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Once upon a time I thought Talib Kweli and DJ Hi-Tek's Reflection Eternal: Train of Thought was the gold-standard of hip-hop. It had everything: beats, rhymes, more rhymes, some rhymes after that, and Dave Chappelle. Then, someone broke into my car and ran that shit, so I didn't listen to it for five years. A couple of months ago, I found it in a cheapo bin for three bucks. Turns out I mostly liked Hi-Tek, and Talib isn't his friend anymore. So here we have Right About Now, an 'official mixtape,' whatever that means, released on clearinghouse label Koch Records, and stocked with leftovers and ornery jabs at the status quo. Sometimes I get the feeling that Team Positive is playing to lose, like a Def Jam deal is the No.

1 draft pick or something. I respect Kweli for sticking it out, surviving on majors despite their questionable agendas, and give him sky-fives for trumpeting an alternative to crack-snap, but this is music not politics.

And even if it were politics, it's the code of the stump: You can tell people what they need to hear, but make it jump. Follow it back to Mel, KRS, Chuck, the Tongues, whatever-- take it back to Robert Johnson if you feel like it. None disregarded the rhythm and the beat as frequently as Kweli. He's made a career out of doing that, and this is more of the same. A prime example is his duet with perennial NYC bridesmaid Papoose on 'The Beast', which sounds like two dogs barking in a closet. If anyone is a bigger chatterbox than Kweli, it's the 'Poose, and the two of them together equals mental battery. Bc 39 Hi Tall Hr Font.

Quiet storms like the clumsy ode to Lauryn Hill ('Ms. Hill') accentuate the problem, a spacious beat provoking the loquacious Kweli to fill the gaps, which he does like a schoolboy asking out his first date. It doesn't help that the production on these two tracks is second-class, as are most of the beats here, cutout material from previous albums released as a purge before his next proper record. Most promising for that future material are the moments when Kweli jacks the swagger of the very gangsters he scolds. 'Drugs, Basketball & Rap', with Strong Arm Steady, has Talib clipping phrases and showing uncharacteristic vigor over a Needlz bump, even when he drops a reference to Lemony Snicket. Collaborations with ol' pal Mos Def ('Supreme, Supreme') and MF Doom ('Fly That Knot') catch Kweli on his best behavior as well, encouraging him to loosen his collar a bit and follow the lead of his guests. The underappreciated Jean Grae, a recent signee to Kweli's Blacksmith imprint, joins Talib on 'Where You Gonna Run', but by that point, what was meant as a showcase feels more like an obligation as the album trails off into its closing track.

Talib Kweli will have more chances to duplicate the gold he struck with Kanye West on 2002's 'Get By' because he's been tabbed as the conscience pro tem of CEO rappers like Jay-Z and 50 Cent. While neither of them signed him when they had the chance, his next record will be on a major. But, as Mos Def opens weekends and Dave Chappelle plans his escape route, Kweli is left to his own devices, and, to be honest, he has yet to prove he can succeed under those circumstances.