What do you do after you've conquered the world? If you’re Paul McCartney in 1977, you don't go back to the studio. You rent three massive yachts in the Virgin Islands, stuff one full of 24-track recording gear, and invite your band to live on the water for a month. That is the wild, sun-drenched origin of Paul McCartney & Wings London Town, an album that remains one of the most misunderstood chapters in the Macca canon.
People often call it "the transition album." It’s the record where the stadium-rocking version of Wings started to crumble, and the quirky, synth-heavy solo Paul of the 80s began to peek through. Honestly, the vibes on this record are weird. You’ve got songs about famous groupies, a weirdly futuristic nautical epic, and a track Paul literally wrote for Michael Jackson.
It was a total mess behind the scenes, yet it gave us "With a Little Luck," one of the most effortless number-one hits of his career.
The "Water Wings" Sessions: Recording on a Boat
The working title for the project was Water Wings, which makes way more sense than the final title. Imagine the scene: the band is anchored in Watermelon Bay. The heat is stifling. To cool off, they aren't hitting the green room; they’re diving off the deck of the Fair Carol into the Caribbean.
Paul wanted a change of scenery. He was bored of Abbey Road (for a minute, anyway). So, they hired three boats: one for the crew, one for the McCartneys, and the Fair Carol to act as a floating studio.
"We converted the lounge into a studio and turned another deck into a sound control room," Paul recalled later. "It was as good as being in a proper studio, but if you wanted a break you could dive off the side for a swim!"
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It wasn't all sunshine and dolphins, though. Saltwater and expensive electronics don't usually get along. Plus, the band was shrinking. By the time the album was halfway done, guitarist Jimmy McCulloch and drummer Joe English had both quit. Jimmy went off to join the Small Faces, and Joe just wanted to go home. Suddenly, Wings was back to being a trio: Paul, Linda, and Denny Laine.
Why the Critics Hated It (and Why They Were Wrong)
When Paul McCartney & Wings London Town finally dropped in March 1978, the music world was in the middle of a punk-rock seizure. The Sex Pistols were burning out, and The Clash were rising. In that climate, a 50-minute album of "laid-back" melodies recorded on a yacht felt... well, it felt soft.
Critics called it "middle of the road." They weren't necessarily lying, but they missed the point. There is a deep, synth-heavy experimentation happening here that most people ignored because they were looking for another "Jet" or "Band on the Run."
Check out "Morse Moose and the Grey Goose." It’s a six-minute prog-folk epic that ends with a beat that sounds suspiciously like 90s techno. Or "Cuff Link," a weird little instrumental that feels like it belongs on a lo-fi indie record from 2024. This wasn't Paul playing it safe; it was Paul playing with his new toys.
The Mystery of the Missing Mega-Hit
Here is a fact that still baffles music historians: "Mull of Kintyre" was recorded during these sessions.
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In the UK, that song was a phenomenon. It sold over two million copies and became the biggest-selling single in British history at the time, even beating The Beatles' "She Loves You." And yet, Paul decided not to put it on the original London Town album.
Why? Because Paul does what Paul wants. He felt the album had its own "London" atmosphere and a bagpipe ballad about Scotland didn't fit. Imagine leaving a diamond in the parking lot because it didn't match your car's upholstery. That’s the level of confidence we’re talking about here.
A Track-by-Track Reality Check
The album is long. Over 50 minutes. That’s pushing the physical limits of a vinyl record.
- "London Town": The title track is a masterpiece of "observational pop." It’s basically Paul wandering around looking at ordinary people, much like he did in "Penny Lane," but with a 70s soft-rock sheen.
- "Girlfriend": Paul wrote this specifically for Michael Jackson. He eventually gave it to him for the Off the Wall album, but the Wings version is surprisingly funky in its own right.
- "I'm Carrying": This is George Harrison’s favorite Paul song. It’s just Paul, an acoustic guitar, and some very subtle strings. It’s heartbreakingly beautiful.
- "With a Little Luck": The standout. It’s all synthesizers and optimism. It feels like a warm hug from a guy who owns a farm and five dogs.
The End of an Era
Paul McCartney & Wings London Town was the last time Wings felt like a massive, chart-dominating force. After this, they did Back to the Egg, which was more aggressive but less successful.
By 1978, the "Wings Over the World" momentum had slowed. Linda was pregnant with James (their fourth child), and the band was becoming more of a studio project than a touring machine. You can hear that intimacy in the recordings. It’s less "stadium" and more "living room." Or, I guess, "boat lounge."
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If you’ve skipped this record because the reviews were lukewarm back in the day, go back and give it a spin. It’s the sound of a genius relaxing. It’s whimsical, slightly disorganized, and incredibly melodic.
How to actually appreciate London Town today
Don't listen to it expecting a rock revolution. Listen to it on a Sunday afternoon.
- Find the 1993 or later remasters: You need those bonus tracks. "Mull of Kintyre" and "Girls' School" (one of Paul’s best rockers) complete the picture.
- Focus on the bass: Paul’s playing on "Deliver Your Children" and "Cafe on the Left Bank" is typically brilliant—fluid, melodic, and driving.
- Read the liner notes: Look at the photos of them on the yachts. It helps the music make sense. You can almost smell the sea salt.
Whether you're a die-hard Beatle freak or just someone who likes 70s pop, this album is a essential piece of the puzzle. It’s the sound of a man who had nothing left to prove, just having a blast on a boat.
Next Steps for the Collector:
Look for the original US Capitol pressing with the custom inner sleeve and poster. The "Water Wings" aesthetic is best experienced in its original physical format. Alternatively, stream the 2022 digital remasters to hear the separation in those dense synthesizer layers on "Morse Moose."