My father’s exasperated shout still rings in my ears: “Start the song already! It’s driving me crazy!” His patience had worn thin with the drawn-out, repetitive introduction to Rush’s “Cygnus X-1 Book One: The Voyage.” Raised in a devout Christian household, he struggled to grasp my brother’s and my fascination with rock music, especially the experimental edges of progressive rock. “It’s just noise!” was his frequent refrain. And sometimes, when the wild guitar riffs and impassioned vocals spilled from our rooms, he’d declare with sincere concern for our souls, in his best Southern Baptist preacher voice, “That’s the devil’s music.”
Looking back, I can see where he was coming from. With iconic songs boasting titles like “Highway to Hell,” “Runnin’ with the Devil,” “Devil’s Child,” “The Number of the Beast,” “Shout at the Devil,” and the Rolling Stones’ provocative “Sympathy for the Devil,” the rock music landscape of my youth often seemed to flirt with, if not embrace, overtly satanic themes. Adding fuel to the fire was the persistent rumor that KISS was an acronym for “Knights in Satan’s Service,” a notion Gene Simmons’ demonic stage persona certainly did little to dispel. This perception of rock as “devil’s music” resonated deeply within a segment of the Christian community, reflecting a broader unease with popular culture that has intensified since the rise of Christian fundamentalism in America.
Juxtaposition of 'Running with the Devil' and 'Highway to Heaven' reflecting the complex relationship between rock music and Christian faith, as explored in the book 'Rock Gets Religion'.
This complex and often contentious relationship between Christian faith and rock music is meticulously explored in Mark Joseph’s book, Rock Gets Religion: The Battle for the Soul of the Devil’s Music. Joseph, a seasoned author on this subject with previous works like The Rock & Roll Rebellion and Faith, God, and Rock & Roll, brings his journalistic rigor and industry insight to trace the journeys of Christian musicians as they navigate the move from the sheltered world of contemporary Christian music (CCM) into the vast expanse of mainstream rock.
Joseph’s book provides a balanced and historically grounded survey, presenting both the triumphs and tribulations of these artists. He largely allows the voices of the musicians themselves – through interviews, testimonies, and reviews – to shape the narrative. While some might argue for a deeper dive into cultural analysis, Joseph excels as an objective and detail-oriented chronicler of a significant contemporary phenomenon: the surge of Christian artists into the mainstream rock industry since the early 2000s. His research is thorough, evidenced by extensive endnotes in each chapter, and his use of long, direct quotes strengthens the book’s credibility and the authenticity of its claims about this cultural shift. Rock Gets Religion stands as a valuable contribution to popular culture studies and is essential reading for anyone seeking to understand the intersection of Christianity and modern music, particularly the ongoing dialogue around what some might still consider “the devil’s music.”
Joseph sets the stage with a compelling introductory chapter that clearly defines the cultural context. Rock music, born from rebellion against societal norms and authority, evolved into a genre often associated with hedonism and excess. However, since 2003, rock has witnessed a fascinating post-secular resurgence intertwined with a significant influx of Christian musicians. Joseph pinpoints four key factors driving this trend: (1) CCM artists maintaining ties with their Christian labels even after signing with mainstream counterparts; (2) established CCM musicians breaking away from Christian labels to pursue mainstream success; (3) emerging Christian artists bypassing CCM altogether and directly entering secular labels; and (4) Christian talent show contestants, notably from American Idol, using their platform to launch mainstream music careers. Joseph provides compelling evidence demonstrating a genuine revolution in the early 21st century, with Christian rockers actively seeking broader artistic recognition and wider audiences beyond the confines of the CCM industry.
This musical revolution, however, is far from a simplistic success story. As with any human endeavor, the integration of Christian artists into the secular music world is complex and nuanced. While some artists have faced personal struggles, even “deconversion experiences,” others have successfully integrated their faith into their professional lives, using their music to minister and connect with a wider audience in meaningful ways.
Early in Rock Gets Religion, Joseph highlights the precarious journeys of Christian musicians transitioning from the CCM sphere to the broader popular music industry. Artists like Katy Perry, Jessica Simpson, Miley Cyrus, Avril Lavigne, Kanye West, and Evanescence, all with roots in Christian music or backgrounds, ventured into the secular realm and subsequently questioned, or in some cases abandoned, their Christian beliefs. While initially intending to share their faith, these artists often found themselves succumbing to the allure of fame and fortune, embracing secular values over maintaining a distinct Christian identity within the industry.
Conversely, Joseph showcases mainstream artists who have successfully honored their Christian fanbase and upheld their values while navigating the secular rock market. Bands like MercyMe, Stacie Orrico, Joy Williams, Chevelle, and Switchfoot exemplify this “crossover” success. They have broadened their appeal to secular audiences with messages of hope and inspiration, all while remaining true to their original Christian fans and resisting the pressure to compromise their faith for mainstream acceptance.
A third category includes artists like Dave Mustaine of Megadeth, Scott Stapp of Creed, Cold War Kids, and The Fray, who grapple with maintaining their Christian faith within the challenging environment of mainstream rock. For these musicians, rock remains a form of rebellion, but their rebellion is directed against the prevailing materialism, nihilism, and hedonism often associated with rock and roll. They are, in essence, rebelling against the “devil’s music” stereotype from within.
Although Joseph primarily allows the wealth of documented material to drive the book’s narrative, minimizing his own overt cultural analysis, Rock Gets Religion effectively conveys a central thematic message: For Christians to be relevant and impactful in contemporary culture, they must move beyond outdated 20th-century fundamentalist approaches and step outside of self-imposed Christian cultural enclaves to engage directly with society. Preaching solely to the choir is no longer sufficient.
However, as Joseph’s cautionary tales illustrate, Christian artists, and indeed all Christians engaging with secular culture, must strive to be “in the world but not of it.” They must resist the industry’s material temptations and hedonistic pressures. Maintaining this delicate balance, as Joseph’s examples demonstrate, requires a solid theological foundation and the support of a strong faith community. Whether one is a musician, artist, or simply a Christian seeking to make a positive impact, Rock Gets Religion offers valuable lessons: Work diligently, ground yourself in sound biblical principles, remain humble, seek fellowship with mature believers, and be willing to confess and repent when you stray. Following these guidelines allows Christians to navigate secular culture effectively, inviting others to join them on a path leading away from spiritual darkness and toward lasting fulfillment.
