Ever since Tim McGraw released what many regard as his watershed work Live Like You Were Dying 8 ½ years ago I have had the sense that many have chalked him up as done, an artist past his prime. It's almost as if the (rightly deserved) accolades surrounding that album's title track and it's stratospheric sales led people to believe that he had nowhere to go but down after the, in the words of many critics, "album of his career". Believe me even I, who counts the three post LLYWD albums as among Tim's best work, wondered if he'd ever return to that level of popularity and recognition in the eyes of the casual listening public. Let me just say unequivocally-with Two Lanes of Freedom Tim McGraw has renewed the faith among his most loyal fans and casual listeners alike and laid to rest any doubts surrounding his move to Big Machine Records by delivering yet another incredible album and one this time that will equally satisfy those drawn to both his more artistic and fun material.

Two Lanes of Freedom definitely has a very forward looking and positive feel to it that I think many will find very appealing. Even the slower songs such as Nashville Without You, Book of John and Annie I Owe You a Dance carry with them optimism or a sweet glance to the past that carries you forward. Even what is the most "down" song on the record (and in my opinion one of the best) Friend of a Friend has an ending that leaves the ending open to the interpretation of the listener and it could easily be happy. Overall, Two Lanes of Freedom really truly feels FRESH-and it's not a quality I think can be quantified, it's more of a feel...almost as if the energy and vibe present during the recording is oozing through the music, something that is a trademark of truly great albums.

Two Lanes of Freedom - 10/10: Sets the tone for the entire album with an unbelievably earnest mood, multilayered guitar work and harmony vocals. As always with Tim's music, you can take the lyrics at face value or in the case of the title track, you can approach it from the broader point of view. One way or another the end of this song leaves you wanting more. Great way to start the album and, as a side note, you'll hear me mention harmony vocals a couple times in this review as they are more noticeably present than on Tim's past work and they don't take a back seat driving some sections of songs entirely (such as on Number 37405).

One of These Nights - 8/10: I actually consider this one of the weaker songs on the record (if not the weakest next to maybe Southern Girl). While its grown on me, the biggest issue I have with this song is its too specific along with just purely generic instrumentation-yes it very radio friendly and if helps propel sales fine, but it reeks a bit too much of "we need a radio friendly track". Whereas the title track allows the "broader" perspective, this one while you could theoretically apply it to times you've had, the pictures painted in the lyrics impose themselves on you. It also might be because I've not had many (if any) of said nights so it doesn't appeal to me. I will say this-I very much from about 2:18 to 2:34 I think Tim's vocals and the guitar work off the right channel is stellar.

Friend of a Friend - 10/10: Saying benchmark track on an album like this is kind of pointless-there's so many. I LOVE this song in large part because it's so damn well written-it's one of the better written songs I've heard the last 10 years. I write songs and poetry myself and it took me a little while but I suddenly realized that the chorus isn't written the way you think it is. In most songs when you say "don't you believe anything you hear....no matter what they say it's just not true, I don't spend all my days and my nights just missing you" you mean that you in fact are. I think that lyric here is ambiguous...that perhaps the writer in fact is NOT missing the woman in the song. Combine that with the totally open ended last verse that leaves the ending up to the interpretation and you have a song that's clever without seeming so which is the best kind. My understanding is the ending instrumentals ran well over 5 minutes in the studio and I believe it-so haunting and with, again, highly complementary background vocals I wish maybe they had gone on a bit longer. One of Tim's finer songs of his career and a stellar presence on Two Lanes.

Southern Girl - 7/10: Yeah I don't even know what to do with this song. Again, I have nothing I can associate with when it comes to this because I'm from California (and no, most women in California are nothing like California Girls OR California Gurls so the same incorrect stereotypes that apply there apply here too) and I also dislike the music which contains chords waaaay too reminiscent of other similar songs. I actually think Tim's vocals are really good on this track but I would guess I pass over this song 8 out of 10 times I listen to the album. Great if you have experience with the type of girls referred to but as close to a dud as you'll find on the album.

