The Black Keys, “Dropout Boogie.”

Few bands have the keen ability to tap into the spirit of rock and roll quite like The Black Keys. Ten albums strong, the Akron duo has reliably blended blues-infused rock with a healthy serving of funk, soul and pop. Following a detour through the blues itself on last year’s Delta Kream, is back to rock with contributions by ZZ Top’s Billy F. Gibbons, Angelo Petraglia from Kings of Leon and Greg Cartwright of Reigning Sound.

Both Cartwright and Petraglia make their presence felt early on album opener “Wild Child.” The funky and percussive track features Dan Auerbach’s signature fuzz-tone guitar playing. “Wild Child” immediately jumps from the speaker, an infectious and lively song that makes it impossible to stand still.

“It Ain’t Over” fuses a Latin flair with Delta blues to create an intimate and darkly melodic romp. Things then shift to straight old-school rockabilly on “For the Love of Money,” a bluesy slide-guitar-heavy song that chugs like a train going down the tracks.

“If your soul’s for sale then just name your price,” Auerbach sings, jumping in and out of his smooth falsetto.

Auerbach and drummer Patrick Carney have worked on some of the most compelling recent records—by the likes of Yola, Marcus King and Tennis—but the duo’s magic truly shines when the two reunite for a new Black Keys record. “Your Team is Looking Good” is a fun, sports-anthem-tinged stomper that brings a throwback rivalry feeling to the lyrics.

“Ashes to ashes/ Dust to dust/ Beat everybody but you won’t beat us,” Auerbach sings.

The Black Keys get down and dirty on the moody bluesy soul of “Good Love,” a track oozing with a dark and funky sensibility that would sound right at home on the soundtrack to “The Sopranos.” The mood stays thick and heavy, but the pace slows down just a little on the percussive “How Long.” Auerbach’s guitar playing is lyrical and absolutely sings on the track’s chorus as Carney holds a tight groove. “Burn the Damn Thing Down” turns back the clock even further to a full-on Chuck-Berry-esque stomper that crosses indie rock with rootsy, fuzzed-out sound.

The band cites recording in Nashville as part of its inspiration for its newfound willingness to collaborate. In the case of Gibbons, it was more of a reunion of sorts. The band jammed with him more than a decade ago while in the studio working on an album with Rick Rubin.

“Happiness” is more of a straight-ahead, no nonsense mid-tempo rocker that packs plenty of melodic punch, while “Baby I’m Coming Home” actually has the production feel of a modern rock track. The song offers a little less fuzz and an little more clarity. Auerbach’s vocals cut above the mix more than on some of the other tracks here; but the song doesn’t lack the his guitar work on the way out, rolling out into a Southern rock jam.

The album closes out on the smooth sounds of “Didn’t I Love You,” a confident and funky rock tune that takes things home on a lively note.

Dropout Boogie delivers on the promise of what fans have come to expect from The Black Keys. It’s a record faithful to the band’s core sound and is an album that honors generations of rock and roll that came before. Also, the collaborators recruited by the duo seemed to have breathed new life into the band, infusing styles the Keys’ had yet to cross into before.

Follow writer Mike DeWald at Twitter.com/mike_dewald.