My Aim Is True

'Welcome To The Working Week' is a punky, rousing opener: a hook-filled miniature rock anthem that has inexplicably, and in the fashion of Doctor Who, been crammed into less than one and a half minutes. An awesome, gritty start that perfectly sets the tone for the rest of the album. This brief introduction is followed by the equally memorable 'Miracle Man'- A sensational blues floor-stomper that seems to get more and more interesting and enjoyable with each listen. 'No Dancing' starts off with a completely unexpected verse section of booming simplicity, sounding not unlike a Phil Spector hit-gone bad! It then completely changes tempo (and style) for a passionate and clear-cut (both in lyrics and melody) chorus, a sinister minor-drenched middle 8 and a wonderful pounding drop-out of all instruments bar the drums (obviously!). A simple pop song with some unexpected twists; and all the more unforgettable for it! The lyrical simplicity (nonetheless effective) of the opening trio of rockers is suddenly turned around by the album's first filler track, the clunky and more than a little pretentious 'Blame It On Cain' that (compared to the opening tracks) sounds rather dull and straightforward musically. The album quickly redeems itself with the touching, sensitive 'Alison', without a doubt one of his classic songs; a dreamy ballad tinged with down-to-earth melancholia. Just as he starts to regain his swing 'Sneaky Feelings' provides the album with its second (and thankfully last) piece of lightweight filler. Shockingly forgettable.

After the middle lull, the album quickly regains its compusure with a near-flawless selection of meaningful rockers (and more than a few surprises). '(The Angels Wanna Wear My) Red Shoes' is a sweet, thoughtful rock-and-roller, that shows echoes of his Country roots (The so-called "Honky-Tonk Demo" tracks, included as bonus tracks on this reissue's second disc, show his early attempts at song-writing to be clearly influenced by his country heroes). 'Less Than Zero' was Costello's debut single (backed with 'Alison') but failed to chart; a shame really, considering the power of the song, a fascism allegory with strong spiteful lyrics and some very catchy Police-esque vocal sections ("reh, oooh-re-hep!"). 'Mystery Dance' is musically very straightforward, but has some intesting Dylan-inspired characterisation in the lyrics (and is also a loud, satisfying slice of retro-rock!). 'Pay It Back' is a bouncy, catchy pop song, but is nonetheless a minor track. The final three songs of the original album are the ones that probably most clearly indicate the direction Costello's music would take in future years; powerful, vitriolic exercises in rage and disillusionment. 'I'm Not Angry', from it's thrashy, gob-smacking Hendrix-like intro (with some suitably impressive guitar-work to match), is an unbelievably memorable and catchy (like most of the man's best work) track that summons up potent images of jealousy and betrayal. It also shows another bizarre culture-clash - the all-out distinctive heavy rock of its intro/chorus and the country-tinged middle 8. 'Waiting For The End Of The World' has a fantastic opening riff and vivid, anarchic lyrics that has an enjoyment factor practically through the roof (aided by some extraordinary tempo changes). 'Watching The Detectives' was his first UK top 20 hit, and is a potent, gritty reggae atmosphere piece that pre-dates the reggae-rock of the Police by a clear year! A vivid, raw song that is complemented by a booming, extraordinary band performance (the creepy, watery organ that is put to such good effect on this track would be given a more active role when Costello formed the altogether more solid Attractions soon afterwards). Despite the odd bit of pointless filler (the strength of the rest of the album more than compensates for this anyway) I would definitely say that the original album itself is a 5 star recording - raw, powerful, innovative and unexpected.

The bonus tracks provided on the bonus disc are comprosed of the aforementioned "Honky Tonk Demos" (a selection of production-less acoustic guitar demos recorded in his bedroom!),a few cliched, unessential country doodles; A few rough demos for future tracks that would appear (or not as the case may be) on the his next album, 'This Year's Model' and a few out-takes from the album. Most of these tracks are mere curios, however the songs left off 'My Aim Is True' stand alone as very good songs in their own right (The country-rock mockery of 'Radio Sweetheart', a genuinely great country song, 'Stranger In The House' and, my personal favourite from the bonus tracks, the complex, majestic 'Imagination (Is A Powerful Deciever)'. In summary - five star album, but rather pointless reissue that is only really of interest to die-hard fans - I would recommend the album itself to any uninitiated music fan, unnaquainted with the work of one of Britain's greatest songwriters.