Writing about Brother Ali presents a problem. On the one hand I feel dwelling on his background undercuts his music; he even feared this, being so reluctant early on to discuss his race that some mistakenly reported him as African-American.

But on the other hand, an MC isn’t exactly a detached writer striving for Negative Capability. And as his career has progressed, Ali has been increasingly vocal about his Midwestern roots and what the region’s artists have to offer compared to coastal hip-hop, as well as his race and background.

So, quickly here are the Brother Ali factoids. He is a white Mid Westerner that raps, and by white I mean very white. In fact, Brother Ali is an albino, and legally blind as albinos tend to be. He is also a Muslim. I could speculate all day long how these factors may contribute to knowledge of outsider status and thus lyrics that are deeply introspective at times, but also full of braggadocio and ego.

Instead, let’s look at his music. Ali’s penchant for the “golden age” of hip-hop flavors his music with sound similar to oft-cited influence KRS-One and now-defunct and heavily old-school influenced Jurassic 5. He has a distinct, timeless-quality to his flow, a strong voice and great sense of lyrical timing.

His politically charged track “Uncle Sam Goddamn” has generated a flurry of press, including being featured as the August 2007 “Hip-Hop Quotable.” The song has been opposed and criticized by many including the recording industry and most notably a cell-phone company that withdrew sponsorship, shortening part of Ali’s tour.

The single “Take me home” has been received with less controversy, resulting in a music video in rotation at MTV. But how do I truly resolve the issue of Brother Ali’s music versus his press sheet bio? In the end, I’ll take the cop-out, and decide after his March 25 show at the Ottobar.

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