The Michigan trap scene has become the hottest thing in hiphop over the past couple years (check out our guide to Detroit trap!). The off kilter, funky beats and double time flows are simply infectious fun, and have been getting copied by artists across the map. Even as it blows up, we can’t forget one of the scene’s most influential and talented figures: Sada Baby. Even with some big hits and a Fortnite dance, Sada seems to have been a bit slept on as guys like 42 Dugg and Babyface Ray are at the forefront of hiphop. Well after more than a year since his last album, Sada Baby came through once again with the third entry in his legendary Bartier Bounty series to great success.
East Sidе representativе, I’m on bullshit
Why would I worry bout a n—a with this full clip?
I don’t get defensive, we on offense
Get extra, send some extra bullets through his coffin
Bartier Bounty 3 is rife with the over the top energy Skub is so loved for, as well as some improved bars and nice variety. The album opens with “1992”, which has Sada just spitting for almost four minutes straight; With a wacky, rapid flow and a low mix, there are lots of stand out lines (“Hit him in his chest – pew pew – look like he crumping”). He always finds an obscure reference or funny way to spice up the usual street talk we get from trap music, building up his wild, charming persona. This leads into the single “Perfect Form Skub”, which might sound like some typical Sada at first, but there is a subtle beat switch and impressive flows which really take it to the next level. This beginning stretch is easily the best on the album, and leaves a great impression on his discog. Next is another single, “Sada Wada”; Here we get Sada doing one of his unique melodic cuts. There are a few of these on every album; While he is not a good singer by any means, the autotune and energy are just infectious and so endearing. The hook on here is such an ear worm and manages to be funny without getting corny.
“Unkle Hell Yeah” and “Rehab” continue a strong opening run on the album; The former has an epic build where Sada makes nursery rhyme references, while “Rehab” has some more introspective moments which never sacrifice his signature sound. What makes him stand out so much – despite having the same general style as others in the Detroit trap scene, arguably birthing it – is the hunger and unwavering energy he brings to every song. The flows, hooks, and adlibs show real commitment and love for what he does, so even his weaker tracks have some redeeming qualities. Not many others have the balls to just croon out of tune or make ridiculous growls; He’s easily one of the most charismatic and addicting rappers in all of hiphop today.
Bartier Bounty 3 definitely lulls a bit in the middle of the tracklist, but nothing stands out as particularly bad. It’s just more of the typical Sada Baby we love and expect. The lone feature comes from Skilla Baby on “Bad Boyz” where they trade bars for a whole song. This was a nice change of pace for the project, and more features wouldn’t have hurt (the recent single with E-40 is a great example). Other standouts from the second half include “Skubop”, which has a deep, funky synth; Sada always lets the D – Cali connection shine in his production. There’s also “Angel & Dren”‘s upbeat, 8 bit sounding beat and a set of bars where Sada legitimately whispers.
Overall, Bartier Bounty 3 might not quite reach the highs of Sada Baby’s other projects, but it’s more of the same energy and quality we expect from him. Hopefully he can keep this momentum for more work soon, and reclaim his throne with some recognition as the hottest out of Detroit.