All language subtitles for John.Waite.-.The.Hard.Way.2022

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Just put-- I mean, is--
If I fuck up,

- I'll just keep going, right?
- Yeah.

And you can
always cut in and cut out.

- Yeah.
- We'll do it a couple of times

and it should give you
a nervous breakdown

in the editing room. Yeah?

Let's take it
from the top and all the way

and then we should do it.

Cool. Hang on.

- And mark.

# People talking #

# And they're
saying that you're leaving #

# So unhappy #

# With the way
that you've been living #

# Oh oh oh #

# We always wish for money #

# We always wish for fame #

# We think we have the answers #

# Some things ain't
ever gonna change [change] #

# It doesn't
matter who you are #

# It's all the same [change] #

# What's in your heart
will never change #

# Yeah #

# Oh, whoa #

# Her ID says she's 21 #

# But she's just 17 #

# Her apron says Mary #

# But her real name is Jean #

# She's working
cleaning tables off #

# At the local Dairy Queen #

# And she's the real thing #

# Yeah #

Well, we canceled all
the work, uh, for this year.

We were-- We got up
to a really flying start,

you know,
and then it just stopped

and everything
was moved to next year.

But now, they're saying
next year isn't gonna really be

a possibility either.

So, uh, you know,
you roll with the punches.

It's-- it's
a strain on-- on everybody.

I don't know how
we're gonna come through it,

but people always do.

I'm very positive
about the future, you know.

What did you miss the most?

Just being able to get out
and meet people and interact.

I think that's
really what happens.

You stop talking to people.
Difficult, you know.

Nice to see you again.
Was that--

Wasn't it one of the first
Babys appearances here?

Yeah, it was
the first in America.

- Was it really?
- Yeah. That was it.

Many moons ago. Next--
next and moving beyond that.

Let me ask you why--
at this stage of your life,

why don't you just
don't go in the studio

and just record all the time
and never bother to go on tour?

Why go through that agony?

Well, it's always good
to perform live.

I prefer that, actually.

That's what I do best, really.

Studio is great,

but it's great
to go in front of the kids.

Wanna thank you all for
coming out on a Tuesday night

'cause I know
it's kind of a weird night

and, um,
we expected about six people,

- but, um...

- You know.
-

Well, thank you. No, it's, uh,

it's great to see you

and I'm really grateful to
you. Thanks for...

He is very
outta sorts not touring.

He doesn't have
that many close friends,

like-- like girls do.

You know, we like to
hang out together more.

And so the band
for John is-- is his--

It's his bromance time.

# Every time I think of you #

# I always catch my breath #

# And I'm still standing here #

# And you're miles away #

# And I'm wondering
why you left #

What's difficult?

Difficult just means,
you know what?

You're-- you're passionate.

You know who the fuck you are.

You don't wanna deal
with stupid fucking idiots.

So, I-- You know, I get it.

But, you know, look, believe me,

there's lots
of times I wanna just say

how I really feel when
I'm dealing with certain people

and I'm-- I just kinda go,
"Yeah, okay, I hear you."

I don't know if
John was built that way.

And you know what? Good for him.

But in my life,

I've always gotten
along with difficult people

'cause I know they're
just passionate people.

# I ain't missing you #

He doesn't like to be pushed,

but at the same time,

he understands
the good of the project.

So, he would disagree,
of course,

we would agree,
we disagree.

But that's all the process.
It's-- it's--

You know,
you share, you share thoughts

and you're--
you're in it together.

You-- you're
one of the only producers

he ever worked with that
he still talks to, I think.

That-- that could be.
Listen, John, like I said,

extraordinary talent
like no other.

I-- I mean,
I've been very fortunate to work

with great singers and I've
worked with a lot of 'em

that are brilliant.

John is-- is one of the greatest
singers in the world.

# Hey! #

# Down inside the bay #

# Women, you need #

# Love #

# Hey #

# Yeah #

Wait.

Wait.

# Oh yeah! #

# John Waite, twat #

# Hear the lonesome
whippoorwill #

# He sounds too blue to fly #

From The Babys to
Bad English to his solo work

across multiple decades,
welcome John Waite.

Well, Frank, nice
talking to you. I'm in lockdown.

So, I'm, uh, I'm doing laundry.

The glamorous
life of a rock star.

Pretty much.
Especially now.

I pride myself in
being pretty down-to-earth.

You know, I'm working-class guy.
I come from great people.

We're not like--
we're not affected by artifice.

You know, I mean, I come
from a working-class background

where people meant
what they say and they--

they're kinda generous
in their own way.

And there's a way of going
through life with dignity.

And I think when you--
when you tap into show business,

the very fact that
it is show business,

it's-- you're-- you're--

Being in a--
a room with a lot of people

that believe in
something that doesn't exist.

It's all an illusion.
You know, it's--

I mean, the art is
the only thing that matters.

And so I kinda
circle the wagons.

You know, I-- I kinda like--

I found out who
I wanted to be in that situation

and I stuck to it.

And I didn't embrace the, uh,

the phoniness of it, you know.

I knew people that
were really great artists

and I wouldn't make a fool
of myself in front of them

by going down this other path
of like, you know,

"Look at me, I'm fabulous."
You know. So, it was--

it wasn't like
a sacrifice or anything.

It was just like I decided

where I was gonna live in that
situation. And I pulled back.

# Could cry #

I'd like
you all to meet a man

who certainly
qualifies as an award winner.

He's got numerous
billboard, cash box,

and record World Awards,
including the Triple Crown.

Here he is to sing one
of his really golden greats,

"El Paso," Mr. Marty Robbins.

# Out in the West Texas

# Town of El Paso #

# I fell in love
with a Mexican girl #

Even as a young kid,
when I was, like, five,

I remember I used to bolt out
school at four o'clock,

run down the hill
to catch the bus

into the center
of town, you know.

As I was passing
Kenneth Gardner's record store,

there would be
this Marty Robbin's

Gunfighter Ballads
and Trail Songs sound cover.

And the guy going
for his gun was the loner.

And as soon as he said,
"You can go now,"

I would bolt over the hills

so I could spend
another 30 seconds

looking at this album cover,
'cause it was America, you know?

And my five-year-old
brain was like,

"Look at me, Junior Cowboy."

And I would be
riding off into the sunset,

having saved somebody
from a fate worse than death.

Me and my brother, Jo,

we'd sit in front of the TV
in the afternoons, you know,

our moms, dads were at work.

We'd watch
the test card that, you know,

technicians used
to tune in the picture,

'cause about every 45 minutes,

this piece of music came around.

It was like
a cowboy progression.

It was like, you know, The
Magnificent Seven or something.

And we used to wait
through all this crap

just waiting for this--
this chorus to come up.

'Cause it was like the West.
There was something in there

that we couldn't
understand that we heard.

Something bigger
in those chord changes.

One of our brightest
young entertainers in England

proved that he can be
just as bright a star

on Broadway in New York.

That, of course, is
the very talented, Tommy Steele.

