A Quote by Frankie Ballard

Before you have a hit song, all you're doing is banging on the door and screaming, 'I've got something I want to play...' Now with the hit songs, they're like, 'Okay man, we're listening. Whaddya got for us?'
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.
I'm a God-gifted fighter. I've got vision. I've got very good reaction. I've got a good jab. I seem to be able to hit and not get hit. I've got a good right hand, and that's my power hand. I like to mix it up. I'm never set on one style. I'm always doing something different, and I'm a sponge. I'm always learning more.
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.
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.
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.
I'm learning how to work my voice. I got some songs that you probably wouldn't even know it's me singing on there. I will sit there and take 20 takes until I hit that note right. It's different on stage - you've got to hit the notes that one time.
When you get hit that's when you've got to be calm. A professional fighter has to learn how to hit and not get hit, and at the same time be exciting. That's what professional boxing is about. You've got to be clever, you've got to be smart, and not get hit, and when you're able to do this, you're a fighter.
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.
Well, you know, when you're putting together a show, you've got to be careful not to load it up with the new stuff. We have to play the songs that people want to hear, too. People may come thinking, "Oh, I've just got to hear this song." Or maybe they'll write me a letter saying a certain song is really meaningful to them, so we'll be sure to play those songs.
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."
I don't want to have one hit, one song of the summer, and then have me disappear forever. I really want my things to last, and I want my songs and my bodies of work to resonate with people. I want to hit people - at least make a dent in them. I want to make a mark somehow.
You've just got to deliver the first blow. In football, you're going to get hit. Don't let someone deliver the hit to you. You've got to deliver the hit to them.
But it's not just "Do you want a hit?" More importantly, it has to be something we - the artist and I - like. If you go in just wanting a hit song, it's not going to happen that way. You have to first be committed to making music you like.
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.
You've got to hit 30 before you hit 40.
When I was 11 I had to umpire a game. I got hit in the head and got knocked out. The ball was hit straight back, hit the bail and knocked my head.
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