The trio from Illtown have done a lot of catchy, movin' music over the years, and their experience show clearly on their latest album, their first on new label Arista, Nineteen Naughty Nine: Nature's Fury. With none of the skits that threw off the rhythm of Nineteen Naughty Three, more appeal than the rugged Poverty's Paradise, this album is obviously the product of seasoned veterans who know what people want.

This is not to say Naughty is on some ol' pop minded isht -- this is the crew that made hardcore more acceptable, with their intro to the field, "O.P.P." and kept you movin with "Hip Hop Hooray." "Anthem Architects," they were called by Rap Pages magazine, and they do kick some catchy stuff, while never letting go the lyrical integrity they have always stood for. Most rewarding here is Kay Gee returning with production up to the level of his cohorts.

There are a few dry moments. The extremely overdone DeBarge "I Like It" sample on "Would've Done The Same For Me" could have stayed in the lab The "Car Wash" sample kicks it in "Work," but the guest stars Castro and Mag drag down the energy of the song, making it a miss. Pun's appearance on "We Could Do It" is hot, but the chorus and sugary track are just a hair below the standards of the rest of the album. Ditto "The Blues" which is more of a pastel than resonant due to Next sounding like, well, teenagers talking about drama.

Naughty hits all the buttons otherwise. Like thug music? "Thugs & Hustlers" or the No Limit guest shot "Live Or Die" will fit nicely on any killer mix tape, and "Dirt All By My Lonely" is a rider's anthem of truly epic proportions as Treach's voice gives 1999's anger with the quality of "Uptown Anthem." Chicago's bounce sound had to have inspired "Wicked Bounce" (is that beef with Twista over or what?) which is highly reminiscent of early Crucial Conflict or Do or Die. The single "Jamboree" with Kay Gee's padawan learners Zhane will get you close groovin' in the clubs, as will "Holiday" borrowing "A Lover's Holiday" in its track with the pianos we so missed. Old school heads will appreciate the Public Enemy nod to "Miuziweighsaton" on "On The Run," as well as a Run-DMC inspired moment on "Radio."

In short, at least 80% of this album bangs ridiculously hard, and the rest is worth not pressing fast forward just to hear what kinda bananas line Treach or Vin will spit next. Kay Gee has been criticized for adding lots of R&B singers on his work, but in most places here the swing works (especially where he goes with pianos), and where it doesn't, Treach and Vin try to turn up their intensity to make up for it. A solid team effort.

Keep it rough and rugged, y'all -- this is millennium hip hop without the C. Dolores Tucker chaser.