Well, Tommy Steele was like a--

a song and dance film star,
pop star. He was very famous.

# Singin' Tom #

And in my brain, he was like,

"That's Tommy Steel,
the Steelman, you know?"

So, I remember seeing
this ukulele in this toy shop,

a plastic Tommy Steele ukulele.

It had a picture of Tommy on it.

And I thought, you know,
next stop is rock and roll.

I'm gonna be a rock and roll
cowboy in my head somewhere.

And about two weeks
after playing it,

the Tommy Steele's
sticker fell off it.

And I-- I-- I-- I looked at it

and I realized it was
shaped like Mickey Mouse.

It was like two ears and it
was a Mickey Mouse ukulele

and somebody had stuck
a Tommy Steele sticker on it.

And that was my first experience

of the music business, really,
you know.

# It's been a hard day's night #

# And I've been
workin' like a dog #

Somewhere around that period,

I actually saw
The Beatles movie.

They'd suddenly
become really big.

They were unstoppable tsunami
of working-class pride.

You know, it was like
they were from the Northwest,

they're working class lads,

but they were genius.
Kinda they were-- they were it.

So, one minute, I'm looking
at this Marty Robbins album

and I'm thinking
it's cowboys and Indians.

And then, it's The Beatles.

Ladies and gentlemen,
The Beatles.

It was like suddenly, the
future was right in front of me.

Girls became
really seriously important.

Thank God there was
a couple of teachers at school

that let me
take extra art classes

so I could build up a portfolio
and get into art college.

A geography teacher of mine said

that I would really
basically amount to nothing.

They-- they were
wasting their time on me.

Which makes me laugh when
I read my old school report.

He said,
"Does not do well in groups."

'Cause you know,
that's the story of my life.

But this woman, right,
this woman who said

that I wouldn't
amount to anything,

when The Babys were,
like-- first charted in America,

I went back to Lancaster
with my girlfriend

and we went in this shop
to get a pie

and she was
working behind the counter.

And I'm fresh back from America
with a top 20 smash, you know.

And she looked at me
and I looked at her

and it was like--
I didn't do anything.

I couldn't go there.
But, fuck, man.

Does that sum up,
you know, the school system?

They didn't know
what to do with me at all.

But that was cool. I didn't
know what to do with them.

Can you imagine
being, like, a creative kid?

And really,
I was alive, you know.

I'd go home and watch sort of,
like, really intense programs,

just taking it all in.

And I'd go back to school

and there'd be
somebody looking at me like,

"What are you
looking at, Waite? Get out."

And I would be just like, "What?
What the fuck is going on?"

You know, I-- I'm interested,
What's happening?"

And, um, they weren't having it

'cause I wasn't, uh,
public servant material.

I had long hair
and I was musical

and I could draw and paint,

but there was no window
for that kind of a kid.

And I used to stand out,
but I wasn't backing down.

It's a testament to being
a rebel, I guess, on some level

'cause I wasn't a big kid.

Towards the end
of my stay at school,

I went up against
a couple of real bastards

and they really beat the shit
out of me on a regular basis,

but I didn't back down.

And it was like, the story
in my life would be like that.

I mean, what are you gonna do?
Disappear into yourself?

Join the army?
What are you gonna do?

So, I was quite happy
to be who I was. I was--

I had a very
strong sense of self.

I really didn't
carry myself as a singer.

I didn't. I mean, you have
to sort of walk the walk

at some point and say,
"Yeah, that's what I do."

I was extremely shy. I had
to overcome it to be a singer,

which is probably why
I was saying,

"I'm a songwriter
and I play bass."

I was leaving
the singer part out.

But being thrown in
the deep end with The Babys,

like, we need a singer.

That's really where
singing started for me.

Adrian Millar was
trying to put together a band

that was gonna
take over the world.

I like the way
he talked, but I--

I couldn't see it
in a practical sense.

It just seemed
impossible, you know?

But I said
I had a couple of songs

and this is
where he comes into it.

I said I could sing.

I mean, up against the wall
like, "What you got, son?"

"Well, I write songs,
I play bass and yeah, I sing."

And that's the first time
I said it without blinking.

You know,
It just came outta nowhere.

And we went in the studio--

Are you rolling?

- And cut these two
- Rolling.

-- demos of me singing.

# I can feel #

# I can feel #

# I can feel
the world spinning 'round #

On the mic,
in the studio, two-inch tape.

You know, it was, like, serious.

And, um,
he crystallized everything.

I saw myself immediately. He--

I remember I was in
the studio singing this song

and I changed one
of the lyrics 'cause I do that.

And when I'm in the moment,
I just go off.

And the manager leaned forward
and hit the talkback, said,

"We'll have
the real lyric, you know."

And I said, "No, you're not.
I just changed it."

I mean, I stepped right back in.

Like, yes, I play bass.
Yes, I write songs.

Yes, I'm the singer.

When I was in that position
of being that person,

I wasn't gonna
compromise with anybody.

I understand what it is.

It's all one thing now.

Are you ready?

Now, I'm gonna sing.

You rolling?
All right, get ready.

Adrian was actually going
'round the record companies

playing these demos
and getting a lot of interest

from Warner Brothers,
EMI, and Chrysalis.

Just major companies, you know.

He had these photographs

of Wally, Tony,

Mike, and me.

And he'd walk into

every record
company and say,

"This is gonna be big, man."

You know, he had a big mouth.

He-- he walked the walk,
you know. We loved it.

And we weren't getting signed.

People were interested,
but they weren't getting it.

Uh, Adrian had decided

that we were
gonna be called The Babys

'cause we just acted
like a bunch of fucking babies

as far as he was
concerned, you know.

He actually came back a logo
and this sticker said Babys.

And we sat in-- in Tully
Street one day saying like,

"Why can't we get signed?"

And I said, "Why don't
you film it on videotape?"

Which was very hard to come by.
It was rare.

It was just coming
into being, you know.

We could just,
like, go and make a video

and take it around the shop.

"Somebody's gonna go for this. Absolutely.

Come on,
let's film it." And he did.

Adrian hired a studio
and we put our best clothes on.

We took it around
the record companies

and we had a deal
inside a month.

Judy's in tune with a group

you have never heard or seen
before until right now.

# Oh, I got love that shows #

This is a television first,

Action News is breaking a record
before it's even been released.

The video is a brand new concept
in rock music circles.

No one has ever
done this before

and I think it's an avenue that,

uh, is gonna be very,
very big in the business.

# Oh, I got love that shows #

Everybody was
on the verge of video,

but The Babys
just got there first.

It was gonna be the future,
as it turned out with MTV.

# Then I've got the time #

# Yeah! #

# Do you say you love me #

It was a famous signing.

It was the first new band

that signed
a million-dollar deal.

A million dollars.
We didn't sing any of it.

It was there to make the records
to a support, you know.

But what did you
see out of that million dollars?

I saw, I think
about 500 pounds I think,

which to me was
the most money I'd ever seen

in one place at one time.

