When we’re talking about ‘DJ Slay Kay’, we’re talking about a titan in the game – a mastermind who took the craft of the mixtape and transformed it into a lethal weapon of unmatched lyrical firepower. It’s clear that the man knows talent when he sees it, and ‘The Streetsweeper Vol.1’ stands as a testament to this beat maestro’s ability to unite all-stars of the rap game, crafting an album that serves as a veritable microcosm of hip-hop’s golden era.

From rugged street anthems like ‘I Never Liked Ya Ass’ featuring heavyweights Scarface, Raekwon & Fat Joe, to anthemic celebrations of the craft like ‘The Champions’, which put scratch legends Doo Wop, Tony Touch, DJ Clue, Funkmaster Flex, S&S, Brucie B, Kid Capri & Ron G on the same cut, each track essentially serving as a state of the union address for hip-hop. DJ Slay Kay’s exceptional skill-set as a beat jockey led luminaries such as Nas, Birdman, and Foxy Brown bestowing their verses on tracks like ‘Too Much For Me’.

‘Makavelian’ tactics were in play where every bar was a shot, and every beat, a battlefield. He cut through the fog of the mainstream and delivered raw, unfiltered hip-hop on tracks that unleashed hellfire like 50 Cent on ’50 Shot Ya’ or turned up the heat with Mobb Deep on ‘Get Shot The Fuck Up’.

The album features this immense list of artists:

50 Cent
Aaron Hall
Angie Martinez
Big Noyd
Black Rob
Brucie B
Bun B
Craig Mack
DJ Clue
DJ KAYSLAY featuring Fat Joe, Remy Martin & A Bless
DJ Kay Slay
Doo Wop
Fat Joe
Flipmode Squad
Foxy Brown
Funk Flex
G. Dep
Hak Ditty
Jagged Edge
Joe Buddens
Kid Capri
Killer Mike
Lady May
MC Ren
Mobb Deep
Posta Boy
Remi Martin
Ron G
Sauce Money
Sonja Blade
Styles P
The Diplomats
Tony Touch
Wyclef Jean
List of artists that feature on DJ Kay Slay’s album The Streetsweeper Vol.1

So let’s get into it. From the opening salvo of ‘Intro’ to the soulful harmonics of ‘Put That Thing Down’, here we are breaking down the songs on ‘The Streetsweeper Vol.1’ by ‘DJ Slay Kay’.

1. Intro (feat. Aaron Hall)

Now, the intro ain’t just about pumping up the volume. Hell, nah! It’s a bold statement, a mission declaration if you will, wrapped in the gritty realness of the NYC streets. With Aaron Hall’s soulful vocals rippin’ through the speakers, Slay serves up an unapologetic narrative of hardship, survival, and ultimately, triumph. This ain’t no glitzy, champagne-poppin’ hip-hop facsimile, this is raw, rough and straight from the gut. The intro invites you to step into Slay’s world, a world where the stakes are high, and the street codes are gospel. The authenticity and raw energy slap you in the face, calling out mainstream radio’s glorified perception of hood culture, and laying out the blueprint for the entire album. Draw your curtains, y’all, you’re about to peep the reality.

2. I Never Liked Ya Ass (feat. Scarface, Raekwon & Fat Joe)

Featuring heavyweight emcees Scarface, Raekwon, and Fat Joe, each verse drips with venomous disdain, spitting out grievances and gripes with no restraint. This track, however, isn’t just about force; it’s about finesse, the artful rendering of animosity and resentment with wicked wordplay. Scarface’s brusque Texas drawl clashes and synergizes with Raekwon’s dense Staten Island slang, creating a remarkable tension that Fat Joe slices through with his blunt Bronx bravado. Slay, meanwhile, orchestrates this symphony of hostility, his turntable scratches adding a gritty, grimy texture to the potently corrosive bars. A standout selection from ‘The Streetsweeper Vol.1’, it’s a testament to DJ Kay Slay’s ability to bring out the best – or rather, the most savage – in his collaborators.

3. The Streetsweeper (feat. The Lox)

It’s a gateway into the raw and potent verses of Sheek Louch, Styles P, and Jadakiss of The Lox. The trio’s reputation as kindred spirits of hip-hop’s grittier side shines through in a lyrical barrage where they discuss street supremacy, survival and maintaining authenticity in a game saturated with facades. The candid narratives range from Styles P’s metaphorical comparison of his tactical rap skill to the ancient art of War, to Jadakiss’ critique of industry disillusionment. In essence, DJ Kay Slay lays down the sonic landscape for The Lox to articulate their unwavering commitment to their origins, exemplifying their ability to navigate the complexities of the street while also navigating the rap industry. This song serves as a testament to The Lox’s lyrical prowess and durability in the industry, solidifying their status as hip-hop luminaries.

