Adam Lambert, “High Drama.”

Conceptually, High Drama by Adam Lambert is relatively simple: The powerhouse vocalist takes a some of his favorite songs, turns them on their head and adds a dramatic flair. There’s no particular era, artist or songbook du jour here—it’s an eclectic array. The real stars of the show here are his unmistakable pipes. Few have the power and range of Lambert’s vocals, as evidenced by his recruitment to front Queen, a role he’s tackled with poise.

Lambert avoids flipping these songs into classic rock anthems. On his cover of Bonnie Tyler’s “Holding Out For A Hero,” the take is nearly unrecognizable from the original; it’s more in the proggy direction of Muse’s “Uprising.” Compare that with Lambert’s twist on SIA’s “Chandelier,” which is a little closer to the original but takes things in a more alternative post-grunge direction. At times, the chorus almost moves into the territory of Fall Out Boy or Panic! at the Disco. It’s fascinating to hear Lambert’s voice transition from track to track.

In the case of Duran Duran’s “Ordinary World,” things shift entirely in the opposite direction, transforming the song into a piano ballad. It’s actually quite stunning, mixing in strings and orchestral elements that only add to the “drama.” Billie Eilish’s “Getting Older” opens with a Queen-esque harmonized vocal before shifting to a rock ballad. But that shouldn’t undersell the song, as the vocal performance is tremendous.

One of the coolest takes on the record is Lambert’s spin on “I Can’t Stand the Rain,” a song made famous by the legendary Tina Turner. Sonically, his version actual stays true to the vibe of the original, while digging deeper into its bluesy swagger. The song is vibrant and honors the original. This then transitions naturally into Lambert’s take on Lana Del Rey’s “West Coast,” doubling down on the bluesy, hard rock aesthetic. The beat hits hard with a fiery stomp and the riffs add texture to the grungy song.

The pace slows for Culture Club’s “Do You Really Want To Hurt Me,” which keeps the character of the original but brings the energy up closer to an R&B arrangement. Lambert trades in the high notes for a lower smokey vocal.

He then transforms Kings of Leon’s “Sex On Fire” to a bouncy and upbeat bass-driven alt-pop song that starts quiet and sensual before crescendoing into a fun, almost campy, climax.

Adam Lambert takes P!nk deep cut “My Attic” and adds a softer acoustic touch. If that’s not obscure enough, there’s also “I’m a Man,” by Jobriath. While many likely won’t have the context of the original, Lambert again elevates it into a lively blues-rock territory. The singer turns back the clock for his spin on Dinah Washington’s “Mad About A Boy,” flipping it into a suave theme. It’s a fitting and fun way to close out the album.

Lambert isn’t trying to outdo the originals on High Drama, but rather take them to a different place. More than anything, it’s an effective showcase of his dynamic range.

Follow writer Mike DeWald at Twitter.com/mike_dewald.