That's how young
we were, you know.

That was just
the most, you know,

wonderful thing,
to have 500 quid, you know.

# Say you love me #

# I know you do #

# Go anywhere I want you to #

# Yeah but #

Record producer,

Bob Ezrin, was in town,

and he was doing some
of the other bands at Chrysalis

and we became part of the deal

'cause he'd had a lot
of success with Alice Cooper.

Bob came up like
he understood and he--

he swore to me, he got it.

You know, it was gonna be
like, "Just come to Toronto,

I got this studio, it's gonna
be just the best, man.

I'm gonna--"
And you know, I was a kid,

so I kinda believed the hype.

And, um, we packed our bags
and went to Toronto

to work at his studio.

And it didn't work out
almost immediately.

There was echo on everything,
which we hated.

We didn't need to be
covered up with echo.

And I actually stood
up at one point, said,

"Listen, this isn't what we do.

You know, this is not
what we came all the way

from England to do.
What are you doing?

Because this is our lives,
you know, we've paid for this."

And he turned around and told me

that I shouldn't be in a band
and I couldn't sing.

You know. Thank you. Thank you.

When we came back on the plane,
nobody spoke.

We were destroyed.
And we got it back to London

and the record company hated it.
The management hated it.

Our wives
and girlfriends hated it.

And we were just like,
"Fuck, after all this effort."

He was really a cunt.

1977 is definitely their year.

Please welcome, The Babys.

And they went
ahead with the campaign

and it was, like, insane.

There was posters in
the subways.

In the subways,
you know, The Babys.

"It's a good job, they're
just a rock and roll band."

It was huge. And we were
doing TV, like Super Sonic.

We did Dinah Shore,
Mike Douglas,

and Midnight Special.

It was, like, "Ready or not,
we're gonna go with this."

The Babys.

# Oh, I got love that grows #

And here they're
for the first time.

- # Oh I got love #
- Here are The Babys.

# Oh, I got the love you need #

But right there
was kinda the end

because we never were
able to sort of pay back

the price of that album.

We had to make another
one to, uh, get out of the debt.

# Far away from you #

What advice do
you give to people

who are coming up
in the business?

- Get a lawyer.
- Get a lawyer?

Yeah. And then get a lawyer
to watch the first lawyer.

That's right.

Then get a second accountant

to watch the first accountant.

# Sometimes I love ya #

# Ooh, I'm falling #

Adrian had
got into some argument

with the record company.

He wanted more money
and he was like,

"You are coming back right now.
Get on a plane. It's finished.

I'm gonna get you off
the label."

And I was like,
"Well, it's going so well.

We're on the TV, can't you just,
like, negotiate something?"

And he was adamant.

We all looked at each other
and it was like,

"Are we gonna go home to that?"

We just said no.

Without Adrian,
there would never been The Babys

and I wouldn't be
sitting here, really.

I might have done a lot of work

and I might have done
a lot of things to make it work.

Like, the sacrifice of, like,
doing without a lot of things

to make it work.

But Adrian, it was his baby.

He put it all together.

And it just allowed me to
write songs and be the singer.

It was the only way I was
gonna get forward in my life

and I'll be--
I'll be grateful to Adrian,

um, 'til the day I die, really,

'cause, I mean, that's-- It--
it gave me a life, you know.

The Babys were on Chrysalis

and they asked me
if I would get involved.

And I explained to them
I would take them on tour

and I would promote
in every single market

a concert based on
the number on the radio dial.

So, if it was
92.7, it was 92 cents.

If it was 101,
it was a dollar one.

# Give it to me straight,
doctor, I can take it #

And we sold it out

because all
the Johnny Fever type DJs

just played the shit out
of the record and off we went.

The end of the tour, the head
of accounting pointed out

to them that I had
spent $600,000 of their money.

They were worthy
of the-- the whole scheme

because that first record

did a couple million copies.

The second record did
a couple of million copies.

And Chrysalis made
all their money back

and it had a successful band.

# Me and my girl,
we don't like rules #

# Living hard and fast #

There's a punchline
to this that's very funny.

The $600,000
that I spent, they--

they charged back to the band.

# She's my #

# She's my girl #

That's the nature of the beast.

The mechanics of the music
business of that particular era

was they would spend
a $100,000 on a video.

They would spend
a $100,000 on a tour.

Even if you sold a million,

you pretty much were in
the hole for half a million

and then you were
making another record.

So, by the time you
got to the next record,

even if you were successful
and sold a million,

two million, three, you ended
up owing the record company

three, four million dollars.

And this was from
the late '70s to the '90s was,

uh, was standard procedure.

# She's my #

# She's my girl #

Yeah, I think they
somehow did some fancy footwork

with the accounting.

If you're looking at
record companies

and you're looking
at a really great example

of ruthless: Chrysalis.

Were you making any money?

No.

What-- what kind
of money did you make?

You were touring like crazy.

200 bucks a week.

And they paid your rent?

Yeah, they paid the rent
and 200 bucks a week.

And I was buying stage
clothes out of that, you know.

And, um--

Where did
all the money go?

Tour. You know,
underwriting a tour.

And, um, I'd already signed away

my publishings
to get tour support,

which was not the most--
brightest thing to do,

but I was a kid.

But, uh--
and I would do it again,

I suppose, in that situation,
you know.

Give them something
to get the advance

to float a tour
to make the whole thing work.

I wouldn't do it now,
but, um, you know,

you had to give
everything you had, you know.

# We're gonna
turn our backs on love #

I remember
a couple of years later,

I had $6,000 for six years work.

Five albums, five tours.

And $6,000. Yeah, Chrysalis.

# And every time
I think of you, babe #

# Every time
I think of you, yeah #

# Every time I think of you #

# It always turns out good #

# Every time I think of you #

# Every time
I think of you #

# Every time I think of you #

I remember going up to
Chrysalis's offices on Sunset.

And I had a mandate
from the record company

to make an album that
was radio-friendly, let's say.

We could get some hits going on.
And the way to--

to do it in those days,
I thought, was a power ballad.

# Had a vision
on the Golden Mile #

A lot of the stuff
that John was writing

was a little dark and it didn't
have the pop appeal, I thought.

So, I suggested a song

by Jack Conrad and Ray Kennedy
called "Isn't It Time".

And they absolutely hated it.

"Do we have to do this?"

And I went,
"Yeah, we have to do it."

And that was the first time

and I think
that personality-wise,

that I got off on
the wrong foot with John Waite.

And I can appreciate
the fact that

here they were,
a big signing,

and they're being asked to do
something that wasn't theirs.

There was a reluctance from John
to really sing the song.

And when it got to the chorus,

I ended up using
background singers.

It ended up okay.

I used it like an answer.

I had John to sing,

# Isn't it time #

And the girls were singing,

# Falling in love
will be your mistake #

And-- and it worked out.

Looking back at making
the record, Ron was saying,

"Did we have a single?"

