For starters, Coe wrote only two songs on the set, a spiritual song called "Mary Go Round the Birth of Jesus" and the fourth and last part of "For Lovers Only," which closes the album. Musically, this is a big production number -- even for Billy Sherrill. There are keyboards winding through everything, big backing vocals, and layered pedal steel and electric guitars...
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