Review Summary: A relaxed effort from Wings with a smooth sound to match a lazy day
Paul McCartney’s Wings has three main lineups, the first of which dissolved before the recording of
Band On The Run. Core members Paul, Linda and Denny Laine remained. After the success of said album, a second lineup assembled. Along came Jimmy McCulloch on guitar and Joe English on drums, two studio albums and a live album compiling their American tour. Well, after a few ambitious years of generation two, Wings started to dissolve again. Joe English was homesick, and Jimmy McCulloch was, well, irritable and abrasive from a heroin addiction. Both left during the recording sessions of
London Town, but you can hear them on the first two tracks. So, yet again, the three-piece returned. Last time this turned out to be a good thing. Oddly enough, the more Paul McCartney plays on your album, the better it gets. He knows how to channel his energy into bombastic ballads or sexy jams. Though unlike the previous work of Wings,
London Town was destined to be a mellow record. From a glance the album cover reflects a rather bleak afternoon. You may groan to step outside on a day like that, but after a while, notice the temperature is just right, and the breeze feels just right. The sun doesn’t get in the way, and even though it starts to sprinkle, the rain feels damn good.
It's a stretch to call this album conceptual, but it functions in a similar fashion to
Sgt. Pepper's Lonely Hearts Club Band. The vibe you get listening to this is clean, sparse, and smooth. Somehow the sound itself is persistent enough to vouch for its theme stronger than the lyrics would. More than ever before these tracks present electric pianos, acoustic guitars, and playful songwriting. The only song you’ll know off this is “With A Little Luck”, which offers a taste of Macca’s refreshing optimism (though you may recognize "Girlfriend" as well from Michael Jackson's cover). “I’ve Had Enough” is the only belter to be found, and even that track is pretty chill, pretty groovy. I have to plug the instrumental jam that is "Cuff Link". Oh, and in case you forgot, Denny Laine is still here. I can't help but wonder what the vibe was like with him third wheeling it through these sessions. "Deliver Your Children" is a strong composition from him but as always, McCartney outshines him vocally and instrumentally. Linda's presence in the music is similar to her placement on the cover: observing the two dudes do their thing, with one of them standing taller than the other. And you can’t go wrong with that crisp bass, the ethereal synths, or the sublime sound of electric piano floating along like the boat where
London Town was recorded. Acoustic guitars serve as the body of water, and the vocals sort of decide the weather for us. The harmonies on “Don’t Let It Bring You Down” feel like rain coming down on you, but in the best way possible. Then the closer comes down on you hard enough that you have to take shelter. The folk-influenced melody, familiar harmony, groovy bass and the abrasive organ sound put together create something you haven't heard before and haven't heard since. I love the weird stuff offered here because it’s a sign Macca is still experimenting without being conceptual, trying new things without making so much noise.
I’m not sure exactly why this album has fallen under the cracks over the years. Critics may have mistook McCartney’s laid-back effort for complacency. Or maybe they were getting impatient with his low-key releases, waiting for him to enter his phase of over-producing everything. If one day I can meet the man, I’ll have to ask him a few favors: One, release
London Town next for your archive series, and release “Waterspout” as an extra track. And, while we’re at it, where is that book Denny Laine was writing? Until then, hit the play button, sit back and relax.
