A Quote by Demis Roussos

It's true that a song or an entertainer isn't really a hit unless he's a hit in America as well as Europe. — © Demis Roussos
It's true that a song or an entertainer isn't really a hit unless he's a hit in America as well as Europe.
I don't ever have the pressure of making a hit, because I've never had a hit song, per se. The closest thing to a hit song was 'Shiraz,' and it's not your prototypical hit song, with a catchy hook and all this other stuff.
You don't really write a hit song - you write a great song, and then, if the public decides it's a hit, they take over from there. The song becomes its own monster.
When you're like, 'Yo, we gotta write a hit song, we need a hit song right now,' that never works. Every time that happens, I never write a hit song.
Age is just a number. Unless, that is, you live in Hollywood, where there's this notion that if you haven't hit it big by your 20s, you may as well hit the road.
Getting older doesn't help you in the fact that you might have covered some of this ground before. So you're listening to a song that you know is a hit, but it just can't be a hit for you, it's gonna be a hit for somebody else. That's tough.
These are very difficult times for new artists. Back in the day, a hit song could really seep into a person's DNA with radio and MTV. A hit today is not the same as a hit twenty years ago. Now there is so much competition, it is very hard to reach the people. The music scene is so overly saturated. There are no gatekeepers like there used to be.
That's what stock-car racing is. You hit someone, or you get hit. That's something I had to learn. It's a key factor in why I'm so aggressive. I don't want to have to hit you. But if you're going to hit me, I'm going to hit you.
What I really want is a commercial hit. If you're in a hit, you're suddenly a star, whether you acted well or not.
I never want to record something that I'm not proud of just because I think it might be a big hit. There's no positive about that because if you record a song you hate and it's a big hit, then you're singing a song every night that you hate. And if you record a song that you hate and it isn't a hit, then you sold out for no reason.
It's already years ago now, but there's that South Korean music artist Psy, who had that hit song and it was a hit song here. I'm like, "Wait a minute. There's a chance. There's a way we can have language not be such an important part of comedy."
You hit a guitar, you hit a note, you hit a drum, you hit an organ. Meat and potatoes. Simplicity. Not getting too caught up in little tweezers of perfection.
Everybody used to be busy writing songs - great songs - that became hits. Now everybody's writing hits. Everybody's desperately writing a hit because they know they can't survive if they don't have a hit. Where in the past, we were writing a song like 'More Than Words' on a porch, not really believing it was gonna be a hit.
If someone has given a hit in the industry, and everyone talks about the song and artist, that's a hit.
If I have a hit, then I hope the people who like the hit song go out and buy my album so they can hear it all.
The best passing drill is pass - set - hit. The best setting drill is pass - set - hit. The best hitting drill is pass - set - hit... Anything less than a game situation, unless very well planned, has the possibility of introducing artificial situations, and complete transfer to the game might not occur when drills are constructed in this manner.
When you get hit, you hit back, you've got to do it. You don't just say "I didn't get hit, oh I didn't get hit." When you get hit, we are destroying our country with these sick people [from mass media] back there, and they know it better than anybody in this arena.
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