A Quote by Yo Gotti

I recorded 'The Art of Hustle' album three times because I had the time to do it. — © Yo Gotti
I recorded 'The Art of Hustle' album three times because I had the time to do it.
An album is a whole universe, and the recording studio is a three-dimensional kind of art space that I can fill with sound. Just as the album art and videos are ways of adding more dimensions to the words and music. I like to be involved in all of it because it's all of a piece.
I do wish we recorded the early stuff we did, because we basically had an album.
A lot of times, people have forgotten about an album by the time it's released, because it leaked three months earlier. Very strange days we live in.
In 1966 I recorded my first bolero album. I was about 18 years old then and I recorded it because I wanted my parents to know that I hadn't lost my identity of being Latino.
I'm track 3 with fabulous French dialogue on the 'Star Is Born' album. I'm track 3 'NASA' on Ariana Grande's album. From 'All Stars 3,' went to 'Drag Race' three times, never won. Three is my lucky number.
We recorded Star Climbing over a three-year period between our studios, working on songs and lyrics until we felt like we had found the albums direction. It is our most distinctive album to date, combining all our different tastes and styles into one.
We kept moving forward and didn't try to recreate the past .. the approach to each album was radically different every time. Many bands would have some success and, because they were locked into having a single - something we didn't have to worry about - they had to make sure there was something similar on the next album ... that was never the idea with Led Zeppelin .. the goal was to keep that spark of spontaneity at all times.
I had my electricity turned off three times because I never had time to pay my bills. It was a joke. I'm making a ton of money, and I'm walking around my apartment with flashlights.
The album 'Physicist,' I erased all the work that I had done halfway through. I think that's probably why that contributed to that album being sort of sub-par for me, just because by the time I had to go back and do it, I was just over it.
One thing I'm big on is believing in giving an album time. I'll say you'll have to give an album three years before you can call it a classic. If you can't listen to it three years later then it's not really a classic.
Some guys record an album with songs that are filler. I recorded this album like it was my last.
Yazoo was Vince's sound ultimately. At the time Vince and I got together he had only recorded one album with Depeche and Depeche were to go on to greater things.
We had to create an album where there wasn't one. I never listen to that album [ Music From the Edge of Heaven] because it wasn't an album.
A lot of new artists sign their deal and then go into a development stage for a year or two or sometimes never get out of it. For me, because I had been a working songwriter in town, I had a collection of songs that I was ready to make into an album. At the time, I didn't realize it was becoming an album, but it was.
I went on tours with [Bob] Dylan - the big one was in 1975 and called Roaring Thunder Review. I knew him well because I met him around the time he did his second album, in 1963. He recorded one of my songs called Shadows. In the 1970s, it was suggested that we do a duet, because we had the same manager, Albert Grossman, who also managed Odetta and Peter, Paul and Mary. Dylan and I respected what each other did, but I just decided not to do it.
I acted three times with Fred MacMurray, three times with Martin and Lewis, four times with Rock Hudson. Three times with Glenn Ford.
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