And we never thought about that.

It was-- Just wasn't important.
Now we--

we were all content
to make great records,

you know, back then.

And we thought
about it and said,

"Well, you know, maybe we don't.

Is it important?" You know.

He said, "I got this
song called, 'Isn't It Time.'

Do you wanna listen to it?"

And I listened.

There's this guy on the piano
who sounds like he's on ludes.

You know, he's like,
"Isn't it time?"

You know and I listened to it
and I thought,

"Fuckin' hell,
you know. What's he on?"

And he said, "Listen,
there's a song in there.

There really is.
You know, just listen."

And I listened
and we all listened, you know,

we were all musical.

And we looked at it
and it was like,

"Well, you know,
we have some studio time."

But we went out in the room

and we started to work up
an arrangement.

We all have did our thing,
you know.

Wally was really
great in the chorus

with this driving
sort of, like, AC/DC thing.

And I threw in
the "Hey, babe" thing, you know,

to give it more momentum.

# Hey, babe, isn't it time? #

And then we had these
backup singers come in,

which was like a dream come
true, it was like, you know,

Motown for me.

# Falling in love
was the last thing

# I had on my mind #

When that
got out on the radio,

what a terrific thing that was.

That marriage
of English rock and the R

# Sitting here all alone #

# Just trying to decide #

I'm sure The Babys hated it.

I'm sure of it.

But I-- I felt
like, uh, in the end,

I delivered what I was asked
to deliver by the people

that hired me.

# Isn't it time #

# Isn't it time,
it took time to wait #

# Falling in love
could be your mistake #

# Isn't it time #

# Isn't it time
you took time to wait #

# Falling in love
could be your mistake #

It finished the album

and it suddenly
looked like a bona fide hit.

We were proud of it.

Went to that number 14
and the top 20 Billboard.

Nevison says
asking you to do,

"Isn't It Time" is where
you and he started to fall out.

Oh, it's bullshit.
That's just not true.

Because he was on head first
the next album.

If I fall out with you,

it's kinda like
you've done something serious.

It's hard to describe
what was going on with him.

When we had the first meeting,

he leaned
in at one point and said,

"You know, sometimes
I'm gonna be really difficult."

And I leaned back in
and said, "Really?"

He was trying to set it up

that he was gonna be
an asshole in the studio

and I wasn't having it.

But he actually put that
into the conversation.

Like, "Get ready 'cause
I'm a real problem."

But I hadn't had a problem
enough to not work with him.

You know, I think we had a talk
about what we were gonna do

before I went in the studio.
And it-- and it was good.

I mean that album
was really a good album

and he went with me on it.

# Every time I think of you #

# It always turns out good #

Well, I thought John was a star.
I always did.

I still do, actually.

But, um, for all artists
who aspire to that position

in the marketplace
and in people's minds,

you have to be an egomaniac

and you have to be driven and
you have to be self-absorbed.

It's almost a prerequisite
for success. The ones--

the ones that are
not really don't make it.

# But maybe I was wrong not
knowing how our love should go #

# How our love,
how our love should go #

# But I wasn't wrong not knowing
how our love would grow #

You know, The Babys,
they were a piece of work.

Michael was just as big
an egomaniac as John,

but he was not the lead singer.

Plus he-- You know,
John was miserable at a time

when he should have
been having a ball, you know.

When we were
making the third album

and we'd gone down to San Diego
to play a show and it sold out.

We got, like, two songs
before the end

and Mike smashes his guitar
and starts screaming,

"Fuck off. Fuck you,"
at the audience.

And he walked off stage.

We had no idea what he was
talking about or what happened.

The audience just looked at us
like, "What the fuck was that?"

And we looked at the audience
like, "We don't fucking know."

I think he said

that the audience weren't
digging him

or something, you know.

And we got on
the bus to come home

and Mike was
getting really drunk

and he come up
and sat in front seat

and started to tell me
what he felt about me.

That I'm fucking useless.

And I lost it.

For the first time in
three years, I lost it.

And we got into a complete
fist fight on this bus

and we got dragged apart.

We got to the apartment, got
off the bus, started up again.

The fist fight
just continued, you know.

And we were, like,
rolling around, you know,

really hardcore. And he came up
with a broken bottle,

you know, out of nowhere.
It was Michelob.

I hate Michelob beer.
It has a big wide mouth on it

and he smashed
this bottle and come up,

you know, a broken bottle.

Wow. You know,
where did that come from?

And, uh, Tony jumped on him.
Ron Stone jumped on him.

We got pulled apart again,
but a broken bottle.

But when he got fired,
and this is the truth,

we offered him an equal share.

We said, "Look man,
if we finally get outta debt,

we started this thing together

and we'll honor
the future for as long

as the band's together,
you can have 25% of the profits.

Should it ever come to that."
We did say that.

But, uh,
we didn't get outta debt,

so it didn't really matter.

I mean it's comical now,
but it was done in a way,

there was no, um--
there was no argument.

I mean, somebody's
trying to fuck you up

with a broken bottle.

How do you deal with that?
You know.

# Every time I think of you #

# I always catch my breath #

# And I'm still standing here #

# And you're miles away #

# And I'm wondering
why you left #

# And there's a storm
that's raging #

Do you
look at your library?

Do you look at your catalog
and say,

"Whoa, this is me?
This was my music?"

Yeah. Only-- only recently,
I've started to look back

at different periods
like LA with The Babys.

Right. Right.

Me going solo
and then Bad English and--

and then going solo again.

And I'm starting
to lose perspective.

Some of it's closer
than the other parts, you know.

Right. Right.

I mean being 28,

it's the same
as being 38 now, isn't it?

Well, you've-- I mean
you've worked with everyone.

- You have worked with everyone.
- Yeah, I have.

I want you to be honest with me

and tell me who was a real
pain in the ass to work with.

I can't tell you that.
I can't. I would love to.

Come on!

Come on, Michael, no.

First name. First name.

No, no.

Last name.

No. Both names. No.

What do
you miss most about

your past life before Covid?

Well, playing live.
I miss the band.

You know, they're sort
of my closest friends

and-- and we do
about 70 days a year.

So, I'm doing a lot
of reading, just painting.

We're doing-- doing
our best to get through.

But he will come back
and I think when he comes back,

everybody's
gonna be raring to go.

The shows will be great.
The audiences will be great.

We'll be glad to see each other.

It'll be a warm,
wonderful celebration of music.

You know, any--
anytime he's ready to go,

I'm there.

What are
my issues about the couch?

You want so much space.

It's just you
can't have enough space.

You can't say please,
you can't say thank you.

I honestly
can't wait for it.

I'm asking myself
what keeps me here a lot lately

since the world
has shut down.

Because we've been living
in this extreme temperature

of emotions
that are uncomfortable,

lots of fear,
you know, whether that's

a self-destructive alcohol
thing or di-- disengaging.

Do you have your mask?

Yeah.

I'm sure it's
brought on by him not touring.

