Eargasm
BROTHER ALI >> THE UNDISPUTED TRUTH.
RHYMESAYERS 2007

Most rappers these days rely more on their image than the substance of their rhymes; it comes as a shock, then, that any MC would strive to de-emphasize his personality. But when you're an albino Muslim Caucasian from Minneapolis, MN, like Brother Ali, any mention in our race and religion-obsessed world is bound to begin with that startling combination of circumstances. It just so happens, however, that Ali is one of the most proficient rhymers in the business, combining blistering political commentary, fun-loving old-school hype, and reflective honesty to produce The Undisputed Truth, one of the most thorough hip-hop albums in recent memory. 

Some credit has to go to producer Ant, who scrounged up scratchy guitars, soulful lyrics, and funky bass lines to give the album a solid foundation. But listening to Brother Ali's natural vocal delivery is like being confronted with a young Eminem's savage authenticity -- minus the violence and misogyny. Instead, tracks like "Lookin' At Me Sideways" and "The Puzzle" demonstrate his ability to deliver rapid-fire rhymes, while "Take Me Home" and "Daylight" contain enough easygoing playfulness to pass as summertime hits. "Walking Away" has a nostalgic feeling that smoothes over the painful realizations of a failed marriage, while "Faheem," a melancholy ode to Ali's son, is full of brutally honest lines like "I just pray you don't remember us sleeping on the floor/and me cleaning mouse droppings out of your toys."  

But the Brother Ali fire burns the hottest on "Uncle Sam Goddamn," a vicious yet intelligent condemnation of the United States' checkered history of war, racism, and misguided power. The song even caused a certain corporate sponsor to pull out of his tour, giving the lyrics (especially those about money) an increasing potency that reverberates throughout the album. While The Undisputed Truth doesn't have much bling, it packs a powerful punch, highlighting the fact that while hip-hop may be ailing in 2007, it isn't quite dead yet. By Nick McGregor