• London Town returns to the site on this vintage import pressing with INCREDIBLE Shootout Winning Triple Plus (A+++) sound or close to it from first note to last – fairly quiet vinyl too
• Clean, clear, and full-bodied with a solid bottom end – this copy smoked the competition in our recent shootout
• Forget the dubby domestic pressings and whatever crappy Heavy Vinyl record they’re making these days – the UK LPs are the only way to fly on London Town
• 4 star: “… it’s certainly stronger than Speed and, in its own way, as satisfying as Venus and Mars… It’s a laid-back, almost effortless collection of professional pop and, as such, it’s one of his strongest albums.”

This vintage MLP import pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.

What The Best Sides Of London Town Have To Offer Is Not Hard To Hear

• The biggest, most immediate staging in the largest acoustic space
• The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1978
• Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
• Natural tonality in the midrange — with all the instruments having the correct timbre
• Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

Pop and Rock Shootouts

What are the sonic qualities by which a Pop or Rock record — any Pop or Rock record — should be judged?

Pretty much the ones we discuss in most of our Hot Stamper listings: energy, vocal presence, frequency extension (on both ends), transparency, spaciousness, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, three-dimensionality, and on and on down the list.

When we can hear a good many of the qualities mentioned above on the side we’re playing, we provisionally award it a Hot Stamper grade. This grade is often revised over the course of the shootout, as we come to more fully appreciate just how good some of the other copies are.

Once we’ve been through all our side ones, we then play the best of the best against each other and arrive at a winner. Other copies have their grades raised or lowered depending on how they sounded relative to the shootout winner.

Repeat the process for the other side and the shootout is officially over. All that’s left is to see how the sides of each pressing match up.

Record shootouts may not be rocket science, but they’re a science of a kind, one with strict protocols developed over the course of many years to ensure that the sonic grades we assign to our Hot Stampers are as accurate as we can make them.

The result of all our work speaks for itself, on this very record in fact. We guarantee you have never heard this music sound better than it does on our Hot Stamper pressing — or your money back.

What We’re Listening For On London Town

• Energy for starters. What could be more important than the life of the music?
• Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
• The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
• Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
• Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
• Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
• Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.

Vinyl Condition

Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)

Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don’t have the vintage analog magic of these wonderful recordings.

If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that’s certainly your prerogative, but we can’t imagine losing what’s good about this music — the size, the energy, the presence, the clarity, the weight — just to hear it with less background noise.

TRACK LISTING

Side One

London Town 
Cafe On The Left Bank 
I’m Carrying 
Backwards Traveller 
Cuff Link 
Children Children 
Girlfriend 
I’ve Had Enough

Side Two

With A Little Luck
Famous Groupies 
Deliver Your Children 
Name And Address 
Don’t Let It Bring You Down 
Morse Moose And The Grey Goose

AMG Review

Reduced to the core trio of McCartney, McCartney, and Laine after the successful Speed of Sound tour, London Town finds Wings dropping the band façade slightly, turning in their most song-oriented effort since Band on the Run — which, not coincidentally, was recorded with this very trio. And although its high points don’t shine as brightly as those on its two immediate predecessors, it’s certainly stronger than Speed and, in its own way, as satisfying as Venus and Mars.

What London Town has in its favor is Wings’ (or, more likely, McCartney’s) decision to settle into slick soft rock, relying on glossy, synth-heavy productions as he ratchets up the melodic quotient. This gives the album a distinctly European flavor, a feeling that intensifies when the lyrics are taken into the equation, and this gives London Town a different flavor than almost any other record in his catalog. And if its best moments aren’t as strong as McCartney at his best they, along with the album tracks, find him skillfully crafting engagingly light, tuneful songs that charm with their offhanded craft, domesticity, and unapologetic sweetness. McCartney’s humor is in evidence here, too, with the terrific “Famous Groupies,” which means there’s a little of everything he does here, outside of flat-out rocking. It’s a laid-back, almost effortless collection of professional pop and, as such, it’s one of his strongest albums.