Post Malone whips through five decades of country music across 18 songs on F-1 Trillion, his first-ever country album.

There’s a steel-soaked waltz, a glossy bit of effervescence, one or two boots-and-sawdust tributes to the ’90s, and several shows of understanding of 2000s country music. It’s all made contemporary by way of a youthful production team and 15 very willing collaborators.

Related: Stunning Post Malone Facts — 11 Things Country Fans Need to Know

With maybe one exception (listen and decide for yourself), Post’s song partners give 110 percent on F-1 Trillion. You can almost hear Dolly Parton digging deeper than she has in years to meet the moment. When Luke Combs comes in on the first of his two duets, he roars, and it’s wonderful.

At some point during the last 10 months, the conversation about if Post is serious about this country thing gave way to, “how country is he, really?”

You’ll forget all about that as you enjoy the best songs on the album. If there’s a criticism to be made, it’s that he runs a few too many of the same kind of songs together during the first half of the album.

Listen to F-1 Trillion on shuffle and problem solved.

Every Song on Post Malone’s F-1 Trillion Album, Ranked (Best Comes Last):

“Goes Without Saying” (Feat. Brad Paisley) — Melodically, “Goes Without Saying” isn’t a great example of what Post Malone does well. The lyrics are a little loose, as well, but Paisley’s guitar ties everything together nicely.

“Devil I’ve Been” (Feat. Ernest) — By the time you get to track No. 11, Post Malone’s auto-tuned vibrato has become a bit predictable. “Devil I’ve Been” follows a formula cast by nine of the 10 songs that came before it. He opens and gets through a chorus. His guest follows with a fresh take, and they finish with (or without) a bridge and final chorus.

Placement on the album may be what hurts “Devil I’ve Been” more than anything. It’s a good lyric and Ernest sounds great. It just lacks originality mid-way through the project.

“Nosedive” (Feat. Lainey Wilson) — The reigning CMA Entertainer of the Year feels a bit under-utilized on “Nosedive,” a power ballad about appreciating life’s lows as much as the highs. It’s a great message, but his natural singing voice isn’t quite enough to make it stick to the ribs.

 “Yours” — Post Malone’s contribution to the country daddy-daughter canon is heartfelt and a rare glimpse into his life as a father. The album closer might be the only lyric that tells us more about who he is, something that’s usually required on a first project.

“Finer Things” (Feat. Hank Williams Jr.) — On paper, this is the most fascinating of Post Malone’s country collaborations. It’s the one song you couldn’t wait to hear, but the unique quality of the pairing doesn’t translate into a recording that stands out. There’s a little bit of bayou on this “Finer Things.” There’s also a bit of a ’90s vibe to the beat, and once again, the vocals are strong and unique.

“What Don’t Belong to Me” — Post Malone’s first solo vocal on F-1 Trillion is a progressive nod to ’80s country music. It’s slick, with a bit of keyboard creating a dreamy ambiance. A true vocal performance gets off track at the end, and overall the song feels like a bit of a reset after five stirring duets.

“Hide My Gun” (Feat. Hardy) — “You know I adore ya / No s–t I’d kill a man for ya / And if I did would you hide my gun” is a standout lyric on F-1 Trillion. When Post Malone lets his guest artists do what they do best, he’s usually rewarded. On “Hide My Gun,” he let Hardy be Hardy.

“Right About You” — “Right About You” is a plucky little play on words and perhaps the best of his three solo songs on F-1 Trillion. If he were to make a true solo country album with no collaborators, this one should be included.

“M-E-X-I-C-O” (Feat. Billy Strings) — This song sounds like an excuse to get Billy Strings on the album, and to be honest, we’re not mad about it. A rapid-fire lyric carries some great guitar playing. Once again, he let his guests do what they do best, and everyone wins.

“Pour Me a Drink” (Feat. Blake Shelton) — Post Malone certainly understands how to deliver a radio hit. If not for “If I Had Some Help,” this would be the song of summer 2024. Shelton’s true country delivery is a nice contrast to Malone, who sprinkles in a bit of autotune on just about every song.

“Losers” (Feat. Jelly Roll) — Post Malone is the peanut butter to Jelly’s roll, and “Losers” is the perfect song for them. You’ll struggle to find a more sincere song on this album, although it’s likely to remain an album cut, as the radio is swamped with songs targeting the overlooked (most by Jelly Roll).

“Missin’ You Like This” (Feat. Luke Combs) — There’s something beautifully nostalgic about the way Post Malone sings “Missin’ You Like This.” He seems to step back from the microphone an inch or two, which gives us room to join in.

Unlike “Guy for That,” Combs isn’t the star here. Instead, Post’s understated vocals bring the emotion, and that feels pretty good mid-way through a very long album.

“Wrong Ones” (Feat. Tim McGraw) — A heater to open F-1 Trillion. Tim McGraw‘s participation is fascinating on several levels: Has he ever recorded a song with the F-word in it? Sure, he nods to “Real Good Man” and “Don’t Take the Girl,” but the comparison of two worlds also nods to “Over and Over,” his duet with Nelly.

The structure is strange because there’s no bridge, so in some ways the song feels unfinished. Overall this song feels like walking into a building that’s blasting A/C on a 99-degree day.

“Have the Heart” (Feat. Dolly Parton) — It’s one thing to sing around legends in country music, as Post does during collaborations with Blake Shelton and Hank Williams Jr. It’s another to try to match harmonies with Dolly Parton. Slick piano, steel guitar and the icon’s twang make this song a true original on the record.

The reason it’s ranked this high is because Parton goes all in with her vocals. As she’s opening up to reach high notes at the final chorus, one can sense her truly wanting to give her collaborator her best. He seems to have pushed her in some kind of way, and she seems to have really liked it.

“California Sober” (Feat. Chris Stapleton) — There’s immediate Waylon and Willie vibes on “California Sober.” Man, will this ever make a great singalong should Posty take it to the stage!

The problem with releasing an 18-song album is a less-than-dynamic vocalist begins to get exposed by cut No. 10. On “California Sober” (track 14) and the few before it, Post Malone remedies this problem.

“Never Love You Again” (Feat. Sierra Ferrell) — Post Malone cut a true country waltz, and that’s just an amazing thing to think about. Like Parton, Ferrell harmonizes with the lead singer across a vocal performance that’s arguably the best on the album. Maybe this won’t be a commercial smash like some others on F-1 Trillion, but it’s a song that critics and fans of “real country music” will adore.

“I Had Some Help” (Feat. Morgan Wallen) — “I Had Some Help” is the song of summer 2024. The earworm is sure to get some Single of the Year attention at the CMA and ACM Awards. It deserves to win one or the other.

“Guy for That” (Feat. Luke Combs) — If there is one song on Post Malone’s F-1 Trillion album that needs some run on an awards show stage or radio, it’s this Luke Combs collaboration. “Guy for That” is another song that lacks a bridge (clearly Post isn’t afraid to deviate from standard Nashville songwriting formulas), but their play on words and Combs’ burly entrance make this cut a hit.

Billy Dukes is a Senior Editor and Executive Producer of Video Content at Taste of Country. He specializes in country music interviews, trend analysis and the Secret History of Country Music. Additionally, Billy covers Yellowstone, 1923 and related television shows through the Dutton Rules podcast. To date, he’s written more than 13,000 articles for Taste of Country and produced over 3,000 videos for the Taste of Country YouTube channel.