It really is one of those
things where you don't always

know why you
have it for someone.

And that--
and I-- and I ask myself

a lot, like, what the fuck?

Give me that.

We were
off and on for 26 years

and now we're finally
living together and trying

to see if this
is, like, gonna work.

I can't-- I don't know.

He's like--
he's-- he's the most important

thing to me in my life.

I-- I can't-- As bad as it gets,

I can't imagine
life without him.

And that is a weird way to feel.

# There must be some
kind of way out of here #

# Said a joker to a thief #

# There is
too much confusion here #

# And I can't get no relief #

# Business men,
they drink my wine #

# Plowmen dig my earth #

Touring,

that's what he does
and that's how his whole life

has been lived through
singing all over the world.

And all of a sudden
now he can't do that.

How do you go from
that extreme to just

sitting on the couch

watching freaking Netflix?

You know, for me
that's fine 'cause I love that.

But his desires

are to go out and kinda

recreate
the excitement of the road.

# Watchtower #

Any requests?

We're very
pleased to have you.

Thank you.

How about another tune, guys?

- Love to.
- The Babys.

- Thank you.

And I think
everybody in the business

that was around
The Babys, including The Babys,

were just like,
"This is bullshit."

You know?

There was somebody
on the inside trying

to stop getting to the outside.

I should have just left.

But the band came to
me and said, "Don't leave."

My girlfriend
and I were missing England.

It was like,
"Should we just go home?"

And I stayed.

And to this day I wonder
if that was the right decision,

you know?

I said, "If you go forward,
I'm not playing bass anymore."

And that's when
you brought in Jonathan Cain

- and Rick Phillip.
- Yep.

Jonathan Cain
and Ricky Phillips came in

and they brought a-- a brand
new energy to The Babys.

And we really needed it.

'Cause up to that point,
it was kinda lonesome.

# Until I met you #

# Told myself
I'd get by without love #

Please welcome The Babys.

And I found
I could be kinda fearless.

And we suddenly became
a really serious live band.

Jonathan Cain,
Ricky Phillip joined

the band and
we hit the road and man,

we were playing, like,
five nights a week on stage

with one of these
major bands that was touring.

And we'd be going out in front
of people and just killing.

But he record company were
having distribution problems.

They couldn't put
the records in the stores.

You know,
we'd go the record stores

and there'd
be no Babys' records.

And at first, we thought,
"Wow, we must be selling out."

The frustration was
so enormous towards the end,

we've done so well.

A foot away from making it huge.

And what are we?
A tax write-off? You bastards.

And Jonathan Cain got
offered a job with Journey.

And that was
the last straw, really.

I just went like,
"Fuck it. I'm leaving."

It was the end, you know.

I went back to England,

got married
and I had a home suddenly.

It was like
an English country life

with absolutely
no rock and roll.

It was just the pub,

if you were to go
down the pub,

or long walks through these fields.

And even though
I'd left The Babys,

I was still in debt
to the record company.

Huge amount of money.

So, I signed a solo
deal in the middle of all that

with Chrysalis.

I went
back and made a solo record.

Neil Giraldo produced
it and we had a hit song

on it called, "Change."

# People talking #

# And they're
saying that you're leaving #

MTV had just started.

They didn't
have a lot of videos to play.

I hope you're
watching us in stereo.

But if you had a video,

you were suddenly
in every home in America.

So, I was getting
played, like, eight times a day.

# We think we have the answers #

It was like, turn
the thing on and there it was.

# Gonna change [change] #

# It doesn't
matter who you are #

# It's all the same #

But again,
the record company didn't really

follow through on the release.

And after
about a year of being

on the road
and living in New York,

year and a half,
I threw the towel in, really.

I just threw the towel
in and went back to England.

It was just more than I could
put up with really, you know.

I'd met my wife just
before I went to art school.

We knew each other
for I think maybe 12 years

and we were married for two.

It was a-- a serious long-term
relationship, you know.

And, uh, I think me
being away so much, the touring,

that relentless drive to just
keep getting up and keeping

going, it meant--
it was more than me, you know?

I felt-- I just believed in
making music or making records.

It's all I wanted to do.
It's all I thought about.

And, uh, I probably
let her down, you know.

I feel-- you know,
I do feel if I hadn't

have gone after it,
we might still be married.

I-- I just don't know.

But we did
grow apart and, um,

it's just the way
it was really, you know.

# Every time I think of you #

# I always catch my breath #

# And I'm still standing here #

"Missing You" was
kinda made up on the spot

over somebody else's
chord changes, you know.

I hadn't got
a clue what I was gonna do.

I just heard the backing
track and asked if I could sing

over it, where-- me and this
guy would write this other song.

I even use The Babys'
"Every Time I Think of You,"

which was one of our
big singles, to get me going.

And then it was,
"I always catch my breath

and I'm still standing
here and you're miles away

and I'm wondering why you left.

And there's a storm
that's racing through

my frozen heart tonight.

I ain't missing you at all."

In one piece.

You know, it's--
it's the muse, you know.

It's what it--
it's like all these things

that I wanted to get home.

I'd been making this record
for EMI for, like, three months.

So, I hadn't gone home.

And I knew we hadn't
got that major single, too,

when we were mixing the record.

So, that was
just waiting to happen.

What can I get for you?

Um, fill it up.

It's like queued up
in the things you have to have,

have to get to-- to--
to make something complete.

And the thing about,
"I can lie to myself"

at the end, you know,
'cause it's about denial.

I must have
heard it in the back

of my head that that was gonna
make the whole song what it was.

You know, denial.

"I ain't missing you at all.

I can lie to myself."

Just chance, you know.

Coming up, we have got

the first single
out by John Waite.

# Every time I think of you #

Here is an Englishman

now with a record
that took into the top

of the American charts,
a new entry for John Waite.

A lot
of things happened that should

have happened maybe five
years before, but I was able

to go back home and not
feel like a loser, you know.

My parents were really proud.

I could go
in the pub and it was like

people sending pints
of Guinness over and my--

you know,
it was just really sweet.

We knew
it was pretty magical

and didn't imagine
it would be number one

in a gazillion
countries and all that.

But it's one of those songs
that stood the test of time.

And for the generation
that grew up around it,

they remember where they were
when they first heard it.

I think great singer,
great song.

# I ain't missing you at all #

And missing
you still appear in movies

and TV shows to this day.

You get to meet John Waite?

It was
that big, you know.

It was a new feeling for me.

And the video was number one
for, like,

20 weeks or something.

It was absurd.

Suddenly I was
absolutely recognizable

in every country I went to.

You're John Waite.

So I am.
And you're Taryn Blake.

I even got cast in
a TV series called Paper Dolls

because "Missing You"
was gigantic.

I couldn't go out.

I was living
in hotels in America.

At one point,
I had to get a bodyguard

that traveled with me.

There's
no school for teaching people

how to deal with success.

Everyone deals
with it differently.

Some people
just take it in stride

and some people need to retreat.

