Louisiana Red has to be one of the most prolific recording artists since John Lee Hooker. He’s recorded for Atlantic, Roulette, Tomato, L + R, JSP, Earwig, Severn, Hightone, Red Lightnin’ and over a dozen other labels since the early 1960s. This time around, he’s on Bluestown (via Ruf Records) with a great album recorded in Norway at Juke Joint Studios in Norway, called Back To The Black Bayou.

I’m not sure what the bayou situation is in Norway, but this disc is loaded with tons of swampy atmosphere, just like those records that used to come from the Gulf Coast in the late ’50s/early ’60s. This is due in part to the production values of Little Victor, who also plays guitar and harmonica on the album, the vintage recording equipment (part of which was once housed in the legendary Stax Studios in Memphis), guest artists like harmonica wizards Kim Wilson and Bob Corritore and piano man Dave Maxwell, and, last but not least, Louisiana Red himself.

Back To The Black Bayou has a dozen tracks, several of which are modern recordings of some of Louisiana Red’s most popular songs. “I’m Louisiana Red,” “Alabama Train,” “Ride On Red, Ride On,” “Too Poor To Die,” and “I Come From Louisiana” still have the same power and feeling of the original versions, even though there are a few tempo changes. The new versions of “I’m Louisiana Red” and “Alabama Train” are particularly cool and feature great guitar interplay between Red and Victor. “Ride On Red” and “Too Poor To Die” deserve a place in the Blues Hall of Fame for their great lyrics (in the case of the latter, more timely now than ever before).

On the originals, Red gives his best vocal performance and some terrific slide guitar on the Elmore James tribute, “Crime In Motion,” and “Sweet Leg Girl” sounds like a early ’50s Robert Nighthawk Chicago Blues track (save for Red’s distinctive vocal turn). “The Black Bayou” is reminiscent of those old Excello classics and “You Done Quit Me” grooves relentlessly. “Don’t Miss That Train” is a fine gospel tune, and “Roamin’ Stranger” has a vintage Chess Records feel. “At The Zanzibar” is an instrumental tribute to Muddy Waters and Little Walter (with Kim Wilson tearing it up on harp).

Though I haven’t heard everything Louisiana Red has released, I’ve heard quite a bit and so far, I haven’t heard anything that wasn’t first-rate. Back To The Black Bayou is a must-have for Red’s devoted fans and should be required listening for newcomers.