4. 50 Shot Ya (feat. 50 Cent)

The lyrical mastery of both artists shines through; it’s a gritty narrative caught between the duality of street life and rap game. The lyrics reveal their ethos of survival, carving out the imagery of a life where every decision counts, every friend could be a foe. Lines like “In my hood, we were taught not to say who shot ya” and “I rock a lot of ice. I dare you to scheme on it,” aren’t just idle threats; they echo the heartbeat of the streets. There is a poetic severity and vulnerability exhibited in these verses as these two titans of hip-hop channel their experiences into a defiant anthem that still reverberates with urgency and authenticity.

5. Get Shot The Fuck Up (feat. Mobb Deep & Big Noyd)

The lyrics paint a visceral picture of hood politics and survival. Mobb Deep’s Prodigy and Havoc, known for their hard-hitting lyrics, speak on this reality with a grimy eloquence, while Big Noyd, raised on the same tough Queensbridge streets, follows suit bringing his own flava. Respectively, their verses serve as chilling reminders of the harsh street life they’ve experienced. DJ Kay Slay’s skillful production provides the perfect backdrop – a dark, punishing beat that underscores the unnerving lyrics. “Get Shot The Fuck Up” is unapologetic and unsparing in its narration, embodying the confrontational ethos that was prevalent in the golden age of hip-hop and that DJ Kay Slay consistently champions.

6. Everybody Wanna Shine (feat. Black Rob, G-Dep & Craig Mack)

A three-headed monster of Black Rob, G-Dep, and the late, great Craig Mack (rest his soul), they spit fire on this track, laying down the reality of the streets, the hunger for the limelight, and the hustler’s code. Black Rob, known for his storied stint with Bad Boy Records, kicks in that classic East Coast feel, grounded in the reality of life in the concrete jungle. G-Dep, another Bad Boy alum, matches the intensity, with his gritty lyricism reflecting the hardships and strife of the hood. But it’s Craig Mack, the man who put Bad Boy on the map before Biggie, who seals the deal. His distinctive raspy flow and textured rhymes paint a vivid portrait of the relentless quest for glory in the rap game. A raw, uncut gem, this track encapsulates the essence of early aughts hip-hop.

7. Too Much For Me (feat. Nas, Birdman, Foxy Brown & Amerie)

We talkin’ about a star-studded line-up here. Nas, Birdman, Foxy Brown, Amerie – each bringing their distinctive flavor to this anthem. Nas, the lyrical genius from Queensbridge, spits with his usual introspective prowess, contrasting his raw upbringing with his successful lifestyle, using vivid metaphors and references, like +Super Freak+ like +Rick James+. Then the Birdman, the southern mogul, extolling his opulence and enterprise, unapologetic about his conspicuous consumption. Foxy Brown steps in with her fiery delivery, asserting her dominance and making it clear she ain’t just a pretty face in the game. And Amerie lacing the track with her sultry vocals, giving it a smooth R&B feel. K-Slay curated an eclectic mix of styles and personalities that truly encapsulates the essence of hip-hop in its purest form.

8. Purple Haze (feat. Cam’ron)

A standout track that features a killer verse from Harlem’s own Cam’ron, leader of the influential hip-hop group, The Diplomats. Never one to mince words, Cam’ron delivers a cut-throat verse that’s as cold as the East Coast winters. You can almost feel the icy chill as he spits about the harsh reality of the concrete jungle. The lyrics are steeped in Harlem’s street life, full of coded language and insinuations that would be familiar to anyone from the block. Shifting seamlessly between braggadocious claims and stark depictions of perilous street life, Cam’ron’s lyrical game is on point, enhancing DJ Slay Kay’s mad skills on the beat. This gritty, authentic dive into the underbelly of New York showcases why both DJ Kay Slay and Cam’ron are regarded as titans in the hip-hop scene.

9. Freestyle (feat. Eminem)

Em’s verse on this joint is pure gasoline, a showcase of his fiery lyrical prowess that set the rap game ablaze. Marshall Mathers comes with his signature rapid-fire flow, chilling metaphors and witty wordplay, painting a vivid picture of life in Detroit, his struggles, and his defiant rise to the top. This wasn’t just another guest spot for Em—it was a shout from the mountaintop. The beat too balanced Em’s spitfire delivery with its grungy drums and haunting melody, creating the perfect storm for the rhyming virtuoso to let loose. As expected, DJ Kay Slay held his own, his signature scratches and transitions elevating the raw energy of the track. This collab isn’t just a standout—it’s a masterclass in explosive lyricism and raw, unfiltered hip-hop.