When I was starting out,

I honestly thought if,

by any kind of miracle
and trick I got to number one

or became successful,

I could completely pull back
and choose my moments

and come out and make the albums
I wanted to make

and then go back.
That was honestly my ambition.

I had no understanding of--
of being competitive and sort

of gotta have a hit and every
year you're top of the pops.

And-- that wasn't
what I wanted to do.

I wanted
to be a musician, a writer,

and really
just call my own shots.

So, when I got to number one
with "Missing You,"

that was like,
you know, job done.

That's what I wanted.

And then to be able
to be an artist behind that,

but to really be like
Prince and all those people,

brilliant talent,
but I-- that wasn't me at all.

I was-- I wanted
to be in the shadow.

# For so long, you've gone on #

# Trying
to see an end to it all #

# But I know that
your grip is getting loose #

Well,
we've been painting--

I've been painting
for, like, all my life,

but I've decided
to take more seriously and,

um, bang out
some-- some different stuff.

Uh, this is from art school.
This is a Worzel Gummidge.

This is like a scarecrow that
came to life. It's a kid's book.

It's pretty good. I gotta say.
It's-- it's not bad.

And then we move on to--
it's sort of like--

it's hardly serious painting,
but it's like a cartoon

of, uh, religion,
as you can see.

And the ventriloquist
dummy being

the deity and,
uh, the metal halo.

And the ventriloquist dummy

is in fact
a dummy himself, you know?

But it is a cartoon.

It's not-- it's not meant
to be a classic art or anything,

it's a cartoon.

Getting into art school alone

was a profoundly kind
thing for my parents.

They were both
working around the clock

to pay off the mortgage.

To allow me to
go to art school

was just kindness
itself, really.

Whenever I look back,
I'm just grateful for that.

I was good,
you know, but I wasn't great.

And no matter how hard I tried,
I was never gonna be great.

You know,
you go into a life class

and you're
supposed to capture

that figurative art,
which is what I was drawn to.

And I couldn't--
I couldn't make that work.

You know, I could make
something work that I really

loved, but I couldn't
go outside of what I knew.

And I thought
if I took up music,

it would be genuine,
it would be authentic.

I didn't see myself as a singer,

but the chord
changes from the test card,

you know,
I recognize that music.

There was something there that
I-- that was, like, intangible.

And I felt if I could
just give it all to music,

that I would
do something that might win.

That might be authentic.
That would be absolutely true.

At this point,
I heard Neil Young and all

the kids at art school,
they were doing LSD, you know.

It's a brutal--
it's a brutal drug.

You know, it's really hard.

It's reality.

And then there's
a lot of movement

in your soul with that stuff.

It's, like, really desolate.

I mean, it's almost heroic
stepping into that world,

you know.

It's really terrifying
and it's also really glorious.

But you come back and it's
like you've been away at war.

You've been on the edge
of the stars, you know.

If you're paying attention,
it's gonna change your world.

But in Neil Young, I saw that.

I saw him representing
a sort of consciousness.

And that in itself--
'cause you wouldn't say

that Neil is, like, you know,
case book, great singer.

He's got a beautiful voice,
but it's faulted.

And that's back to what
I'm saying about being a singer.

I thought I could do it if--
even if I was faulted, it would

still be authentic and
that would make it authentic.

Whatever was
wrong with my performance

would be honest
and I could deal with that.

I would take
my shot in life on that.

Buddy?

One of these days,

you'll tell your
grandchildren about tonight.

And then the singer went outside
the car park and shot himself.

But the audience
started throwing money,

so he changed his mind.

This producer
was producing The Babys

and he-- he made this suggestion
for a vocal for one line.

And, uh,
I thought, you know, "Really?"

And he said, "Yeah, it's great."

And there hasn't been a time
when I've heard that record go

by and I hear that
line and I think it's wrong.

But God forbid
it's only one line.

You know, as people
have a whole album, you know,

scrapped cause of,
you know, simply not getting it.

But, uh, if it's
wrong, it's wrong.

You know, if something's
half right, it's wrong.

Rogers, I like the way you work.

I like your nerve.

I can use
a fire-snaking man like you.

In fact,
I need you for an assignment.

Well, thanks a lot, governor.
But I'm working with the rodeo.

That's why I sent for you.

The fellows
I'm after wouldn't

take you
for anything but a cowboy.

So far they've been
able to spot all my operatives.

You mean you want
me to follow someone?

Yes.

One day
the phone rang and it was like,

"Do you wanna go
on tour with Ringo?"

I thought about
it for about 2.5 seconds.

You know, I thought,
"Well, I'm gonna meet Ringo.

So, okay, I'll do it," you know?

Oddly enough, I'd been offered

a-- a theatrical role
on Broadway.

I'd never done that before,
but when I weighed

the two things I thought I
owed it to me to go and play

with a Beatle, you know.

It came to me
in a dream on a flaming pie.

- Waite with an E.
- John Waite.

I thought
it was saying, "Wait for John,"

but it was saying John Waite.

So, you know,
it was that or Ringo and I-- I,

uh, I chose Ringo, you know.

Let's keep it
loud tonight, Ringo,

'cause of what the sign says.

When we're playing together,
there's moment's

where it gets sort
of psychedelic.

You know, you look across
the stage and there he is,

you know,
the man behind the kit.

You have to sort
of get used to that

kind of otherworldly
aspect to being in the same

room with somebody that
you really wanted to play

with and i- and idolized
when you were a kid.

That isn't something you
just stumble across, you know?

# Sometimes I
wanna give up #

# Wanna give in #

# After everything is said
and done, baby #

# You're my reason
for living #

# Yeah #

# Now listen to me #

# When I see you smile #

# I can face the world #

# Oh, yeah, I can do anything #

# When I see you smile, baby #

# Baby, when I see
you smile at me #

# Every day of my life #

# Yeah, baby #

# Smile at me #

It's not
for the faint of heart.

You have to really be
on your toes and deliver

something that's gonna
make it all work.

And on top of that,
you have to play with Ringo

and, uh, you know,
he played with Paul McCarthy.

We needed a really incredible
big ballad singer

who played bass--

- My best mate.
- and who could be better?

Lots of people.

Well, I've gone back to playing
bass to do this.

I only play bass
on me own records now.

There was a point I was
actually sleeping

with a bass guitar in my bed.

You know, I'd wake up at
3:00 in the morning and go like,

you know,
"Is that a C sharp or a C?"

I'd come out of a deep sleep,
reach for the bass and look--

you know, play the note like,
"Ah, it's a C."

And I'd go back to sleep again.

The opening night,

instead of us getting
a few gigs under our belts,

uh, we're filming it, you know.

Ringo Starr
His All-Starr band.

Did I say I
wasn't nervous before?

You did.

I did actually say that, yeah.

Yeah. A touch?

Just a tad, you know.

Yeah, no, no.
We're fine.

It was that scary

filming it on the opening night,
you know.

I mean, nobody does that.

