When you talk about the rawest voices to come out of Brooklyn’s drill scene, Bloodie’s name belongs near the top of that conversation. Affiliated with the 41 collective — a group that helped reshape New York drill into something colder, grittier, and more sonically precise — Bloodie has carved out a lane that is entirely his own. His delivery is unflinching, his flows are unpredictable, and his production choices consistently hit harder than most of what the mainstream is willing to touch. Whether you’re already deep in the catalog or just finding your footing, this rundown of the best songs of Bloodie covers everything from fan-favorite bangers to deeper cuts that deserve way more recognition.
Before we get into the full list, if you want the full experience of these tracks, the production on Bloodie’s music rewards premium listening. Check out our headphones comparison guide to find the right pair for Brooklyn drill — because half-measures just don’t cut it with this kind of music.
Stop Running (feat. DD Osama, Sugarhill Ddot, Dee Play4Keeps)
If there’s one track that perfectly encapsulates what the 41 universe sounds like when it’s operating at full power, it’s Stop Running. The feature lineup alone — DD Osama, Sugarhill Ddot, and Dee Play4Keeps — reads like a murderers’ row of Brooklyn’s most active voices, and every single artist delivers. The beat is menacing in that characteristically cold New York drill way: minimal melody, maximum pressure, with bass that hits your chest even through phone speakers.
Bloodie sets the tone immediately, his cadence aggressive and deliberate, each bar landing like a statement rather than a verse. What makes this track special beyond the individual performances is the chemistry — you can tell these artists record together regularly, because the handoffs feel natural rather than forced. Stop Running is the kind of track that turns up organically on every street rap playlist, and rightfully so. It’s one of the definitive cuts from Bloodie’s catalog.
BLOODIE FLOW
The title track and one of the most important recordings in understanding what Bloodie brings to the table as an individual artist. BLOODIE FLOW strips away the collaborative energy and puts the spotlight entirely on his voice, his cadence, and his storytelling — and he handles it with complete confidence. The production here leans into atmospheric drill, with a slight melodic texture underneath the percussion that creates an almost cinematic backdrop.
His flow on this track is particularly impressive because it shifts registers multiple times without losing momentum, going from conversational to menacing within a single verse. There’s a rawness to the vocal delivery that feels unprocessed in the best possible way — no over-polishing, no artificial shine. This is exactly the type of song that separates artists who have a real identity from those just following trends.
41 STOMP (feat. Roscoe G)
41 STOMP is essentially a mission statement compressed into a few minutes of drill excellence. The track’s title is both literal and symbolic — this is the 41 collective asserting dominance, and the production backs up that energy with a beat that genuinely feels like it’s stomping through Brooklyn concrete. Roscoe G’s feature adds a complementary aggression, his style slightly different from Bloodie’s but cohesive in the context of the track.
What stands out from a production standpoint is the drum pattern — the snares hit in unexpected places, giving the track an irregular, off-kilter momentum that keeps you on edge throughout. Bloodie navigates that irregular rhythm with ease, which speaks to his technical ability as an MC. For listeners coming from the broader songs catalog at GlobalMusicVibe, this track is an excellent entry point into understanding the New York drill subgenre at its most authentic.
41 BUCKETS (feat. DudeyLo)
DudeyLo brings a completely different energy to Bloodie’s world on 41 BUCKETS, and the contrast works beautifully. Where some collaborative drill tracks feel like two artists performing separately on the same beat, this one feels genuinely conversational — like two people who’ve been in the same rooms, had the same experiences, and are now translating that shared reality into bars. The production is trap-influenced with a drill skeleton, giving it wider appeal without sacrificing the edge.
Bloodie’s verse here has some of his most vivid imagery — specific, grounded, and told from a perspective that only someone living it could articulate this way. DudeyLo holds his own on the hook and his verse, contributing a melodic sensibility that gives the track an unexpected emotional layer. 41 BUCKETS is the type of record that gets replayed not just for the energy but for the details embedded in it.
HANDS DOWN (feat. Sugarhill Ddot)
Sugarhill Ddot is one of the most distinctive voices in Brooklyn drill, and on HANDS DOWN, his chemistry with Bloodie creates something genuinely memorable. The track opens with production that feels almost cinematic — strings or a melodic sample looped beneath that characteristically cold New York drill percussion. From the first bar, both artists are competing for the most quotable lines, which is exactly the kind of creative tension that makes collaborative records transcend their individual parts.
Bloodie sounds particularly locked in here, his delivery sharper than usual, each line constructed with care rather than off-the-cuff aggression. The hook is one of the most memorable on any Bloodie track — punchy, repetitive in the right way, and built for crowds. HANDS DOWN became a fan favorite quickly, and listening back, it’s easy to understand why. This is high-tier Brooklyn drill by any metric.
BOP
BOP is where Bloodie shows off a different dimension of his artistry — a slightly more melodic, almost swagger-driven record that still carries the grittiness of his core identity. The production here has a bounce to it that separates it from the more somber tracks in the catalog, with a beat that’s almost playful underneath the hardened subject matter. It’s a flex record at its core, but executed with enough style to rise above simple braggadocio.