10. The Champions (feat. Doo Wop, Tony Touch, DJ Clue, Funkmaster Flex, S&S, Brucie B, Kid Capri & Ron G)

This ain’t no ordinary track – the immense lineup features stellar names like Doo Wop, Tony Touch, DJ Clue, Funkmaster Flex, S&S, Brucie B, Kid Capri, and Ron G, making it a grandstand for lyrical prowess and DJ expertise. It’s a thrilling cipher showcasing the best turntable masters and emcees, each bringing their A-game to the vinyl. The lyrics display a sense of battle-hardened resilience, a nod to the golden era of hip-hop where rap battles and DJ clashes governed the code of the streets. The champion’s belt isn’t won easily, and this cut dives into the rigors of earning that title. The underlying message here is clear – only true masters can reign supreme in the cut-throat world of hip-hop. A world where your skill on the mic or the turntables defines your worth. Kay Slay curates this assembly with surgical precision, weaving together a sonic tapestry that echoes the pulse of the streets.

11. Seven Deadly Sins (feat. Vita, Angie Martinez, Duchess, Lady May, Amil, Sonja Blade & Remi Martin)

This track is a testament to Slay’s knack for masterfully orchestrating the most unlikely collaborations. You got heavy-hitter femcees from the Tri-State area – Vita, Angie Martinez, Duchess, Lady May, Amil, Sonja Blade and Remi Martin, all blending their distinctive flows into one cohesive lyrical medley. From Angie’s subtle, radio-tamed spit to Remi’s raw, unfiltered delivery, each verse represents a different sin, giving us a layered depiction of the realities of street life. This song isn’t just about showcasing these women’s lyrical prowess – it’s a reflection of Slay’s dedication to keeping the roots of hip-hop alive. But it’s not all roses. Critics might argue it perpetuates harmful stereotypes. Yet, we can’t deny the authenticity of experiences shared and the aligned artistry that power this epic femmes-fatales cypher.

12. New Jack City (feat. Posta Boy, Shells, Cassidy, Grafh & J Hood)

Each artist represents a different angle of street life, akin to a cipher of raw, unfiltered reality. Take Cassidy’s devastating punchlines that hit like stray bullets, or J Hood’s dark tales that echo the cold hematite hardness of the streets. The lyrical prowess on display is evidence of the boom-bap renaissance in the early 2000s, hinting at Slay’s strategic move to bridge the generation gap while cementing his legacy. Ultimately, “New Jack City” serves as a powerful emblem of Slay’s vision – a shared mic space, where artists could spit fire against the palpable pulse of the streets.

13. Westside Driveby (feat. E-A-SKI, MC Ren & Kam)

This joint smacks you in the face with that raw West Coast vibe, paying homage to a time when the West was arguably the center of the hip-hop universe. DJ Kay Slay, master of the 1’s and 2’s, crafted a menacing, driving beat, giving E-A-Ski, MC Ren, and Kam the platform to spit their fierce bars. And let me tell ya, they don’t hold back. From socio-political commentaries to gangsta narratives, this is a lyrical articulation of the West Coast’s gritty reality, where dreams and nightmares coexist. DJ Kay Slay facilitates this dialogue masterfully, his selection of artists and control over the sound highlighting his understanding of the regional dynamics that shape hip-hop. The lyrics embody the essence of the West Coast, respected by East Coast artists like Slay. No false bravado, just honest, street-rooted hip-hop.

14. I’ma Smack This Muthafucka (feat. N.O.R.E.)

A defiant anthem on DJ Kay Slay’s ‘The Streetsweeper Vol.1’, a visceral expression of street grit. N.O.R.E. gives voice to the harsh realities of the street, painting a vivid picture of the tribulations that come with maintaining one’s respect in the ruthless environment they maneuver. Through his unapologetic delivery, he channels the frustration, determination, and defiance inherent in his struggle. The repeated line, “Cuz I’ma Smack This Muthafucka, Back Up,” serves as a bold declaration, evoking images of survival where respect is taken, not given. It’s a threat, a promise, and a defiance all in one. The lyrics also reflect the ethos of DJ Kay Slay’s mixtape, a raw combination of braggadocious confidence and gritty realism, mirroring the turbulent times of the early 2000s hip-hop scene.