Case in point,
we were doing "How Long,"

Paul Carrick's beautiful song.

And I started it
off in the wrong key.

Did Ringo
give you shit for that?

Yeah.
Yeah. He really did.

- Tough gig.
- Yeah, it really was.

Would you do it again?

No, I really wouldn't.

You know, I don't work
for anybody, really.

I did it the one time
because it was him.

And, uh, let me just say,
as far as drummers go,

I mean, there is nobody that
comes within screaming distance.

It's almost like a singer,
being a percussionist.

It's that good.

It's hard to imagine
any human being

keeping up with the other three.

You ever meet
John or Paul or George?

No.
No, I didn't.

I did walk past Paul in
New York and he looked at me.

I was playing Radio City
that night and he raised

his eyebrow like,
you know, "How's it going?"

And I just kept walking.

I couldn't deal with two
Beatles in one day, you know?

But he-- he looked like he
was gonna stop and talk to me.

But I just, you know,
"Hey, how are you doing?"

But, um, you know, I hope I,
uh-- I hope I delivered.

# Sometimes I wonder #

# How I'd ever make it through #

# Through this world
without having you #

# I just wouldn't
have a clue #

# 'Cause sometimes... #

I've recorded seven
albums as a member of a band

and I think I must
have made about 13,

maybe even 14 solo records.

I've lost count.

I now own the music
that I record

and I bought back many
of the original masters

from the record companies.

# She's nobody's girl #

And because of that,
I've been touring

around the world and making
and releasing records

outside of the music business
for almost 30 years.

This is all I know.

You know, nobody knew
what they were doing,

that were musicians back then.

The lawyers weren't, um...
It's just very difficult.

It seems to be there's-- there's
more understanding of the artist

now and, uh...

What can you say?

They're all
fucking bastards, really.

# I wait for sundown
on the fire escape #

# And watch the passing
cars downstairs #

# I'm high above
Korean groceries #

# A sublet castle
in the air #

# It's down to cigarettes
and rosaries #

# But Christ, I wish
someone would call me #

# Johnny Thunders
on the stereo #

# I thought,
"You can't put your arms #

# Around a memory" #

# Maybe I could
find a better way #

# But all I need now
is to feel connected #

# So, do you remember me #

# I sang that song you like #

# Way back in '83 #

# Number one high as a kite #

# As I make my way downtown,
yeah #

# I'm going way
downtown tonight #

# I'm going way downtown #

I was making an album
of Greatest Hits in Nashville.

I did a lot of the songs
and I'd put some of the songs

from the other albums
from the masters.

But it got to "Missing You"
which was gonna have to be on

the album to attract attention
so I could go on the road again.

And I got to "Missing You"
and couldn't think

of anything at all to do.

And I thought,
why not do a duet?

# Oh, carry me back #

# Oh, carry me back #

# To the lone prairie #

# To the lone prairie #

But I thought, who would
I really love to sing with?

And I had been spending
a lot of time watching

the American Music Channel,
which was all country music.

"New Favorite"
had just come out.

And Alison
was in heavy rotation.

I think it was the first
time I actually heard her sing.

And it was really engaging.

# Favorite #

She was the queen of it.

I would wait for her
videos to come around, you know.

And I was buying some-- some LPs
in a secondhand music store.

And I walked out on the street

and she drove past
and she stopped.

She leaned out the window and
said, "Hey, how are you doing?"

You know, hamming it up,
and, um, I was just like,

"Whoa. It's Alison Krauss"

And we talked,
uh, on the street.

It was really great, you know.

If you're gonna meet somebody,

it's great to meet them like
that, you know?

'Cause I was like,
"How do I do this?"

You know?

But she was really lovely,
open, friendly,

serious about the song.

We cut the song and I
went home and listened to it

and there was
something wrong with it.

And I think it was me,
'cause it's a duet, you know.

You have to answer somebody's
performance for it to work.

Whereas before, I think
I'd done it like a performance.

So, I sang it differently.

I sang it completely
differently for Alison.

And then she sang her
part and it was like,

there it was, you know,
it was fantastic.

# But I ain't
missing you at all #

And we wound up on the
Jay Leno Show doing the duet

of "Missing You."

# I ain't missing you #

I just remember trying not to
talk too much.

I was, like, nervous, you know?

'Cause she's, uh,
an incredibly intense artist.

She's really the--
the real thing, you know?

And you start to wonder
if you could measure up.

It's Ringo territory, you know.

Who could be better?

Lots of people.

And when I was singing
"Missing You" in the studio,

she hit the talkback and said,
"This is really great."

And I smiled, you know,
'cause that was praise

from somebody that I--

Take a minute?

Yeah.

It's all right.

It's the weirdest
feeling to sing lyrics

that you wrote when you were
a young man, you know.

When you were pretty much
uncomplicated and happy.

Before divorce and all that
stuff kicks in.

You think the world's great.

It is great.

There is irony in that.

Okay. Uh, wish me luck.
Okay, two, three.

# You, you
said you'd come around #

I think I've-- I've
had a lot of trouble because

I'm not interacting
with people.

You know,
you go and play a concert

and it's extremely intimate.

# You're the one
I want to see #

There's a real exchange
with the audience.

And to not have that,
to not have that window

to people is so weird
because art,

you know,
it's a two-way street.

You don't make art
to lock in a vault,

and you certainly don't make
music to keep it to yourself.

It's-- you're trying
to put something out

and exchange something
with people.

But, you know,
with the pandemic,

you can't go out and play.

I haven't
seen my band for a year.

It's weird.

And it's not just weird for me.

It's-- everybody's had
their life change

completely because of it.

It'll be hard when we
actually get back out there,

but, um, you know, it's okay.

# Falling in love again #

Everybody learns the hard way.

Is that a good metaphor
for your career?

Well, my career is,
you know-- it's-- it's--

look, I'm not trying
to shoot the arrow

and then paint,
uh, a bullseye around it.

I know that
it's gone up and down.

And some of it was unavoidable.

I mean, the record companies
going out of business,

on maybe three records

when it was a very important
time to have success.

I'm not trying to paint
over that.

You know, those albums failed.

You know, somehow they
were really great records,

especially in my mind,
Temple Bar,

and you have to roll with it.

But I thought
about this before,

everybody's got an excuse
for why

their record doesn't chart
or any of that shit, right?

And, uh, in my case,
it would be, yeah,

the record company went down,
but I made the record

and it's out on the internet

and I bought Temple Bar back

and it sells,
like, a huge amount.

And I've got
When You Were Mine back

and that sells out
in reprint copies.

Figure in a Landscape,
you know, I own 'em.

But at the time,
it was rough to watch it.

It was really-- and I
could have really done with,

uh, somebody at
the wheel that actually knew

what they were doing.

It's just ironic that it,
uh, it met with, uh--

but I kind of enjoyed it.

I-- I felt like the hero
in some sort of Russian novel.

It was like,
"I bet somebody fucks this up."

And you get the--
and then the phone rings,

you know,
and then the phone rings.

