Welcome to Frank Fridays, where every time out we let a professional let you know what you should be listening to this weekend and beyond.

Guns Garcia is a DJ and remixer in Philadelphia who also works as an instructor at the city’s recently opened outpost of the Scratch DJ Academy. A supporter of regional club music from New Jersey, Philadelphia, and Baltimore, she stays busy with frequent gigs around the city and along the East Coast. She’s also one of the people behind So Far Gone, the monthly Drake-themed party held in both Philadelphia and Brooklyn that started as a night for friends and quickly turned into something much bigger—catch them on a yacht crusing the Hudson River this July during their Views from a Ship event when Drizzy’s summer tour lands in NYC. You can also find Garcia at the ninth anniversary of Jimmy Valentine’s Lonely Hearts Club in Washington DC this Sunday and she might play some of these jams.

 

Drake (featuring Rihanna), “Too Good”

What can’t Drake and Rihanna do together? [“Too Good”] has a moombahton feel to it, even though it’s a little bit faster. The lyrics are such a good depiction of a certain space that a relationship can be in, but you can also dance to it at the same time. It’s like emo dance music. I hope [“Too Good”] turns into a hit over the summer. I feel like it could. People really enjoy seeing music videos of Drake and Rihanna together; both of the “Work” videos were so huge. They have this real chemistry between them. I don’t know what the status of their relationship is now or has been, but there’s clearly something about the two of them together.

 

Swick (featuring Spank Rock), “Tickets”

This one just came out a week ago. I came across it by following Nina Las Vegas and NLV Records, her record label, on SoundCloud. I’m really into everything Swick and Nina Las Vegas are doing right now. Nina Las Vegas just `put out an EP like a month or two ago and she had a collab with him on there called “Now or Never.”  [“Tickets”] has more of a darker feel to it than most of [Swick’s] tracks, but it sounds so smooth with Spank Rock voice’s over the top of it. I’ve known Spank Rock for a long time and have listened to his music forever. I’ve always really loved his charisma and cadence.

I’m a big fan of club music, so I really like things that have even a little bit of a club music element to them. [“Tickets”] feels like they’re taking club music in a new direction and giving it a more polished sound. I could either mix this in with another upbeat dance track that might be a little bit more popular to get people into dancing to a new song, or it could be right before the night turns into super dance mode.

Sometimes I really try to push a song because I’m obsessed with it. Sometimes it does gain some sort of momentum and sometimes it doesn’t. There’s this kid Baby E and he has this song called “Finessin” and I love it. I used to play it all the time, for months and months and months. No one knew it, so to them it was like a new song. It’s almost on that Post Malone type of vibe, but it never really gained huge momentum. I know [Baby E] is still promoting it. It’s been out for maybe a year or so, but you never know. Things sometimes take two years and then out of nowhere it’s like, “This is the number one? I was playing this for so long and you guys didn’t care.”

 

Michael Jackson, “P.Y.T. (iMarkeeyz remix)”

iMarkeeyz has been really killing it with his remixes lately. I opened SOSUPERSAM’s 143 party that she had here in Philly. I played this for a room full of a DJs and literally everyone came up to me like, “What was that ‘P.Y.T.’ remix?” This is one of the most digestible club tracks: it has all the lyrics still intact, it’s not insanely chopped up, everyone who knows this song can still sing along to it. It has that kick to it, but it’s not that heavy, hard feel. This is something you could probably play at the club and you could probably play at a wedding. It doesn’t change the integrity of the song, it just adds.