Having spent time on indie labels such as Mello Music Group and self-releasing his own material, veteran Detroit rapper Finale now returns on Focus Records with his fourth album entitled \u201cThe Good\u201d. With some irony, it honestly tracks that this review comes a day after Father\u2019s Day and coincides with the album cover: In this case, it\u2019s a painting of Finale as a child being held by his grandfather. For most of the album, Finale holds down the lyrical part on his own and has very few guest stars. Also, about five songs come with a \u201cb\/w\u201d in the title, with said tracks functioning like double vinyl singles. So, on that note, the album technically begins with four tracks embedded in the first two.<\/p>\n
Wasting no time in his first album since 2020, Finale starts things off with \u201cThe Good b\/w Whatever\u2019s Left\u201d. Respectively produced by DJ Manipulator & DJ Jewels Baby, fellow Motor City music alumnus Tynah also makes an appearance. For the former, Manipulator creates a menacing beat made from an eerie sample as Finale mixes the word \u201cgood\u201d in each of his bars, emphasizing his need for good things and not material excess. On the b-side, Jewels\u2019s beat makes use of horns and vivacious vocal samples as Finale proclaims that the word \u201cgood\u201d will be used throughout the album. Next up is the airy \u201cTake the Time b\/w Mirrors\u201d. The first is an lush production courtesy of DJ Manipulator as Finale spits introspective rhymes about making time for things, but never having enough of it. Jah Freedom\u2019s sorrowful \u201cMirrors\u201d has Finale reflecting his own rhymes back at himself, essentially challenging himself. The Trox-produced \u201cThanks 2 Hip Hop\u201d is Finale\u2019s ode to the genre for giving him an outlet for his thoughts. Nottz Raw produced \u201cDistrict 12\u201d and it sounds very lively with the background vocals, bells coupled with snares, and a piano sample.<\/p>\n
\u201cGunna\u2019s Lament\u201d is a flex for Finale\u2019s his storytelling muscles with the gist of the message being to not trust the inauthentic, even some of his fellow rappers. Finale\u2019s gravelly voice and flow shines on \u201cSelf Checks & Balances b\/w Roses\u201d. Produced By DJ Manipulator & Mark Cooper, the a-side has boom bap drums with a clarinet sample while the b-side has a dense lo-fi sound to its production. \u201cJob\u2019s Not Finished b\/w Bread & Butter\u201d starts with Jae Diamondz\u2019s head-nodding drums and a murky string sample as Finale gives a lesson in respect for burgeoning emcees. For Willie B\u2019s \u201cBread & Butter\u201d, it contains a xylophone sample throughout and has braggadocio rhymes from Finale. Marv Won laces a gloomy beat for \u201cHonor the Code\u201d and begins the first verse with Fatt Father going last, making these two the first guest rappers to make appearances on the album. The scratched in chorus of \u201cStop schemin\u2019 and lookin\u2019 hard\u201d sums up the destroy-my-opponents mentality of the verses. Finale speeds up is flow on the yU the 78er-produced \u201cPatience\u201d, keeping up with yU\u2019s blues guitar lick samples and hi-hats. DJ Manipulator makes use of a vintage soul sample for the exultant \u201cLuther Stickell\u201d as Finale \u201ccatapults the real shit to strongholds of foolish niggas who follow the wrong codes.\u201d<\/p>\n
\u201cEnough\u201d is a dark and foreboding soundscape thanks to Jamil Honesty, with Finale detailing his come-up and knowing what his limitations are. The first single \u201cWishing\u201d is produced by Apollo Brown and features record scratching and cuts from Focus Records head-honcho DJ Illogik. Mr. Brown\u2019s sample chops result in a head-nodding soulful beat as Finale spits stream-of-consciousness rhymes highlighted by the lush vocal sample of \u201cwishin\u2019\u201d throughout:<\/p>\n
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The final quarter of the album begins with the posse cut \u201c4 Rounds\u201d and features Guilty Simpson, IamGAWD & Phat Kat. Produced by Mute Won, the hard drums and light jazz samples are the right sonic canvass for the emcees to add their words to. Chicago\u2019s IamGAWD has some of the best lines on the track such as \u201cI planned it all out, now I\u2019m watchin\u2019 the tape shake \/ You the type of nigga to convicted of date rape \/ Chester the molester-ass nigga, you couldn\u2019t handle a queen\/ You probably more +protein+ than eight stakes.\u201d The bassline-heavy \u201cDWMB b\/w Know It All\u201d is first provided by yU and sounds like a late \u201890s Soulquarians production. \u201cKnow It All\u201d by Jamil Honesty has wild drum programming and Finale wavers between losing interest not being impressed by things. DJ Jewels Baby loops a Motown sample on \u201cA Good Time to Go\u201d, a melancholic eulogy for fallen Detroit hip-hop artists. Lastly, is the Kev Brown-produced \u201cJust Rap\u201d featuring yU & Homeboy Sandman. Each emcee comes with their own take on what it means to rap sans gimmicks and over-the-top imagery. Overall, \u201cThe Good\u201d is rooted in Detroit\u2019s rap scene, with Finale enlisting mostly Detroit-based hip-hop artists to contribute as he curates. A veteran in the game with lots on his mind, \u201cThe Good\u201d shows that Finale is one of many long-time Motor City rappers who\u2019ve survived not by the skin of their teeth, but by being substantively capable artists.<\/p>\n
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