David Allan Coe, Country Music Outlaw and ‘Take This Job and Shove It’ Songwriter, Dies at 86

David Allan Coe, a prominent figure in the outlaw country music movement of the 1970s, has passed away at the age of 86. His representative confirmed that Coe died on Wednesday, April 29, at approximately 5:08 p.m. The announcement highlighted his status as a “Country Music treasure” who was deeply appreciated by fans, further acknowledging his significant contributions as a singer, songwriter, and performer in the genre.

Born in Akron, Ohio, in 1939, Coe’s early life was tumultuous. At just nine years of age, he found himself in a reform school, a situation that would see him spend much of the next twenty years within various correctional facilities. It was during his time in these institutions that he discovered his passion for music. After his release in 1967, he ventured to Nashville to pursue a career in music, often performing as a busker to earn a living.

Coe’s debut album, titled “Penitentiary Blues,” was released in 1970. Despite his initial struggles to achieve fame as a performer, his songwriting prowess was quickly recognised, with other artists achieving success with his compositions. Notably, Tanya Tucker’s cover of “Would You Lay with Me (In a Field of Stone)” reached the top of the country charts in 1973, and in 1977, Johnny Paycheck’s rendition of “Take This Job and Shove It” also topped the charts—earlier resulting in a Grammy nomination for Coe.

Throughout the 1970s, Coe continued to develop his image as part of the outlaw country scene, with his album “The Mysterious Rhinestone Cowboy” standing out for its theatrical presentations. He often performed in a mask adorned with rhinestones, which contributed to his unique persona. His song “Longhaired Redneck,” released in 1976, solidified his affiliation with the genre, though he struggled to maintain the same level of commercial success enjoyed by peers like Willie Nelson and Waylon Jennings.

The late ’70s and early ’80s proved challenging for Coe as consistent success eluded him. However, he experienced a resurgence in 1983 with the release of “Castles in the Sand,” which included the Top 10 hit “The Ride.” By this time, Coe had established his sonic style, responding to the various influences he encountered throughout his career, often stating that he did not limit himself to any particular genre or subject matter.

Coe’s career, however, was marked by controversy due to his frequent use of racial slurs and other inflammatory language in his music. His underground albums from the late ’70s and early ’80s were particularly notorious, filled with lyrics that many condemned as racist, misogynist, and homophobic. In a 2000 interview with *Country Standard Time*, Coe defended himself against accusations of racism, claiming that he had been misrepresented and asserting that he had friends from various backgrounds, including a Black drummer.

Despite this, the criticisms of his work persisted, with *The New York Times* characterising his underground albums as some of the most offensive material released by a popular songwriter. Coe later explained on his website that these albums were crafted for a biker audience where he had felt his mainstream music was overlooked. He insisted that the albums were meant to be humorous rather than hateful, although he acknowledged that not everyone shared this understanding.

In his prolific career, Coe released over 40 studio albums and was married six times, claiming at one point to be a polygamist. He had four children with his second wife, Jody Lynn Coe, and had been married to his sixth wife, Kimberly Hastings, since 2010. His son Tyler had a longstanding role in his career, initially leading Coe’s band and later hosting a country music podcast before their relationship soured.

In 2015, Coe faced legal issues when he pleaded guilty to obstructing the IRS from collecting taxes, leading to an order in 2016 for him to pay nearly $1 million in restitution. Despite the various storms in his personal and professional life, he remains a figure of considerable influence in the country music landscape.

David Allan Coe’s legacy is undoubtedly complex, with his musical contributions intertwined with a series of controversies that shaped public perception of the outlaw country genre. He is survived by his wife and children, who will undoubtedly carry forward both his musical tradition and the mixed legacy that accompanies such a storied career.