"I did a last album last November that was pretty much no-holds barred, no overdubs," Waite said. "It was called 'In Real Time.' That was what put me back into lead guitar. I didn't need to see another keyboard as farsighted as I lived. When me and Kyle sat down to write, we had some of the songs by that point.
"He's a blaze of a guitar player. He truly is. The early night [we said] 'We haven't played this before.
I desire you love it.' Then Kyle kicks it off and it's like we're in the fucking Stones. It was like, 'Jesus Christ. Right there.' So that's something that I feel really interesting. He's pretty fiery and so am I. He's very genuine."
Waite talked to SoundSpike about "Rough and Tumble," why he thinks it's getting rave reviews, the gender of the championship and his end with his live performances.
SoundSpike: What do you remember it is around this album that's touched people?
John Waite: Unbridled talent. [Laughs] I don't know. I believe it's fresh. I made it very quickly. As I was saying to my acquaintance the former day, I guess I got it out of my own way. I usually write records to deal with people a bit. I write one thing that's very approachable and make a left turn down the nearest alley. With this one, it wasn't like that. Me and Kyle - Kyle Cook - we recorded five songs in Nashville. Then I went to Europe for a tour. I came second and there was this proposition that I cut some more tracks. I couldn't conceive of anything to do at all. I was stumped. I put it off as tenacious as I could. And come late August I only felt, "I'm leaving in." I went into the studio, got my ring and had a three-day recording session. I just played everything that I had that was in my files on the computer. Songs I haven't used. I had rearranged them. Me and the guitar player wrote "Rough and Tumble." I cut seven songs and they all worked. Believe me, nobody's more surprised than me. I still don't acknowledge what to reach of the record. It is that smart to me. I like playing it last and we'll be doing a lot of that.
Sounds like it would be a fun album to play live.
Me and Kyle, we played "Evil" Saturday night at a convention. We got up and played a seven-song set. Right in the middle, we played "Evil." [The answer] was like, Jesus, I only didn't expect it. It's only two-fisted. Everything's right. Everything but seems to be right.
How did you meet Kyle?
Through a supporter of mine, Jeff Whorley. He exploited to put on these benefits in Las Vegas for a women's shelter. I met [Jeff] in an aerodrome in Las Vegas. He was this huge fan. He wanted me to play these benefits. I ended up playing about six of them. He kept saying, "You get to meet Kyle. You gotta work with Kyle." "Yeah man, yeah, yeah, yeah," [I'd say] walking backward. Eventually, after 4 days of that, we were in the sami spot at the same time. We got together and, within 15 minutes, we wrote one of the songs on the album called "Better Off Gone," or the beginnings of it. Three days later, we wrote "Love's Going Out of Style." A week later, we wrote "Evil." When we were finishing those tracks in the studio, we came up with "If You Always Get Lonely." It was a really interesting association and friendship. It's been a real firecracker.
It sounds like you're having fun when I listened to the album.
He's cool. He's cool. I'm still running on what's happening next. Our guitar player went AWOL a few months ago and Kyle stepped in to do these dates. He's going to go to Europe to play the European tour in some six weeks. We're all acquisition as we go. So far, so good.We've been bringing the family down. So wish I said, everything feels right. Everything's just right at the moment.
"Rough and Collapse" is decidedly an accurate title for the album.
It's about winning a few knocks if you're in a relationship. People tend to wish to try and give you up. They ever have a shot, thinking they get a good to make a pellet at you for being in love or something. They can't forget it be. They do it in a little way or a big way. But it seems always like it's open season on people who are together. It was near that. It was about going through spirit and winning the knocks and stressful to bond together no matter what. "Rough and Tumble," that's what living is. It's quite romantic. It's obviously quite sexual. But it's also romantic - but sex is romantic. I can only really say that "Fierce and Tumble" seems to sum up the entire thing.
How does it fit in with your catalog?
I don't care. It's only division of what I do. The final three or four records that I've made have been much more singer/songwriter. "Temple Bar," "When You Were Mine" -they were my favorite records. They're often more . sonically introspective. They're not as aggressive. I believe I was looking in at that point. Those albums are some support in New York City. They're good records. If I give this world tomorrow, I suppose that's my testimony. This is like an upbeat adaptation of that. Like I say, I don't actually love what I've got. I'm still listening to it and trying to bring out what it is. It was made that quickly. I'm really someone who spends an awfully lot of time getting it proper and tweaking mixes. There was simply no way to do that. Honestly, it was like leaving to the movies and coming out. It's like you go in and it's broad daylight and you get this experience within a dark theater then you get out and it's broad daylight again. When I came out, I was keeping the album.
Why did you do it so quickly?
Necessity, really. I was stressful to cut the five tracks in Nashville with Kyle before I went and did the European tour. We just had approximately 3 and a half weeks. Then, when they wanted the tracks really ready to end up the record, I'd waited so long the deadline was now and I had no songs recorded. So I only ran with it. But I'm very resourceful. I don't need to sound too surprised. I love what I'm doing. I do. I can say as I'm recording what deeds and what doesn't, if a region should to be changed or a new arrangement needed. I'm like a laser beam. I get a lot of experience behind me. How could I not recognize? It's an actual talent that I don't really realise until it's absolutely imperative that I use it. It's only something I do. Just like eyesight.
What can people expect from the last show? Do you encounter a retrospective of hits, or do you just focus on the new album?
We're just coming to terms with that. We played seven songs the former night. We went with "Change," "Back On My Feet Again," then we played three new songs-"If You Ever Get Lonely," "Evil" and "Better Off Gone." Then we played "Missing You" and "Psyche First." We wound up with half the hearing on stage dancing. So I don't know. People call out for songs and if we love them, we go right into them. It's not rehearsed, let me put it like that. I wouldn't insult the interview by doing that. Every audience has got a different vibe. Some sit and follow the songs very intently. They don't wish to be on their feet. Every night is different. You can't make up a bit like that - unless you're a call and dance man. That's not what I do. The spontaneity of it is what makes it fun. If it means unplugging everything and doing an acoustic set properly in the middle, I'll do that, too. It's meant to be an exchange and a real one at that. I consider it comes off as that. We always appear to hit that hard. That's my intention.
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