As previously mentioned in the introductory portion of this website, the blues evolved from work songs sang by African American slaves in the deep south, with influence from the West African music familiar with early generations of slaves. However, following the emancipation proclamation of 1863, these work songs eventually evolved, becoming accompanied by musical arrangements including guitars and piano. By the early 20th century the blues had become an established musical genre, a popular form of African American folk music.By the mid-20th century, the blues had separated into two forms: Country Blues, which was usually performed in the rural Southern United States, typically accompanied by small arrangements, the most popular form being a solo performer singing and playing the acoustic guitat. City Blues, on the other hand was performed in larger American cities namely Chicago, and was performed by groups, often using then-new electric guitars and rhythmic arrangements of drums and bass (Spencer, 1993). 

Since the early days of the blues, the music has been subject to several folkloric elements, from song origins to the stories passed on of traveling "Bluesmen", the blues has been a popular subject of historical speculation. Amongst the most popular and common knowledge blues folktale is the story of Robert Johnson, arguably the most influential blues player of all time. As the legend goes, Johnson was a man of humble beginnings, born in the Deep South around the turn of the century. Johnson loved the blues, and desired to play the blues so much that he sold his soul to the devil in order to gain his talent. 

Pseudo-theological elements as found in the legend of Robert Johnson are common in the blues, largely due to the highly religious setting of the turn of the century of the American South and the religious convictions of the artists who performed this music (Palmer, 1981). Historically, the blues was though of as a vulgar genre, due to its use of often sexual themes. It was thought of as a secular musci for those who turned their backs on their faith. However, in more recent years, this opinion has changed and the religious convictions of the blues is now a debate among musical scholars (Cone, 1972).