The pairing of Post and HARDY sounds just like the late-night, drunken musings of two buddies asking large questions – and that’s fairly presumably how this music got here collectively. While the story begins with “the world turnin’ back on,” Post wonders if he noticed a message within the white and yellow avenue strains guiding him dwelling, prompting him to fret simply how far his companion would go for him. And whereas he questions whether or not they’d pack a go-bag or cover his gun for him, amongst different murder-adjecent hypotheticals, the story proves to be simply that. “Lord, I didn’t do anything wrong,” whispers Post on the finish, “I’m only asking just because.”

Any fan of Post is aware of simply how true this music’s title is, because the artist has by no means shied away from the finer issues in life, a lot of which he rattles off right here: “platinum on my teeth, and wagyu on my grill,” he sings, earlier than declaring himself to be a “five-star hell raisin’ dive bar rockstar.” In that one sentence, Post manages to sum up a lot of his components – and you may virtually hear his self-aware grin coming by way of the audio system. Getting a legend like Hank Williams Jr. to affix in on the enjoyable makes this music all the higher, as he lists his personal lavish loves, from a “50-foot pontoon” to “Pappy Reserve.”

It’s not till the sixth observe that Post takes heart stage together with his first of simply three solo songs. And whereas “Belong” begins with a delicate twang, the music shortly transitions right into a extra basic Post Malone cocktail of pop, a splash of hip-hop and a contact of rock. The magnificence is in that seamless transition, as this music reveals simply how pure this evolution has all the time been for the famous person. Plus, what makes it most nation isn’t the manufacturing however extra so the that means, as Post counts all of the individuals and locations he’s already given his coronary heart to, from “half-way lovers” to his “rockstar livin’ – and proves just how much of a softie, and romantic, he is when he declares, “If I knew I’d meet you one day, I woulda never gave it all away.”

Serving as the only real solo nation music from Post on the album, “Right About You” is proof that he didn’t want assist to make this mission – or to have or not it’s successful. But as evidenced by the stacked observe checklist – and as he himself sings on the album’s lead single – he certain did have some assist. And it’s these heavyweight options that make a music like this not solely stand out, however really feel much more particular for and appreciated by Post’s day one followers who knew he had this in him all alongside. Bet they’re feeling fairly proper themselves proper now.

Post and the legendary Parton takes issues again to the ‘70s with this throwback, rollicking, piano-laden duet that soars when the two sing together, as they do for the majority of the tune. These two lovers “don’t have the center” to interrupt up with one another so that they merely maintain falling again into one another’s arms and beds. The practically 50-year age distinction between the 2 could give some individuals the ick when lusty ideas prevail, nevertheless it’s exhausting to not smile when Parton sings, “Oh what the hell, what’s one more night going to hurt.” 

On the primary of two collaborations between Post and Combs on the set, they scratch beneath the floor as this uptempo tune belies a puzzling scenario. They each know guys who can repair virtually something that ails them from the sighting on a rifle to the binding on a bible, however they arrive up quick in relation to discovering a man who can repair a girl’s damaged coronary heart — and so they know they’re simply going to must reside with the implications of their actions.

On the heels of a break-up, Post lists all of the issues that he ought to have carried out in a different way on this observe that makes use of basic nation cleverness: It goes with out saying that she’s not coming again after which because the prepare leaves the observe, she goes with out saying goodbye. Post and Paisley, whom Post first noticed in live performance when he was six, commerce verses and Paisley’s guitar licks are tastefully on show, although he retains the fireworks at bay (which will not be an excellent factor) consistent with the low-key really feel of the mid-tempo observe. The tune sounds totally different from every little thing else on the album, particularly with the delicate mandolin work, and may very well be a possible change up single. 

In their second collab on the set, Combs and Post go straight for the feels with this conventional nation ballad that sounds straight out of the ‘80s. Fiddles accompany the heartache as absence solely makes the center develop sadder even when, as Combs sings, “the next best thing is lying right here.” 

