This cover image released by Interscope Records shows "The Lockdown Sessions" by Elton John. (Interscope Records via AP)

It’s been more than 35 years since Elton John recorded with Stevie Wonder and that’s clearly way, way too long. But the wait is over: The legends join on the new gospel-flavored song “Finish Line,” enlivened by Wonder’s trademark harmonica and John’s piano work. It’s a victory lap of a song.

It’s also a highlight of John’s 16-track album “The Lockdown Sessions,” which sees the Rocket Man outsmart the pandemic by working with an eclectic mix of artists, from Stevie Nicks to Lil Nas X. Not all of it works, but most of it does, and credit John for the supreme musicianship to bend to his guests’ strengths in music’s every genre.

The album kicks off with the slinky “Cold Heart (PNAU Remix)” – melding John’s songs “Kiss the Bride,” “Rocket Man,” “Where’s the Shoorah?” and “Sacrifice” – into a dance bop featuring vocals by Dua Lipa. It’s addictive stuff, and the bad part is the song has to end at some point.

John then has a twang with Brandi Carlile on “Simple Things” – repeating a line about the finish line – and a foot-stomping, ’70s rock groove with Eddie Vedder on “E-Ticket.” But John is a subdued presence on both Lil Nas X’s cut “One of Me” and a cover of Metallica’s “Nothing Else Matters” with Miley Cyrus, who, turns out, slays at metal singing.

John gets glam rocky and spacy on the Gorillaz’s “The Pink Phantom” with 6lack, and soars perfectly with Charlie Puth in “After All,” but he stumbles in a pairing with Young Thug and Nicki Minaj on “Always Love You,” his piano and vocals ill-fitting this particular vehicle. And “Beauty In the Bones,” a duet with country singer Jimmie Allen, is flat since the song is weak tea.

John rights himself on the driving tune “Stolen Car” with Stevie Nicks, duets beautifully with rising star Rina Sawayama on track “Chosen Family” and the album ends on a poignant note with “I’m Not Gonna Miss You,” his Pro Tools collaboration with the late Glen Campbell, who died in 2017. “I’m still here/And yet I’m gone,” Campbell sings while John somehow transcends the ultimate finish line. Long may he run.

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“The Atlas Underground Fire,” Tom Morello

(Mom + Pop Music)

Once the paint-peeling guitar riffs, spleen-shaking drums and rip-roaring parade of guests subside, Tom Morello’s “The Atlas Underground Fire” really gets hearts racing.

The final cut is “On the Shore of Eternity,” an 8-plus-minute dance instrumental that makes it sound as if the album has been hijacked by an aerobics class.

Morello wants America to shape up.

The rock star and social justice warrior delivers that message via a sprawling 12-tune patchwork pandemic product. Morello’s guitars hit hard, even though he recorded them on his phone’s voice memo app, and the passion of his politics comes through. But long-distance file-sharing by the album’s many collaborators results in a whiplash-inducing grab bag.

Morello co-wrote every tune except the AC/DC classic “Highway to Hell,” which happens to be the set’s highlight. It showcases Bruce Springsteen and Eddie Vedder in their full-throated glory, acting as though they’ve sung an arena anthem before.

Even heavier is “Let’s Get the Party Started,” with Bring Me the Horizon’s Oli Sykes singing about dodging demons. Incendiary riffing returns on “The Achilles List,” where Greta Thunberg scolds, “How dare you continue to look away.” The album also calls for activism on “Hold the Line,” a fist-raiser destined to be co-opted by sports venues.

Less likely to last are back-to-back ballads, including one that even Chris Stapleton’s singing can’t save, and the aforementioned workout tune will test stamina.