Had Can-I-Bus been released on an independent or smaller label by an artist you'd never heard of before, it'd be a breakthrough, a promise of a fabulous new artist on the scene who was ready to grow into somebody serious. In that case, you'd hear everybody telling you to check for this kid, one day he'll be somebody.

However, since this album on well-bankrolled Universal Records is the debut project for an MC with a buzz louder than morning at a thousand bee hives, since this isn't just any MC, this is the man that everybody in hip hop has been watching for the last year ... well, it's just, ehhhh ...

Canibus, like the last lyrical savior of NYC Nas before him, is definitely a skilled lyricist. His ability to twist words and concepts is a marvel to behold, his fury and ability to destroy competition is feared and regarded worldwide. He is without a doubt one of the finest men on the mic today. What he isn't, however, is somebody who knows how to pick a good track for himself.

The slower paced, laid back work of Wyclef Jean, Salaam Remi, Clark Kent and others sounds out of place, clothes too baggy for the tight coils of Canibus's rhymes. Songs like the preachy anti-gun tirade "What's Goin' On," the whiny South Central Cartel chorus on "Channel Zero" (a popcorn X-Files version of Ras Kass' "Nature of the Threat" ... and how can "Channel Zero" be a good thing after PE's dissertation on it in '88?), and the cloying sappiness of the well-intended "I Honor You" ... it's just not what people were led to expect from "the new lyricweight champion," his gruff voice, and his almost diminished hunger.

Now there are high moments -- "Second Round K.O." was one of the last nails in the coffin of LL's mic career as one of the best dis records ever made; the brilliant "Patriots" is fun, spirited and hardcore at the same time; and the lighter tone of voice on "Buckingham Palace" really gives that song a good bounce.

However, overall this album feels like it was done in a week, reminiscent of plumber's pants -- half ass. The driving fury that Canibus was able to deliver with Common on "Making a Name For Ourselves" or the drastic and powerful contrast he brought to the "Gone 'Til November" remix are all lost in tracks more suited for a "say who" rookie than a man of his caliber.

Here's an idea: Take Canibus and his Navy Seals, and lock them in a studio with tracks by Hieroglyphics, Pete Rock, the Alkoholiks and Premier. Drop in a bale of weed. Call back in a month. That'll do the job that we all were ready to get here. Until then, let's hope for remixes.