About the SongDevil Woman by MARTY ROBBINS (1962) {Columbia CL1918 } Mono vinyl Mint+ | eBay

“Devil Woman” by Marty Robbins is a classic country song that delves into themes of temptation, danger, and the darker side of love. Released in 1979 on the album Evening in England, this track showcases Robbins’ distinctive storytelling ability, drawing listeners into a narrative filled with intrigue and caution.

The lyrics tell the tale of a man who finds himself irresistibly drawn to a captivating woman, despite knowing that she brings trouble and heartache. Phrases like “She’s just a devil woman” encapsulate the tension between desire and self-preservation, illustrating the allure of someone who ultimately poses a threat to his well-being. The song captures the universal struggle between attraction and awareness of potential danger, making it relatable and compelling.

Musically, “Devil Woman” features a captivating blend of country and rock elements, characterized by its driving rhythm and engaging melody. The instrumentation includes vibrant guitars and a strong rhythm section, which perfectly complements Robbins’ rich and emotive vocal delivery. This combination creates an energetic and dynamic atmosphere that enhances the song’s dramatic narrative.

Upon its release, the song garnered significant commercial success, reaching high positions on country charts and becoming one of Robbins’ signature hits. Its catchy melody and memorable chorus have made it a favorite among fans of classic country music, ensuring its place in popular culture.

Over the years, “Devil Woman” has been covered by various artists and featured in movies and television shows, further solidifying its status as a timeless classic. Its exploration of temptation and the duality of attraction continues to resonate with audiences, making it a song that stands the test of time.

In summary, “Devil Woman” is a captivating country song that masterfully weaves a tale of desire and caution. Marty Robbins’ storytelling prowess and the song’s energetic arrangement ensure that it remains a cherished favorite, inviting listeners to reflect on the complexities of love and temptation. Whether enjoyed in a nostalgic moment or shared among friends, this track serves as a reminder of the allure and risks that often accompany romance.Picture background

Video

Lyrics: “Devil Woman”

 

I told Mary about us.
I told her about our great sin.
Mary cried and forgave me,
Then Mary took me back again,
Said if I wanted my freedom
I could be free ever more.
But I don’t want to be,
And I don’t want to see
Mary cry anymore.Oh, Devil Woman,
Devil Woman, let go of me.
Devil Woman, let me be,
And leave me alone.
I want to go home.Mary is waitin’ and weepin’
Down in our shack by the sea.
Even after I’ve hurt her,
Mary’s still in love with me.
Devil Woman it’s over,
Trapped no more by your charms,
Cause I don’t want to stay.
I want to get away.
Woman let go of my arm.Oh, Devil Woman,
Devil Woman, let go of me.
Devil Woman, let me be,
And leave me alone.
I want to go home.Devil Woman, you’re evil,
Like the dark coral reef.
Like the winds that bring high tides,
You bring sorrow and grief.
You made me ashamed to face Mary.
Barely had the strength to tell.
Skies are not so black.
Mary took me back.
Mary has broken your spell.Oh, Devil Woman,
Devil Woman, let go of me.
Devil Woman, let me be,
And leave me alone.
I want to go home.Runnin’ along by the seashore,
Runnin’ as fast as I can.
Even the seagulls are happy,
Glad I’m comin’ home again.
Never again will I ever
Cause another tear to fall.
Down the beach I see
What belongs to me,
The one I want most of all.

Oh, Devil Woman,
Devil Woman, don’t follow me.
Devil Woman let me be,
And leave me alone.
I’m goin’ back home.

 

You Missed

BOUND BY A STORMY TIDE OF TOXIC LOYALTY AND DEEP DEVOTION, LORETTA LYNN TURNED HER HUSBAND’S GREATEST DEMONS INTO THE UNFLINCHING ANTHEMS OF WORKING-CLASS AMERICA. When fifteen-year-old Loretta Webb married twenty-one-year-old Oliver “Doolittle” Lynn in 1948, she stepped into a life that would test every ounce of her endurance. It was Doolittle who bought her a modest seventeen-dollar Sears guitar—the very instrument that unlocked her destiny—and pushed a terrified young mother onto stages to share her voice with the world. Without his initial push, the legendary Coal Miner’s Daughter might never have found her path. Yet their domestic reality was a far cry from a romanticized country ballad. Doolittle’s heavy drinking, infidelity, and volatile temper left deep emotional scars, but Loretta refused to break. Instead of retreating, she fought back, stayed for her six children, and funneled that raw, agonizing truth straight into her songwriting. Anthems like “Don’t Come Home A-Drinkin’” and “Fist City” ripped the gloss off conventional marriage, giving a public voice to millions of women suffering behind closed doors. She famously noted that every song she wrote carried a piece of her husband inside it. They crossed the milestone of forty-eight years together on January 10, 1996. As Doolittle’s health deteriorated months later, Loretta sang “Wouldn’t It Be Great” to him—the final song she performed for the man who shaped her life before he passed away on August 22, leaving them just 225 days short of their forty-ninth year. Though their union was a turbulent storm of fierce love and deep pain, Doolittle gave her the instrument, their trials gave her the truth, and Loretta forged both into an immortal musical legacy.

BROUGHT IN SOLELY TO SATISFY A RADIO SPONSOR’S ODD DEMAND, ELEVEN-YEAR-OLD ROSE MADDOX STEPPED UP TO THE MICROPHONE AND BECAME THE UNTAMED, ELECTRIFYING HEART OF AMERICA’S MOST COLORFUL HILLBILLY BAND. Rose Maddox didn’t enter country music through a polished Nashville doorway paved with industry blueprints. She arrived via the brutal reality of Depression-era migration, pulling her family away from backbreaking fieldwork in California’s Central Valley where music wasn’t glamour—it was the only way to breathe after a grueling day of picking fruit. In 1937, her brother Fred managed to secure a radio slot for the family in Modesto, hitting a sudden roadblock when the sponsor insisted on having a girl singer. Out of pure necessity rather than career design, eleven-year-old Rose stepped forward. The moment she opened her mouth, however, that simple sponsorship checkbox became the entire focal point. Her voice was bright, razor-sharp, and entirely fearless, sounding less like a child helping out her kin and more like someone kicking the front door off its hinges from the inside. Dubbing themselves “America’s Most Colorful Hillbilly Band,” the Maddox brothers and Rose delivered a high-octane cocktail of honky-tonk drive, boogie-woogie, gospel heat, and flashy road-show swagger. Dressed in loud, eye-catching suits, they played with a raw ferocity that West Coast country had never witnessed. Long before country music knew how to frame women who were funny, stylish, and fiercely commanding, Rose stood right at the front—refusing to ever be treated as mere stage decoration. After the family band’s legendary run dissolved, she forged a formidable solo path, diving deep into bluegrass and earning a well-deserved Grammy nomination for $35 and a Dream, an album title that tipped its hat to her family’s hardscrabble journey west. The young girl once thrown on stage to fill a sponsor’s quota ultimately became the gold standard of raw authenticity—proving to generations of future artists that country music has always possessed an unquenchable fire.