D I S C O G R A P H Y
There's The Rub (1974)
Released: November 1974
UK chart position: 16
Martin Turner's memories:
"We spent the months of August/September 1974 at Criteria Studios in Miami, recording There’s The Rub with producer Bill Szymczyk. This would be our first experience of working at an America studio with an American producer. Likewise it would be Bill Szymczyk’s first experience of recording a British band.
Bill had worked with a host of US artists – Joe Walsh, The James Gang, Eagles, J.Geils Band, etc – but was looking to record with a British band. He wanted to record with The Who. They were on the top of his list, but weren’t ready to record at that point. We were also on his list and were contacted via Miles Copeland. I think Bill was intrigued to find out how British guitar bands went about recording guitars. Likewise, we were just as keen to experience working in a top American studio with a successful American producer. It was an equal trade-off.
When we first arrived in Miami, Bill was a bit taken aback to find that the line-up had changed. Bill was expecting Ted to be with us and was a little surprised when we turned up with this new chap, Laurie Wisefield. But everyone got to know each other and everything went pretty well. We respected Bill’s experience and the success he had achieved and were keen to learn from him. There were, however, occasional differences of opinion, particularly between Bill and myself as to how my bass should sound. He wanted something that was much more orthodox – like the Eagles. My reaction to that was “No, mate, that’s not what I do. I play my bass guitar through a guitar amp – it distorts, growls and sounds generally nasty.” Bill was fairly amused at my concept of a bass sound, but we worked together and eventually agreed to meet in the middle and reached a compromise.
There’s the Rub attracted pretty respectable reviews from the music press, which was encouraging given the negative comments that had been made about Wishbone Four. However, I was never really affected by the press reviews. What was more important to me is what the people buying the albums thought. For Wishbone Ash fans at the time There’s the Rub was fresh, new and interesting. It had a different sound to previous albums. Laurie’s input was very exciting, and the American era of Wishbone Ash had begun. Most of the press feedback we received at the time was very positive and to this day many fans consider it one of our strongest albums."
adapted from the book "No Easy Road - My Life and Times With Wishbone Ash"
Read review from NME, October 1974
Read review from Melody Maker, Nov 1974
What a great album this is! It's definately got an "American" feel to this album in my view. Laurie's first album following Ted's departure and what a debut album for him this proved to be. It opens with the excellent "Silver Shoes" with Laurie's wonderful solo. Then comes the rocker "Don't Come Back" which is in my top three of fave WA tracks and seems to be a perfect opening live track to me. "Persephone" follows, simply stunning guitaring on this number with feel, taste, style and passion. This is followed by the funky "Hometown" which I think lets the album down a bit but that said, it's not a bad track. "Lady Jay" is next with the lyrics based on a Dartmoor folk legend. A nice enough slowie and one which I personally liked to play with my old band. It's cool that MTWA have suddenly bought this number into their live set. Ending the album we have the stunning instrumental "F.U.B.B". Great bass work and what can you say about the guitaring? sensational stuff. I think this is a fine album myself that I still enjoy playing and will continue to do so.
I think this is definitely my favourite all round studio album. Absolutely love the versions of all of the songs, except I don't think the Live Dates 2 version of "Persephone" can be beaten. "Don't Come Back" is one that I think Mart should add to MTWA's set list - a blinder of a set opener!
A Brilliant Album. The best Engineereed/Produced Album ever done by the Band. Every note on every instrument and vocal is clean and clear, neck slides, pick clicks, stool noise, burps and all.