Truck Yeah (and Truck Yeah Live) - 10/10: Yee haw-bring it cause I know I'm going to get it for giving this a 10/10. It's funny because I truly had little love for this song when it came out. I think that was because I feared what it boded for the album as a whole-I was thinking "if this is anything like the rest of the album, Tim has lost it". Fortunately that is very much not the case and, as such, Truck Yeah now becomes a kick ass Jason Aldean-esque anthem which I found has grown on me immensely. The live version has some added live performance energy that is nice and I think it's a nice addition to the deluxe version which I would venture to guess will comprise probably 75-80% of all sales. Listen-I enjoy to all types of music including rap so the whole flap over the Lil' Wayne reference means nothing to me and for those up in arms about the play on words in the title? Are you one of us? Truck yeah.

Nashville Without You - 10/10: Normally I'm not very complimentary of songs that fill themselves with references to other songs much less those that are self-promoting about the, basically, Nashville music scene which probably means more to Tim than any of the listeners. BUT-I have to make an exception in this case because the song is so darn beautiful with incredible soul and instrumentation. Plus, I don't know what it is about Tim the last few albums but his voice is getting better and vocal more expressive with age and when he hits down notes it's amazing as when he sings "no woman standing by her man-in the place where it all began" and I just get goose bumps. Maybe the most well executed "Nashville/Country Music Homage song I've ever heard.

Book of John - 10/10: Wow. This is by far the simplest song on the album where a simple acoustic guitar and light percussion carries entire parts. And that makes such perfect sense because it allows the lyrics and the story they tell to carry the song-plus, once again, Tim's expressive vocals are just incredible and when he hits "and I know one day I'll be passing on, the Book of John" at 2:56 the goose bumps make another appearance. Another of the benchmark tracks on Two Lanes.

Annie I Owe You a Dance - 10/10: Well right in the wake of the emotionalism of Book of John you're thrust right into this bittersweet, tender, thankful and forgiveness laden masterpiece. I think that country music in particular is overrun with "missed love opportunities from younger days" songs and there are parts of this song that really flirt with that in my mind. But the genuine emotion and the overreaching theme of forgiveness and closure mixed with gorgeous music will drive anyone with a heart to their emotional knees with lyrics like "it shouldn't be a surprise the forgiveness in your eyes gave me a second chance; Annie thanks for.....the dance". We are at our best when we forgive and love overtakes everything else and this song personifies that.

Mexicoma - 10/10: Now this is a fun song. So many fun songs fall flat with pointlessness and lazy arrangement but not in this case-and lyrics like "you pulled the plug on what I thought was love, but I've got just enough juice to forget about you and squeeze this lime" always makes me smile. The music is so unique I don't think I could describe except to say I think there's tubas and accordions back in the mix which is totally awesome. You'll have the windows rolled down and cranking up this song in a couple months.

Number 37405 - 10/10: Mr. Tom Douglas? I'd like to say thank you so very much for writing songs-you're an incredible talent and I think one of the finest songwriters of our time. Tim? Thank you for coming back to him for some of your most emotionally impactful, genuine and heartfelt work (My Little Girl, Why We Said Goodbye, Love You Goodbye). This song is amazing; yes it's about a man imprisoned but that's not the point of the song. The point of the song is mistakes we make, the responsibility we take and the opportunity we are given for redemption. Musically this song is amazing-there are several distinct interludes and the ending which are punctuated with nearly angelic harmony vocals. This song has to be heard to be appreciated but just take my word for it-you will feel this song. Not only a benchmark song on Two Lanes but I'd place it in the Top 20 of all the songs Tim has recorded.

It's Your World - 10/10: Sexy song-damn sexy. First, this song rocks but second of all, any man whose fallen for a woman that he thinks is fantastic will associate with this song. Now, depending on the woman this can be good or bad (I was married to a woman for 11 years with a goddess complex-bad) but the fact remains there's something hot about a man admitting he's playing second fiddle to an amazing woman. And the guitar work blisters giving the album another song that can be cranked up and just cut loose too.

