Anthony “AZ” Cruz has long been an enigma in Hip-Hop; nice enough to gain your respect, but during the second half of his career not nice enough to make you open your wallets and support his movement. His lyrical ability has never been in question, nor has his dedication to the art form. And even though the odds of seeing his videos reach number one on TRL can easily be reduced to pipedreams, he remains consistent for those who still love him. With sixteen years in the game, he went from needing Doe or Die, to being Pieces Of Man, as he contributed to the 'Affirmative Action' cause, and then reached back for one of his 9 Lives, but went on to proclaimed himself as Aziatic, and while he toasted us all with a Final Call, he changed his mind and went A.W.O.L., but returned to show us all The Format, and through it, he’s proven to be—Undeniable.

The one constant thing about AZ that you can always count on is his knack to connect words that have no business going to together, and on Undeniable, he doesn’t disappoint. “The Game Don’t Stop” is the lead-off track, and over the simple yet adequate production (courtesy of Lil’ Fame) lines like, “I’m one man with so many monste rs in me/with one gram, had plans of—conquering cities/on one hand, could’ve signed and launched with Diddy/but I ran with my other man, the response was pretty/a few grands, a few n*gga’s fiancés with me/new sedans/was feeling like Farnsworth Bentley” will make you feel at home.

“Superstar” is more of the same, strictly lessons in lyricism, although the hook sounds a little typical and watered-down, he makes up for it with lines like, “Repertoire like W.E.B. Dubois, who y’all/seen bullet wound leak, blood seep through the tar/(baby pa).” AZ hooks up with one of the most talented and underrated producers in the game in Emile, and they come up with “What Would You Do” (feat. Jay Rush). Over the standout track you’ll hear nothing but content that sounds like, “You know the story how the thugs live and worry/duck down in car seats, heat mandatory/(doggie) since a shorty, I was speaking like I’m 40/with a Lil’ Wayne frame/big chains all gaudy.”

Ray J lends his hook expertise on “Go Getta,” and does a decent job. After he opens the door, AZ comes in and explains just how they’re go getta’s. The Nottz-produced “Now I Know” is another standout track on the album where AZ just goes in, equipped with a throwback voice sample for the chorus and all. There’s only one guest spot on the album, as AZ’s proven throughout his career he’s not the type of performer that needs someone to hold his hand on a project—and the guest appearance is saved for another lyrical beast in Styles P. Rightfully produced by The Large Professor, “The Hardest Out” is just that, a lyrical display with them trading wits and why they are both deserving of such a title. Other songs like the Jackson Five-influenced “Dead End,” “Life On The Line,” and the drum and base heavy “A. Game” help tie the album together.

What makes Hip-Hop so different than other genres of music is the fact that you have to keep changing to remain relevant. Usually when an artist refuses to switch up, their career ends by circling the drain followed by going down the tubes. But AZ is one of those few individuals that can remain who he is and people will always respect his hustle. And that right there is something for you to visualize on.