are "LONDON" pressings made in the UK, inferior to the Decca pressings

I've never attempted any direct comparison between Decca and London so have nothing to contribute to that discussion.

But as it happens I do have a copy of the Albeniz Suite Espanola, CS 6581, with 3G in the runout.  It's one of my favorite classical recordings, part for the music and part for the dynamic, life-like recording.  I can't imagine the Decca to be any better. 

... If you enjoy them more with the SXL label on it, go for it. They sound great! But my intention was to give unbiased advise to (apparently) a novice collector who is interested in sound quality, not status. In the current marketplace you can buy as many as 10 London bluebacks for every SXL 2000 series with the same sound quality. Not a difficult choice if you ask me......

I did not write that I enjoy SXL more, I wrote a few lines about the background in general (from my memory, it is long time ago when I collected some SXL and bought way more London CS and Monos later).
Honestly, in summary I prefer London (but can be that some titles I really like sound a bit different compared to SXL).
I was more deep in RCA Living Stereos and later to SXL and Londons...Both, SXL/London are always first rate, really bad were later the Reissues from Speakers Corner (SC=Sound Crap)

Pryso
Yes, killer definitely. I doesn’t matter what press number you have, 1, 2, 3, 4 because the quality control took proof that each stamper was first rate. You can try to find same from other cutting engineers, there are interesting differences (G, W, V, L,K, D, E ...)
G=Burkett is known for really low frequency cut.. but there is not "best" engineer, it is a bit of taste from each
A "best" sound record is not automatically 1L / 1D..maybe it is a 6W ....
I guess from CS 6581 I own 4 or 5...

@syntax 
That's interesting. Most collectors say they prefer SXL's over CS's, probably in an attempt to defend their buying decisions. You are the first person I come across who actually prefers the London's for their sonics. Which still seems to suggests that you hear a generic sonic difference......

I agree that most of the so called 'audiophile' reissues sound like crap, not just the Speakers Corner. Any of Decca's own Ace of Diamonds reissues from the 70's will sound better for much less money.

@pryso 
syntax is correct that later matrix numbers can often sound just as good as the earlier ones. The mother/stamper number is much more significant to sonic quality. Decca used the services of several great cutting engineers, e.g. Stan Goodall (E) and Tony Hawkins (K), who did most of the SXL 2000's and earliest 6000's, and Harry Fisher (W), who was responsible for the majority of the later 6000's.  In my opinion Ted Burkett (mister 'G') was probably the most consistently excellent. Not so much for deep bass, but for their 'see through' transparency. He unfortunately didn't do that many of the SXL/CS cuts, but he was responsible for most of the Argo catalogue. This is a Decca subsidiary label greatly underrated by 'audiophile collectors' and therefore very affordable. Less mainstream repertoire perhaps, but lots of interesting 20th century stuff. Grab 'em while you still can. 

Granted I don't have the playback systems and experience some of you have but I'll risk being shredded and say that some of the Jubilee budget repressings sound f

terrific.

Don't know what happened there.