Tinted Windows - 10/10: I have somewhat of a conflicted relationship with this song-and for reasons I think are the same reasons this is a bonus track and not a part of the standard release. First, the "tinted windows" is used as an analogy in the second part of the song (which is the part I like the best) but its use in the first part of the song seems contrived to make the use in the second part work. Plus lyrically, vocally and musically the second part of the song is far superior to the first-actually the first 2 minutes of this song are like a 5/10 but the last 2 minutes are so far above 10/10 that I have to give the song an overall high rating. When the song changes keys at 2:24 and (more) unbelievable harmony vocals kick in with "we sold that car back in 97; should've got 15 but we only got 11...we grew up and we grew apart, the years rolled by and now.....(won't spoil the song with more lyrics)" the song becomes a truly excellent song. Not quite consistent to be on the standard release, better than most bonus tracks.

Highway Don't Care - 10/10: Incredible song. I don't give one damn what anyone says-and trust me it will ALL be because Taylor Swift is on the song-this song is simply fantastic lyrically, vocally, musically (and anyone that says one sideways word about Keith Urban, well...hey if you want to knock one of the finest guitarists of his generation feel free but you can't back it up). The verses are sharp, descriptive and work well together, the chorus is one of the finest sing along anthems I've heard in a long time and Keith Urban simply nails every single guitar part. Funny thing? Taylor sings the one verse.....but she's there more as a harmony vocalist-this isn't a duet in the traditional sense (like the ones Tim does with Faith) and I think that's what makes the song work so well. And on top of all this, the song is actually really sweet and loving as the singer expresses his love and caring. If Big Machine doesn't release this as a single they're insane-mega hit in the waiting.

Let Me Love It Out of You - 8/10: Tim does one of these nearly every album (Watch the Wind Blow By, Just Be Your Tear, Suspicions)-bluesy and funky generally sexy songs. Some work, some less so. This one is middle of the road and it's actually a really well written song lyrically and well executed, I just don't generally like these types of songs. It actually works as a really nice as almost a "nightcap"- a relaxing wind down to the deluxe edition after 14 tracks of invigorating freshness.

Tim has always been the master of balancing lighter fare and introspection, changing seamlessly from life of the party to brooding philosopher-a quality in his albums that in large part will have him counted among the country greats when it's all said and done and it's a quality that has maybe never been expressed better on an album of his better than it is on Two Lanes of Freedom. Many, including myself, had doubts about Tim changing labels to (of all places) Scott Borchetta led Big Machine and essentially blowing up his revered road band The Dancehall Doctors-but if doing that is what it took to get an album that sounds like this then so be it. With a fresh, reinvigorated and free spirited sound, I believe Two Lanes will be nearly universally well received by fans and critics alike and years down the road be pointed to as the album that made Tim McGraw not simply relevant again, but put him back at the forefront of country music.

McGraw's second hits collection contains 16 tracks, half of which come from 2001's Set This Circus Down, 2002's Tim McGraw and the Dancehall Doctors and 2004's Live Like You Were Dying. Those albums found a more mature McGraw appreciating life ("Live Like You Were Dying"), a buddy ("My Old Friend"), and his woman ("Watching The Wind Blow By," "She's My Kind Of Rain"), plus exhibiting an increased sensitivity ("Grown Men Don't Cry").

McGraw also reaches back to the era of the first hits collection to include the chart-toppers "Not A Moment Too Soon" (1994) and "Everywhere" (1997). Eight other top five hits have yet to be anthologized, including number ones "Angry All The Time" (2001), "Unbroken" (2002), as well as McGraw's strongest vocal performance to date, "One Of These Days" (1998). The other omitted hits include "Refried Dreams" (1995), "Can't Be Really Gone" (1995), "All I Want Is A Life" (1998), "Back When" (2004), and Do You Want Fries With That" (2005).

Two collaborative hits are making their debut on a McGraw album and both sound out of place: the rapper's delight "Over And Over" with Nelly and the Faith Hill-dominated "Like We Never Loved At All." Much better are the new four new recordings, two of which - "My Little Girl" and "I've Got Friends That Do" - McGraw co-wrote (his first self-penned recordings). Hopefully, as his musical horizons expand, McGraw will provide us with more quality compositions in the future.