We were the ones that from the beginning said that 'Wide Open Spaces' was a hit. 'This is a hit, people are going to relate to it.'
When 'I'm Sorry' came out and became such a huge hit, that made 'Rockin' Around The Christmas Tree' start selling. Then that became a huge, huge hit.
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.
You can tell if something feels special. But there are so many moving parts involved in making the song a hit. The radio has to deliver, the management has to deliver in terms of booking the right promotions... just being a good song isn't enough.
I am an extremely energetic person, and my party songs have managed to click with the listeners.
The success of 'Take Me To Church,' I never imagined it. I never imagined that it would work on radio, that it would find its way onto the charts, even at home and certainly not in America.
Look, when a song becomes a hit, it happens because of its tune and melody, and not for the lyrics in the first place.
I recorded my first song, 'Greetings,' and it got so much attention on SoundCloud. I was not expecting that.
You don't really need a lot of hype and to be famous to sell songs.
We make our own music, and the songs appeal to the public well, and the public likes them.
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.
I have to write pretty songs; that's what gets them on the charts.
Artists don't always know. Almost every song I ever recorded that was a hit at the majors that the promotional people picked I didn't think it would be a hit. I was wrong every time!
Even the diss tracks was enhancing 'Panda.'
American Idols that come off the show and don't have a hit song - that makes it tough. If you come off the show and the song isn't big, and it takes a couple months to get your single out there - that time could be damaging.
I'm glad Metro Station didn't turn out like Jonas Brothers. They need a Disney movie to become famous. Our songs overpower that.
When I sing a set, people will say, 'I love 'Mayday.' People just love 'Mayday' so much. I love it too.
I've 300 other songs, but 'Lady In Red' is just one of them. Funnily enough, in America, it is massive, but most people wouldn't have a clue who Chris de Burgh was.
If I hear one of my songs by anybody, it's a dream come true every time for me as a songwriter, because I want to write a song, I want to write a song that the world can sing and will always sing.
Our first single, 'Ticket To Ride', was a kind of half-hit, half flop: in some places it was number one, in others it was ash-tray material.
In the middle of 'Bleed Red' coming out, a huge disproportionate majority of people in radio came to us and asked if they could have 'Cost of Livin' as a single. There was even talk behind closed doors about pulling 'Bleed Red' because they had caught wind and heard 'Cost of Livin'.' We went with that.
Nobody had any idea that 'If You Could Read My Mind' would become a hit single.
I've never written a song that I thought was a hit.
People are familiar with my songs, especially through Eric Clapton. But I have a hard time drawing a crowd, because I have been a songwriter.
'Smoke On The Water' was ignored by everybody to begin with. We only did it in the shows because it was a filler track from 'Machine Head.' But then, one radio station picked up on it, and Warner Bros. edited it down to about three and a half minutes. It then started getting played by lots of different radio stations.
