In the wrong hands, the blues are a quick trip to Cliché City, a place where there’s no lyrical or musical problem that can’t be solved in the exact same way as thousands of musicians before him or her have done. In the right hands, it helps them tap into something elemental, as is the case with Johnny Sansone’s new album, The Lord is Waiting and the Devil is Too. In recent years, it seemed like his creativity found its best outlet through idea-oriented, narrative roots rock, but this album is about intensity. Producer Anders Osborne creates space for Sansone’s voice and harmonica by foregoing a bass guitar, instead letting his own distorted guitar or Stanton Moore’s tub-like drums nod to that part of the sonic spectrum. The results are lean, hard and haunted, defined by Sansone’s barking, preaching vocals and his overdriven harmonica, which rips and shreds whenever it takes center stage. On the instrumental “Corn Whiskey,” his harp has the electric, aggressive attack of a guitar in the midst of a feedback frenzy.

This year the duo celebrates 5 years performing together in the Czech, Slovakia and Europe stages.
Maybe for this particularity, they have received an offer from Stormy Monday Records. An Interesting point of this album is that there are not any classic 12 bar blues, which is known from other bands. A Slovak guitar player Lubos Bena and Czech singer and harp player Matej Ptaszek went deeper under waters of the old Mississippi river. Their inspiration was found in cotton fields in the state of Mississippi, in the native gospel and country-gospel singers from Alabama or in authentic bluegrass artist from the Appalachian mountains.

Inside albums are use nearly omit all harp skills and except of resophonic guitar sound is in album sound of acoustic guitar and uses special instrument make from the oil can. In some songs are use of drums.