The vocal performance is loose and confident — Bloodie sounds comfortable here, not performing for an audience but existing in his own lane. On headphones, you pick up subtle background vocals and layered ad-libs that add texture to what appears simple on first listen. BOP is the kind of track you put on when you want something that feels good without sacrificing credibility.
CRIME
Dark, deliberate, and unflinching — CRIME is one of the heaviest thematic entries in Bloodie’s discography. The production matches the title: minimal, cold, with a melodic undercurrent that sounds almost mournful. This isn’t a track built for celebration; it’s built for reflection, even if that reflection comes wrapped in aggression. The subject matter is treated with a bluntness that some might find uncomfortable, but that discomfort is the point.
Bloodie’s ability to communicate lived experience through tightly constructed bars is on full display here. The imagery is specific — street-level details that only register as authentic because they’re delivered without embellishment. Lyrically, CRIME is one of his most compact and focused performances, each line earning its place rather than filling space.
ALIVE
There’s something almost defiant about ALIVE — it carries the weight of gratitude that only makes sense in the context of Bloodie’s environment. The track occupies a rare emotional space in street rap where the celebration of being present isn’t shallow; it’s earned through a specific kind of survival. The production is more open than many of his other records, with space in the mix that lets the vocal delivery breathe.
Melodically, Bloodie reaches slightly further on ALIVE, incorporating singing-adjacent moments that feel genuine rather than calculated. It’s a track that rewards repeated listens because the emotional core reveals itself gradually — what sounds like a banger on first spin reveals a deeper introspection by the third.
SMD
Pure energy and no apologies — SMD is Bloodie in maximum aggression mode, and the production fully supports that posture. The beat is relentless: hi-hats stacked high, bass rumbling underneath, every element calibrated for maximum impact at high volume. This is car-speaker music, designed to rattle and assert presence.
What keeps SMD from being one-dimensional is Bloodie’s wordplay, which even at its most aggressive carries a wit that elevates it. The track doesn’t outstay its welcome — it arrives, delivers, and exits at exactly the right moment. There’s a craft in knowing when enough is enough, and Bloodie demonstrates that instinct here.
UP THE SCORE
UP THE SCORE carries a competitive energy that speaks directly to Bloodie’s artistic ambition. This isn’t just a flexing record — it’s a statement of upward trajectory, an artist communicating that the work is intentional and the results are accumulating. The production here has a slightly elevated quality, with mixing that gives the bass more definition and the vocals more presence.
The hook is built for repetition in the best way — it lodges itself in your memory after one listen and earns its place on any workout or motivation playlist. Bloodie sounds hungry on this record, which is a quality you can’t fake.
COOKIN WITH BLOODIE
The title is both metaphor and mission statement. COOKIN WITH BLOODIE is process music — an artist in his element, building something, and narrating the construction in real time. The production has a workshop energy: layered, busy in the details but coherent in its overall structure. It’s one of the more intricate beats in the catalog, and Bloodie navigates it without getting lost.
This track rewards listeners who pay attention to technical performance — the breath control, the syllable placement, the way certain rhyme schemes extend across multiple bars. It’s a showcase for Bloodie’s MC abilities stripped of the collaborative context.
RACKS
RACKS operates in classic drill flex territory but brings enough personality to avoid feeling derivative. The production is clean — not overproduced, but polished enough to sit comfortably alongside mainstream drill releases. Bloodie’s delivery here is almost conversational, like he’s recounting facts rather than performing them, which gives the track an unusual credibility.
The financial imagery is vivid and specific, grounded in a street-level reality that distinguishes it from the more abstract wealth narratives common in mainstream rap. RACKS is accessible without being commercial — a balance that’s harder to achieve than it sounds.
DELI (SUGARHILL DELI)
The Sugarhill Deli reference is deeply embedded in New York drill culture, functioning as both a geographic anchor and a symbol of the community from which Bloodie and his collaborators emerged. This track wears that identity proudly, and the production reflects it — local, specific, and unapologetically rooted in a particular Brooklyn experience. The energy is celebratory in a way that few tracks in the catalog achieve.
Bloodie sounds at home on DELI in the truest sense, performing with a relaxed confidence that comes from making music about something personally meaningful. It’s one of the more culturally specific tracks in his catalog and benefits enormously from that specificity.
JUNK IN HER TRUCK
A tonal shift that demonstrates Bloodie’s range — JUNK IN HER TRUCK leans into a more playful, assertive energy with production that has a bounce missing from his darker material. The beat selection here is intentional: lighter, more rhythmically loose, built for a different kind of movement. It’s still unquestionably Bloodie, but in a mode that suggests he can flip registers without losing his core identity.
The track works as a palette cleanser in longer listening sessions, breaking the intensity of the heavier records and demonstrating that versatility is part of his artistic toolkit.
SO LONELY
One of the more emotionally vulnerable moments in Bloodie’s catalog, SO LONELY trades aggression for introspection. The production here is notably different — more melodic, more atmospheric, with a sonic texture that creates genuine emotional space. It’s the kind of track that hip-hop listeners who appreciate the personal dimension of street rap will find particularly resonant.