15. Angels Voice (feat. Flipmode Squad)

This joint ain’t about the bling-bling or the Bentley’s; it’s about real-life struggles, the kind of hustle that’s more grind than glamour. The Flipmode Squad, known for their raw, unfiltered lyrical prowess, ride along with Slay, dishing out verses that resonate with the experiences of the streets. The track is a cultural narrative, a reflection of the community from which it originates. It captures the heat of the struggle, the relentless determination, and the pain that arises from a life of deprivation. The delivery of the Flipmode Squad is as powerful as the words themselves; their pace matches the urgency of the message. The beat, laid down by Slay Kay, is both hard-hitting and melodious, supporting and amplifying the weighty lyrics. “Angels Voice” remains a poignant piece of hip-hop history, a testament to DJ Slay Kay’s commitment to authenticity and the raw lyrical power of the Flipmode Squad.

16. I Got U (feat. Styles P & Bristal)

Styles P, famously from The Lox, a gritty Yonkers-based trio, comes through with his signature mix of street wisdom and charisma. Bristal, meanwhile, brings his Brooklyn-honed edge. Framed by DJ Kay Slay’s deft production, each artist weaves tales of street survival, loyalty, and retribution. The lyrics prompt listeners to dig beneath the surface, uncovering the harsh realities of life in the underbelly of the urban jungle, while also celebrating the perseverance and unyielding spirit that define the hip-hop generation. The track is a testament to DJ Kay Slay’s ability to curate collaborations that offer depth and perspective, playing into his reputation as the Drama King. With “I Got U”, he proficiently navigates the crossroads of authenticity and entertainment, creating an anthem that rings true to the streets.

17. Take A Look At My Life

DJ Kay Slay, known for his knack in assembling hip-hop’s finest, recruits Fat Joe, Remy Ma (then known as Remy Martin), and A Bless. This joint is a testament to the gritty storytelling that defined the early 2000s hip-hop scene. The trio spit raw, visceral bars over a dark, menacing beat, painting stark pictures of their respective journeys. Fat Joe, fresh off his ‘Loyalty’ album, blends bleak street narratives with a bravado that underlines his rugged persona. Remy Ma, at the cusp of her career with Terror Squad, flaunts her lyrical prowess with lines that reveal her complex experiences. A Bless brings home the narrative with an aggressive verse, adding another dimension to the story. The track’s essence is “man in the mirror” self-reflection, coaxing listeners to take a hard look at their own lives.

18. Coast To Coast Gangstas (feat. Sauce Money, Joe Buddens, WC, Bun B, Killer Mike & Hak Ditty)

The track is a testament to DJ Kay Slay’s ability to curate an all-star cypher that blends distinct regional styles, while illuminating the shared experiences of the streets. The lyrics serve as a gritty, unfiltered look into the realities of the concrete jungle, from Brooklyn to Compton, with each artist contributing a vivid chapter to this cross-country narrative. The raw vernacular, the vivid storytelling, the grimy authenticity, it’s all there, painting a collective portrait of ‘gangsta’ life that resonates far beyond the borders of individual hoods. This track ain’t just about showcasing lyrical prowess — it’s about bridging geographical divides, unifying the streets and amplifying the collective voice of the ‘gangsta’ narrative.

19. Nino Brown (feat. Wyclef Jean & Hollywood)

Nino Brown, a character from the 1991 film “New Jack City,” has long been a symbol of the unvarnished realities of street life and ambition gone astray. DJ Kay Slay, Wyclef Jean, and Hollywood channel this ethos into their track, using the hard-hitting beats and unapologetic lyrics to paint a vivid picture of the hip-hop landscape they navigate. Wyclef Jean brings some of that Fugees soulful resonance, while Hollywood infuses the track with raw energy and vibrant storytelling. The trio carries the weight of the Nino Brown narrative, not glamorizing the life of the streets, but expressing it in its full complexity. The result is a track that is as deeply entrenched in hip-hop lore as it is in the day-to-day truths of life in the hood.

20. Put That Thing Down (feat. 8-Ball, MJG & Jagged Edge)

This track is a fine example of Kay Slay’s uncanny ability to bridge gaps in the game, bringing together artists from different sub-genres and scenes to cook up something real flavorful. The way 8-Ball and MJG grip the mic, you can almost taste the grit of the Dirty South, their lyrical approach truly embody the ‘down south hustler’ persona. Jagged Edge adds a smooth R&B layer that ain’t just the icing, it’s part of the cake. Lyrically, this joint emphasizes the hustler lifestyle—grinding, shining, and staying strapped. It’s a universe dominated by money, power, respect, and having the guts to put that thang down when need be. Kay Slay, the ‘Drama King,’ once again proves he’s the ultimate maestro of this hip-hop symphony.