Post and Wilson discover the wonder in hitting all-time low on this twangy, light ballad that the pair debuted on the Grand Ole Opry Wednesday (Aug. 14). “There’s learnin’ in the hurtin’,” Wilson sings because the pair commerce verses and are available collectively for the refrain. Their ache feels actual and genuine, as does the redemption and hope as they sing the final refrain a cappella.

Just as anticipated, a Post Malone and Billy Strings collaboration not solely hits exhausting however man oh man is it enjoyable. Everything from the high-speed bluegrass beat to the playful songwriting – during which Post spins a narrative about being paid off by his lady’s dad to skip city, solely to seek out himself in a collection of questionable conditions whereas on his approach right down to Mexico – secures this music as an album standout, and certainly one of many extra vigorous tracks to hit the highway with.

This beautiful ballad sounds tailored for moonlit swaying, with Post and Sierra Ferrell crooning in good, aching concord in regards to the impending lack of a lover – “I’ll love you ‘till tomorrow, then I’ll never love you again,” they sing matter of factly. There’s a ravishing simplicity each within the message and supply from the pair, and within the better context of the album, this intimate observe arrives as a pleasing respite from a few of its higher-energy companions.

Post Malone and Jelly Roll tread acquainted territory for followers of the latter with this mid-tempo, mass-produced observe that wraps its arms round all of the outcasts on the market. “You might be lonely, but you’re never alone,” sings Post, earlier than Jelly Roll is available in, assuring anybody who appears like they don’t have anything to lose, “there’s a spot for you beside me on this stool.” From two artists who’ve made no secret of their outsider standing –actual or imagined — it’s an interesting and relatable invitation.

A litany of woes from the tedium of the work week to your favourite staff dropping and getting a rushing ticket are not any match for the healing powers of your favourite libation. Shelton and Posty’s voices are indistinguishable as they mix on the catchy refrain that’s certain to grow to be a Friday 5 p.m. customary. 

Oftentimes, a cliche is a cliche for good purpose – and on F-1, Post certainly saved the most effective of himself for final. While not practically as rousing as among the album’s standouts – particularly the beforehand launched singles – “Yours” is a surprising, singular ballad written not just for his child lady, but in addition for himself. A proud father, Post spotlights his adoration on this album nearer, managing to summarize the expertise of loving – and being beloved – endlessly in simply 3 minutes and 19 seconds.

While the singles that preceded F-1 are probably the most pop interesting from the album, “Devil” suits in with the pack as Post and Ernest cooked up an inviting melodic fusion. For a music about salvation, its manufacturing is fittingly releasing; not like different tracks right here, the band takes a bit extra of a backseat permitting Post and Ernest – and their message of leaving demons behind – to correctly take maintain.

The lead off observe from the album proved to be fairly the juggernaut: six weeks at No. 1 on Billboard’s Hot 100 chart (probably the most of any music this yr) and 5 atop Country Songs, the primary music to ever obtain such a double-fisted feat. It’s a number one contender for music of the summer season for good purpose: The undulating, swaying tune a few relationship gone improper and an ex who doesn’t see her position within the mess is easy and infectious. Stop in search of any message or complexity right here and simply give in to the season’s high earworm.

This rousing, twangy album opener completely units the tone for the hour forward because it begins acoustically – instantly proving Post as a vocalist in his personal proper – earlier than slowly constructing right into a booming, virtually threatening beat, as if meant to foreshadow a bar brawl. Through all of it, Tim McGraw (whose hits together with “Real Good Man” and “Don’t Take the Girl” are playfully talked about) is completely woven into the narrative and helps drive the instrumentation to its dizzying finish. At which level, Post makes clear simply how sonically lush F-1 Trillion got down to be – and boy does it ship.

Post Malone and Stapleton are clearly having the time of their lives on this tune that blends bluegrass, nation, rock and simply sufficient grunge to really feel appealingly swampy. “She said, ‘Baby give me one more kiss before I kiss your ass goodbye,’” sums it up, as they wrap their voices round one another as they’re left within the mud by a bewitching hitchhiker, who takes them for every little thing they’re value. Someone must make Smokey & The Bandit IV simply so this may be in it.