Bloodie’s delivery shifts accordingly, pulling back from the relentless intensity of his drill records to communicate something more personal. SO LONELY is evidence that his artistry extends beyond one mode, and it’s a track that deserves more attention from listeners who think they already know what he offers.
SO MANY HOES
Back to the braggadocious lane, SO MANY HOES is unapologetic in its subject matter and confident in its execution. The production is slick — more melodic than a straight drill record, with elements that gesture toward a broader trap sound. Bloodie sounds relaxed and amused here, performing with a lightness that contrasts effectively with his heavier material.
The hook is designed to stick, and it does — catchy without being saccharine, memorable without being calculated. For playlists that need a gear change, this is the track to reach for. If you’re building a serious listening setup for tracks like this, our earbuds comparison guide is worth a look for portable options that capture the full frequency range of modern drill production.
ON COURT
The basketball metaphor runs throughout ON COURT as both theme and structural device, and Bloodie uses it effectively to talk about competition, performance, and stakes. The production matches the concept: fast, rhythmic, with a momentum that mirrors the game being referenced. It’s one of the more conceptually cohesive tracks in the catalog, the theme and sound working together rather than operating independently.
His wordplay here is particularly sharp, stacking sports references without letting them become strained or gimmicky. ON COURT is the kind of track that functions as both crowd-pleaser and technical exercise.
DEADY ON DEAD (BESTIE Pt. 2)
The BESTIE Pt. 2 subtitle signals this track’s emotional weight immediately — it’s a continuation of a narrative thread about friendship, loyalty, and loss that recurs throughout Brooklyn drill. Bloodie handles the subject with the kind of specificity that only comes from personal experience, and the production gives him the room to do so: slower in tempo, heavier in atmosphere, with a melodic element that functions almost like a lament.
This is one of the most emotionally complete tracks in the catalog, combining craft with genuine feeling in a way that elevates it above straight drill into something closer to storytelling. DEADY ON DEAD is the track you point to when someone questions the emotional depth of street rap.
WICKED
WICKED wears its energy in its title, and the track delivers on that promise from the first second. The production is predatory — low frequencies that feel threatening, percussion that doesn’t let up, and a sonic atmosphere that matches the darkness of the subject matter. Bloodie sounds focused and precise, his delivery calibrated for maximum impact.
What distinguishes WICKED from other aggressive tracks in the catalog is its structural tightness — nothing feels excessive or padded. Every bar contributes to the overall energy, every production choice supports the narrative. It’s lean and mean in the best possible sense.
GET BACK (feat. Roscoe G, Jaybeez Da Osama, 41 Heemy, DudeyLo)
Saving arguably the most loaded collaboration for last, GET BACK assembles a lineup — Roscoe G, Jaybeez Da Osama, 41 Heemy, and DudeyLo — that represents the full weight of the 41 collective’s creative power. Five artists, one beat, and the result is one of the most comprehensive showcases of what Brooklyn drill looks like when it’s operating as a community project rather than an individual statement.
Each verse brings a different energy, flow, and personality, but the track maintains coherence throughout because everyone is committed to the same sonic aesthetic. Bloodie’s contribution holds its own in an elite lineup, which says everything you need to know about his standing within the collective. GET BACK is the definitive 41 collective posse cut, and it closes this list with the same energy it opened.
Frequently Asked Questions
Who is Bloodie in the rap world?
Bloodie is a Brooklyn, New York drill rapper affiliated with the 41 collective, a group that also includes artists like DD Osama, Sugarhill Ddot, and DudeyLo. He emerged as one of the more technically focused voices in the New York drill scene, known for his aggressive delivery, unpredictable flows, and unflinching subject matter drawn from his Brooklyn upbringing.
What collective is Bloodie part of?
Bloodie is a member of the 41 collective, a Brooklyn-based rap group that has been central to the development and popularization of New York drill music. The collective includes several artists who frequently collaborate, including DD Osama, Sugarhill Ddot, 41 Heemy, DudeyLo, Roscoe G, and others.
What is Bloodie best song?
Opinions vary among fans, but Stop Running featuring DD Osama, Sugarhill Ddot, and Dee Play4Keeps is widely considered one of his strongest records due to its star-studded lineup and peak collective energy. BLOODIE FLOW and HANDS DOWN are also frequently cited as standout individual performances.
Does Bloodie collaborate frequently with other 41 artists?
Yes, collaboration is central to Bloodie catalog. He regularly features and is featured by fellow 41 members including DD Osama, Sugarhill Ddot, DudeyLo, Roscoe G, and 41 Heemy. Many of his most acclaimed tracks are collaborative efforts that showcase the collective unified aesthetic.
What genre does Bloodie make?
Bloodie primarily makes New York drill, a subgenre of hip-hop characterized by dark, melodic production, aggressive lyrical content, and a specific sonic palette developed in Brooklyn. His work sometimes incorporates trap elements, but his core identity is rooted in New York drill.
Where can I find more music like Bloodie?
Beyond streaming platforms, GlobalMusicVibe covers the broader landscape of hip-hop and street rap extensively. You can explore the full songs section to discover artists in the same lane as Bloodie and find new music that matches the energy of his best work.