“Scroll down to the end of the article to listen to music.”
Introduction
The YouTube video featuring a live performance of David Allan Coe’s “Willie, Waylon and Me” offers more than just a song; it provides a glimpse into the heart of Texas music, the spirit of artistic freedom, and challenges preconceived notions about the so-called “outlaw” persona. Before Coe even begins to sing, the speaker introducing him makes a striking statement: “everybody thinks that David out and Cole was outlawed they think he’s mean but I know for a fact David Allen Cole is just a pussy cat“. This immediately invites us to look beyond the surface and consider the complexities of an artist often associated with a rebellious image.
The song itself is a tapestry woven with references that illuminate the musical landscape that shaped Coe. The opening lines transport us to California, where the sound of Roger McGuinn‘s 12-string guitar left an indelible mark: “I heard the burritos out in California Roger McGuinn had a 12-string guitar it was like nothing I’d ever heard“. This acknowledgment of an artist known for his work with The Byrds, a band with roots in folk and rock, suggests a broader range of influences on Coe than one might expect from a traditional “outlaw country” artist. The unique sound of the 12-string guitar clearly resonated deeply, becoming a touchstone in his musical memory.
The lyrics then shift to the arrival of the Eagles in Texas, portrayed as a quest for liberation: “and Eagles flew in from the West Coast like the birds they were trying to be free“. This imagery connects the burgeoning Texas music scene with a desire for artistic independence, a theme that aligns with the “outlaw” label often applied to artists like Coe, Willie Nelson, and Waylon Jennings. The idea of musicians flocking to Texas seeking creative freedom speaks volumes about the environment that fostered this distinct musical movement.
The sense of community and shared identity within this scene is further emphasized by the line: “Texas the talk turned out long like willing way like me“. The clear allusions to Willie (presumably Willie Nelson) and Waylon (presumably Waylon Jennings) firmly place Coe within this celebrated lineage of Texas musicians known for their independent spirit and unique sound. The “long talks” suggest a camaraderie and exchange of ideas that fueled their creativity.
The mention of the “Texas Music Center” and the declaration that “we’ve been making music that is free” serves as a powerful statement of artistic intent. This reinforces the central theme of freedom and independence that permeates the excerpt. The subsequent line about “doing one night stands playing without fans foreign” could be interpreted in several ways. It might suggest a dedication to a local audience, a rejection of mainstream commercialism, or perhaps the realities of carving out a career on one’s own terms, outside the traditional industry structures.
The somewhat cryptic line “foreign she died for the future until and he wrote poetry” adds a layer of introspection and hints at deeper artistic motivations. The mention of poetry suggests a sensitivity and thoughtfulness that might further challenge the stereotypical “outlaw” image.
Coe’s own identification – “my name is David Allan Coe and I’m from Dallas Texas” – firmly roots him in the geographical and cultural context of the music he is celebrating. The assertion that “they say Texas music’s an amazing” reflects a local pride and recognition of the region’s significant contribution to the broader musical landscape.
The reiteration of the impact of a 12-string guitar, this time attributed to Jim McQueen (“higher than the birds by Jim McQueen and it’s 12 string guitar it was like nothing I never heard“), emphasizes the significance of this particular sound within the musical influences being referenced. The similarity to the earlier mention of Roger McGuinn’s 12-string guitar suggests a potential connection or a shared appreciation for this distinctive sonic texture within the Texas music scene.
In conclusion, this excerpt from “Willie, Waylon and Me” offers a multifaceted view of David Allan Coe and the Texas music scene. It highlights the importance of artistic freedom, the influence of diverse musical styles, the camaraderie among musicians, and a deep sense of regional pride. The introduction’s assertion that Coe is more than just an “outlaw” finds resonance in the lyrical content, which reveals a thoughtful artist shaped by a rich and diverse musical environment. The song serves as a testament to the enduring spirit of independent music-making in Texas, where artists like Willie, Waylon, and David Allan Coe carved their own paths and left an indelible mark on the landscape of American music.
Video
Lyrics
And I heard the burritos out in California
Could fly higher than the birds
Roger McGuinn had a 12-string guitar
It was like nothing I’d ever heard
And the eagles flew in from the West Coast
Like the birds, they were trying to be free
While in Texas, the talk turned to outlaw
Like Willie and Waylon, and me, hey
Well, they say Texas music’s in the making
And we been making music that is free
Doing one-night stands, playing with our bands
Willie, Waylon, and me, oh, mad dog
They say the Beatles were just the beginning
Of everything, music could be
Just like the stones I was rolling along
Like a ship lost out on the sea
And Joplin would die for the future
And Dillon would write poetry
And in Texas, the talk turned to Outlaw
Like Willie, and Waylon, and me, hey
My name is David Allen Coe, and I’m from Dallas, Texas
They say Texas music’s in the making
And we been making music that is free
Doing one-night stands, playing with our bands
Willie, Waylon, and me, Big Jim
I heard the burritos out in California
Could fly higher than the birds
Roger McGuinn had a 12-string guitar
It was like nothing I’d ever heard
And the Eagles flew in from the West Coast
Like the birds, they were trying to be free
While in Texas, the talk turned to outlaw
Like Willie, and Waylon, and me