The assembled rappers all understand what’s happening here. None of the songs on the tape are classics, but a lot of them are fun. The hook of opening track “Stick” is mostly just Kenny Mason yelling the word “stick” over and over. It’s full of concussive horn loops and frenzied ad-libs and chaotic energy. I used to buy tapes from this one guy in Baltimore who had a table that was sometimes set up on a particular corner, and I’d grab every Gangsta Grillz tape that guy had, along with DJ Smallz’ Southern Smoke tapes.ĭ-Day really does sound like a Drama tape, too. (Houston had DJ Screw, whose mixtapes were even more important than the Clue tapes in New York, but Screw tapes were a whole different thing.) Drama applied the DJ Clue model to Southern rap, and within a few years, his Gangsta Grillz series was a big deal. At the time, mixtapes from people like DJ Clue were a big deal on the East Coast, but that specific style of tape hadn’t really migrated down south yet. Thanksgiving, started making rap mixtapes in Philadelphia as a teenager, and he started making specifically Southern rap mixtapes after arriving at college in Atlanta in the late ’90s. The mixtape-DJ Mount Rushmore might just be DJ Drama’s face four times.ĭJ The Fuck Drama, Mr. In this one moment, though, Drama is actually a little too humble: “Every time you hear my voice, I’m thinkin’ Mount Rushmore! And there’s only a couple spots available!” I don’t know what Mount Rushmore Drama is talking about here, but if he’s talking about the Mount Rushmore of mixtape DJs, then Drama’s spot is safe. He’s very good at it, and he’s established catchphrases - “and like that, we gone!” - that trigger pavlovian endorphin-floods in rap dorks of a certain age. For decades, Drama has been filling up the pauses on mixtapes by bellowing about his own greatness. Cole’s new Dreamville mixtape D-Day, DJ Drama chimes in with a little self-aggrandizing commentary.
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