The Devil in Popular Music through the Life and Works of Robert Johnson

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The devil has been seen through many forms in popular music throughout history from the voodoo drums of the African slaves to modern artists marketing ploys. The term popular music is particularly ambiguous, so to define, in this piece it shall refer to dominant pieces or performers within the last 100 years.

Many composers and artists have been branded by religious organisations as being in league with the devil, from the banning of songs, performers and even chords and movements by the church to the present day right wing Christian ‘preachers’ of YouTube.

The devil, in this context, comes in many guises; Lucifer or Satan as in the Judeo Christian texts or anything demonic or unwholesome/ unholy. It can also be seen as a racial slur against the white population during the 20th century. This can reveal itself within music through lyrics; vocal sounds/ tone and harmonies the rhythm or melody of songs. Other manifestations in modern music include videos, marketing, iconography within the heavy metal genre and back masking.

This report will focus on the Faustian mythology surrounding the life and works of Robert Johnson who purportedly sold his soul to the devil. Despite very little being known about Robert Johnson it is his music in tandem with the lore of his life that creates the foundations of the devil in popular music.

Although it is uncertain exactly when Robert Johnson was born, like a fictional character, details on Robert Johnson are sparse, his year of birth is placed sometime between 1910 and 1913. His death is attributed (dependant on source) to anything from pneumonia, poison by a disgruntled husband and stabbing. Those how know him spoke about his love of ‘whiskey and women’, both ungodly pursuits.

Durin...

... middle of paper ...

... song crossroads gives the feeling of a man destined for hell, that he knows his own bleak destiny. The tempo of crossroads gives a unique sense of panic and revelation not seen in any of his other works. This along with the wailings certainly gives the listener an eerie insight into this troubled man’s world.

The curse of the song “crossroads” may well be purely superstitious coincidence. Given that there are no statistics regarding artists that have recorded and gigged the song who have not suffered in some way it is very difficult to draw conclusion on this matter. It could well be the case that the devil is out to get his dues.

Criticism and the trickster

Popular Music

Popular Music / Volume 24 / Issue 02 / May 2005, pp 179-191Copyright © 2005 Cambridge University Press

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