And you kinda--
you develop a kind of, uh,

laconic kind of, you know--
you just like--

a couple of words will sum
it up, like, you know,

c'est la vie.

But, uh,
I have no regrets, really.

I think it
even powered me forward.

I became more
of an artist because I was

up against something
that was insurmountable.

I didn't just give up and say,
"Fuck it.

I'm gonna go be a-- a painter."

I just went right back
in the-- in the studio

and played with my band.

And I just-- that's what I do.

And it brought that home to
me that no matter what you do,

at the end of the day,
it's about the work.

It's not about
being number one.

It's not about being, uh,
surrounded by success

and dollar bills
and a trophy wife

and a big fucking
mansion somewhere

playing golf on Sunday

with some fucking guy
you can't stand.

It's about making art.

Art is the--
the reason we breathe.

It's-- it's our harmony
with God.

If there's God out there,
this--

we're singing the harmony
with-- when we make art.

And so in
answer to your question,

it never affected me, really.

If you believe that,
I have a used car outside.

You ready, John?

Playback coming at you.

# You're everything I want #

# You're everything
that I need #

# And I'd do anything
to get to you #

I'm flubbing some lines,
but I guess if you do it--

Yeah.
That was pretty cool, man.

Yeah, it looks really good.

- Really?
- Yeah.

I sort of went
with the lockdown thing

as long as I could.

I had to
go back to work somehow.

- You have your mask?
- Yeah.

So, I-- I went in the studio
and cut some acoustic songs.

All right,
we're going again. Get ready.

Everybody has the way
that they're affected by this.

He's very British and he keeps
his feelings inside,

but underneath that
is a very soft,

sensitive, redheaded kid.

I've fucked up a lot
of it, but--

- No, it's okay.
- Yeah?

Well, maybe you get a,
you know-- I mean, whatever.

If you wanna use it,
it's a little--

I-- I became unprepared.

I haven't sung the song ever.

Apart from the studio.

Fuck it.
You had the best of me.

Wait.

Wait.

I'm losing the will.

You know, I am...

I think, spiritually bankrupt
at this point.

I just really am at
that point in my life.

Please give it up,
Mr. John Waite--

John's got a cheat sheet.

It's for "Jumping Jack Flash,"
actually.

So, we were, uh-- we've done
a couple shows together,

but we haven't seen each
other in couple of years.

It's been a while.

Why don't you age, motherfucker?

Look at you, man.

I was-- I was comparing
myself to you

and I'm watching you I thought,
"What-- how's-- what the--"

You know, I mean,
how did you do that?

I married Daisy Fuentes.

Yeah. Yeah, it shows.

- And it helps. Helps a lot.
- It helps, yeah. Yeah.

So, John and I got together
today just for-- for a minute,

and we're like,
"Let's do a song together."

And everybody on Earth
loves this song

and we're gonna butcher
the shit out of it right now.

What do I miss the most?

Yeah.

Just being able to get out

and meet people and interact.

I think that's
really what happens.

You stop talking to people.

Difficult, you know.

# Every time I think of you #

# I always catch my breath #

# And I'm
still standing here #

# And you're miles away #

# And I'm wondering
why you left #

# And there's
a storm that's raging #

# Through my
frozen heart tonight #

You've been a great, great
crowd and a great, great time!

This next song took
about ten minutes to write

and changed my life
beyond all whole recognition.

# Every time
I think of you #

# I always catch my breath #

# And I'm still
standing here #

# And you're miles away #

# And I'm
wondering why you left #

# And it's my heart
that's breaking #

# Down this long distance line #

# I ain't
missing you at all #

# Since you've
been gone away #

# I ain't missing you #

# No matter what
my friends say #

# There's a message
in the wire #

# And I'm sending you
this signal tonight #

# You don't know how
desperate I've become #

# And it looks like
I'm losing this fight #

# And it's my heart that's
breaking, yeah #

# Down this long distance
line tonight #

# I ain't
missing you at all #

# Since you've
been gone away #

# I ain't missing you #

# No matter what
my heart says #

# And there's a message that
I'm sending out #

# Like a telegraph
to your soul #

# And if I can't bridge
this distance #

# Stop this
heartbreak overload #

# I ain't missing you
at all #

# Since you've
been gone away #

# I ain't missing you
at all #

I love you people.
I truly do. I love you.

# No matter what my
heart might say #

# No matter, baby,
, anyway #

# I ain't missing you #

# I can lie to myself
these days #

# I ain't missing you #

# I'll get by, baby #

# I can lie
to myself these days #

# I ain't missing you #

# No way #

# Yeah #

# I ain't missing you #

# I ain't missing you #

I'm John Waite.

And the decisions I made,
I-- I think were honest

and I think I've tried
to do in--

in this crazy mixed up world
of the music business,

I think I've done it with

a sense of
integrity and honesty.

I-- I really do.

And, uh, if I've been out
of step it's because I thought

the work was more important
than the business.

I mean, that's the truth of it.

In our great city
of Philadelphia,

please welcome, John Waite!

# People talking #

# And they're saying that
you're leaving, yeah #

# So unhappy, baby #

# With the way that
you've been living, yeah #

Hey!

The story
isn't over yet.

I'll see
you at the next poker game.

# We think we've got
the answers #

# Some things ain't ever
gonna change [change] #

# It doesn't matter
who you are #

# It's all the same [change] #

# What's in your heart
will never change #

# Look in the mirror #

# And you see how
you've been taken #

# You're looking
back out #

# But now your heart
is breakin' #

# Oh oh oh #

# We always wish for money #

# We always wish for fame #

# We think we've got
the answers #

# Some things don't
ever change [change] #

# Driving faster
than you want me to #

# Can't help myself
when I'm alone with you #

# All right #

# All right #

# I've passed the limit
and there's no way back #

# Your kind of love
gives me a heart attack #

# All right #

# All right #

# 'Cause, baby,
can't you see #

# We need to spend
some time alone #

# We need to see
some dreams come true #

# I want to
feel me touching you #

# We need
a midnight rendezvous #

# On the freeway
with the throttle down #

# You drive me crazy
as we drive around #

# All right #

# All night #

# The way you look tonight
you aim to please #

# The dress you're wearin'
is way past your knees #

# All right #

# All right #

# 'Cause, baby,
can't you see #

# We need to spend
some time alone #

# We need to see some dreams
come true #

# I want to feel you
touching me #

# We need
a midnight rendezvous #

# Midnight #

# Midnight rendezvous #

# Midnight #

# Midnight rendezvous #

# Midnight #

# Midnight rendezvous #

# Midnight #

# Midnight rendezvous #

# Yeah, yeah #

# All I really
want to do #

# Spend some time alone
with you #

# Yeah #

# A midnight #

# [Baby, baby,
can't you see] #

# [Baby, baby, you and me] #

# [Baby, baby, can't you see] #

# [Baby, baby, you and me] #

# A midnight rendezvous #

# Yeah #