This Teisco MJ-2, also known as an ET-200, comes with a tremolo, grinding surface-mounted pickups, and a deep V-shaped neck.

This guitar is the same model that belonged to Pete Shelley of the Buzzcocks. Of course, the one that our columnist owns still has its whole body intact.

As the wind blows, so do my interests, and recently, I found myself taking a deep dive into the music of the Buzzcocks. That group was one of the early, legendary English punk bands. I was going through all the band’s recordings but I was really digging the group’s first EP from 1977, Spiral Scratch. That first record just has an incredibly raw guitar tone that has a familiar feel.

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Dan Auerbach poses with the gem he used to record much of Delta Kream: a Kawai Kingston S4T once owned by raw blues slide master Hound Dog Taylor. Note Taylor's name on the headstock, courtesy of the Dog himself, via a plastic-label punch.

Photo by Joshua Black Wilkins

On Delta Kream, the Black Keys and veteran slide master Kenny Brown dig deep to honor R.L. Burnside and Junior Kimbrough—"two of the most important American musicians that ever were."

There's no more biblical—New Testament, of course—introduction to the raucous, bouncing, mesmeric sound of North Mississippi hill country blues than the new Black Keys album, Delta Kream. It's essentially the agrestic subgenre's greatest hits: a collection of ripe corpuscles from the catalogs of R.L. Burnside, Junior Kimbrough, Ranie Burnette, Big Joe Williams, and Fred McDowell, plucked straight from the music's thumping heart—as chiseled into its core DNA as the faces of Washington, Jefferson, Roosevelt, and Lincoln are into the granite of Mt. Rushmore.

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