Exclusive Interview
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
Buddah Bless - Hit Producer on His Album, Kodak Black & Megan Thee Stallion
Studio Talks sat down with super producer Buddah Bless at his personal recording studio near Atlanta on April 8 for an update interview about everything he’s been building since our last conversation. He broke down the process behind his impressive album Buddah Bless The Streets, a major full-length statement that brings together different artists, sounds, and moments from his world as a producer. He shared standout stories from reconnecting with Kodak Black, gave insight into his creative approach, and spoke about his role in Kodak’s upcoming project. Buddah also opened up about his recent work with Megan Thee Stallion and the advice he would give to the next generation of producers.
Learn how to do good business. You can do a lot by yourself, but you can’t do this on your own.
- Buddah Bless
Since we last spoke, you dropped your album Buddah Bless The Streets. What was the process like creating the album, and are there any special moments that stand out to you?
Creating the album was definitely a process. It was originally supposed to be a full project with one artist. So I had to shift my process from making a project with one artist to turning it into a compilation with different artists. It took a lot of perseverance, because it’s not easy to get artists on songs, especially when you’re trying to bring together artists from different labels and different situations.
One highlight for me was getting Kodak Black on the album. We had worked together years before, but he changed his number, like people do sometimes, so I couldn’t get ahold of him for a few years. I was trying to go through different people to reach him, but it wasn’t working. Then I saw he had a show in Houston, so I just booked a flight and went down there. I basically said, “I’m going to walk up on him.” Every time we see each other, it’s love, so nobody even knew I was coming. I don’t think I even knew I was going until that day. I booked the flight around three, and by nine I was at the airport heading to Houston.
When I got there and saw him, it was all love. Ever since then, we’ve been rocking out. We did the “Owe Me” record, we did the “Toxic” record, and now we’re working on different things. For me, one of the best moments was going down there to Pompano Beach, being on the 1800 block to shoot the video, and spending the whole day out there with his homeboys. That was fun for me. That was amazing.
Do you have a favorite song on the project, and is there a specific reason why?
My favorite song on the project is “Owe Me,” just because of everything that came with it. That was a record I had for four years, and I finally got it to come out. So that one meant a lot to me. “See The World” with Big Sean, 2 Chainz, and BossMan Dlow was special too. That was the very first record we had from the project. I ain’t gonna lie, “Owe Me” is the one. I love it.
When you start working on new projects from scratch, what is your process like? How do you approach it, and do you have any creative routines?
It depends on what I’m working on. I try to look at where the artist is, what they need, and where they’re at in their career. So when I come in, I’m trying to make something that’s not only dope, but impactful. Because you can make something that’s dope, but not impactful, if that makes sense.
I really try to do my homework. I look at the tempos the artist sounds good on, what keys fit them, and what rhythms work for them. That’s a big part of my process. Other than that, when I’m actually creating, I always start with a melody. I like to find a nice, catchy melody first, then I’ll build the drums around the bounce.
Lately, I’ve really been focused on that first part of the process, because it helps you move with direction. When you get an opportunity to work with certain artists, you’re not just making beats and throwing them out there. That’s cool too, and I’ve gotten big records that way, but where I’m at in my career right now, I’ve been more calculated. I’ve been aiming at something specific, and in order to do that, you have to know what you’re aiming at. So you have to make that intention clear from the start.
You also mentioned that you’re working on Kodak Black’s new album. Can you share a bit more about that, and when can fans expect it to be released?
I can’t give y’all a release date. I can’t be the person to put that out, because I could mess some things up. So I’m going to give a Hollywood answer, the media trained answer. I’ll just say we’re about 20 records in now. I played y’all a little bit of it, so Studio Talks got a small exclusive.
I’ve been working on that, and right now I’m also working on getting different features for the album. Getting features for the album isn’t hard because of who the artist is, but it’s still a process. I’m going back and forth to Miami every other week because that’s where he’s at, and that’s where we have to get it done. One time I went to Baltimore, and I didn’t know what I was doing out there in 22-degree weather, but that’s where he was, so that’s where I went to record.
It’s fun now, though, because the whole Sniper Gang, Fredo, and all the homies are cool.
What advice would you give to the new generation of producers who want to start working with established artists and build their name?
First off, learn how to do good business. You can do a lot by yourself, but you can’t do this on your own. Somebody is going to help you. Somebody is going to help prepare you. Somebody gave me a shot, and somebody gave somebody else a shot too.
The advice I’d give is to stay open to all opportunities. Not everything is for you, but try to look at the bigger picture. Some people will come across certain things and overlook them just because they’re not the biggest thing yet. You might still miss some things because you can’t catch everything, but I think staying open to different things, different people, and different types of help is important.
A lot of this starts with collaboration, and I’m not even saying you have to make beats with somebody else. The collaboration might be with a manager, an A&R, a friend, or somebody else around you. It’s about being open and using the tools and resources you already have around you.
What do you have coming up this year, personally and professionally?
Personally, I’m focused on investments. I just opened a medical marijuana shop, and I also opened a studio called Skywalk Studios. I’m getting into real estate and different things like that, just diversifying my portfolio with the money I have instead of only focusing on music. I want to put money into things that generate money, so I’m not always reaching into my pocket.
Professionally, I’ve been working with Megan Thee Stallion. Whenever she drops, y’all can come back to this interview and say, “He said that.” Meg and I have been locked in real heavy, and it’s been crazy. Shout out to Meg too, because she’s been working really hard. She’s doing Broadway every day, and some days she does it twice a day. Even with that schedule, she still takes the time to be attentive to the music.
I’m also working with Jorjiana a lot. We’ve got a crazy one coming. I keep everything on my whiteboard in there. Shout out to Quavo, 2 Chainz, and all my dogs, my regulars. There’s always other stuff happening in between, but Megan’s album and Kodak’s album are my two main focuses right now. I’m working on both of them in bulk, so it’s not like I just have one or two records. I’m really working on songs and focusing my efforts.
Of course, if something comes up and somebody needs beats, I’ll go tailor some beats for them. But when I wake up every day, I’m trying to complete those two tasks. Those two projects alone are enough to keep me locked in, and they’re fun too.
Follow Buddah Bless on Instagram: @buddahblessthisbeat
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