“ นักร้อง / นักแต่งเพลง ที่มีซาวนด์ดนตรีที่เป็นเอกลักษณ์ของตัวเอง เสียงกีร์ต้า Fender Jazzmaster ที่ใช้งานได้คุ้มค่าและดึงบุคลิกของเสียงกีร์ต้าคุณภาพออกมาได้คุ้มเงินมาก ไม่ต้องแต่งเติมมากมายให้เสียเอกลักษณ์ ดนตรีที่ไม่ซับซ้อนแต่เต็มไปด้วยมนเสน่ห์ของเสียงร้องและเมโลดี้ ท่าทางการการร้องที่เนื้อตัวบิดเบี้ยวเหมือนไส้ติ่งกำลังจะแตก อัลบั้มนี้เหมาะกับคนที่ชอบซาวนด์ของดนตรีที่เป็นเอกลักษณ์ และกำลังค้นหาตัวเอง ”

“ ธรรมดาในแบบตัวเอง มีนัยสำคัญมากกว่าไม่ธรรมดาในแนวทางของคนอื่น ”

 

1. Welcome To The Working Week

2. Miracle Man

3. No Dancing

4. Blame It On Cain

5. Alison

6. Sneaky Feelings

7. (The Angels Wanna Wear My) Red Shoes

8. Less Than Zero

9. Mystery Dance

10. Pay It Back

11. I'm Not Angry

12. Waiting For The End Of The World

13. Watching The Detectives

Rolling Stone

In November 1977, just three months after the death of Elvis Presley, along comes a gangly, bespectacled twenty-three-year-old Brit clutching a red Fender Jazzmaster guitar, looking like some knock-kneed punk version of Buddy Holly, complete with the skinny tie and jacket that would become the de rigueur costume of late-1970s New Wave. The tiny black-and-white-checkerboard boxes of the record cover proclaim, Elvis is king.

Like his fellow Englishmen the Sex Pistols and the Damned, Elvis Costello was very good at the bravado gesture early in his career. Yet underneath his punky pose lurked a staggeringly gifted songwriter who had made it his business to devour the history of American popular music, from Hoagy Carmichael to Burt Bacharach, from Hank Williams to Gram Parsons, from Louis Jordan to Smokey Robinson.

Working a day gig as a computer operator for Elizabeth Arden, Costello had cooked up a formidable songbook, but until Jake Riviera and Dave Robinson of Stiff Records signed him to their fledgling label, no London record company was swayed by Costello's talent. With members of an obscure Marin County , California , band called Clover - a group that would form the basis of Huey Lewis and the News - as well as producer Nick Lowe, Costello made his first album in six sessions for under $2,000.

My Aim Is True - to be reissued in August on Rhino Records as a double-disc, bonus-track-laden package - was one of the great debut albums in the annals of pop music. Balancing the rage of punk with the formalism of the century's best songcraft, the album delivers passion and intelligence in equal measure. From the tender vitriol of "Alison" to the knowing arrogance of "(The Angels Wanna Wear My) Red Shoes" to the free-associative Dylanisms of "Waiting for the End of the World," Costello shows himself to be a budding pop master. And while at times he is almost too clever for his own good, a problem that will become more pronounced as his career progresses and his easy virtuosity becomes even easier, one cannot but be charmed by the young Costello's charisma. For a short time in the late 1970s, Elvis was indeed king.

All Music

Elvis Costello was as much a pub-rocker as he was a punk-rocker and nowhere is that more evident than on his debut, My Aim Is True. It's not just that Clover, a San Franciscan rock outfit led by Huey Lewis (absent here), back him here, not the Attractions, it's that his sensibility is borrowed from the pile-driving rock & roll and folksy introspection of pub-rockers like Brinsley Schwarz, adding touches of cult singer/songwriters like Randy Newman and David Ackles. Then, there's the infusion of pure nastiness and cynical humor, which is pure Costello. That blend of classicist sensibilities and cleverness make this collection of shiny roots rock a punk record — it informs his nervy performances and his prickly songs. Of all classic punk debuts, this remains perhaps the most idiosyncratic because it's not cathartic in sound, only in spirit. Which, of course, meant that it could play to a broader audience, and Linda Ronstadt did indeed cover the standout ballad "Alison." Still, there's no mistaking this for anything other than a punk record, and it's a terrific one at that, since even if he buries his singer/songwriter inclinations, they shine through as brightly as his cheerfully mean humor and immense musical skill; he sounds as comfortable with a '50s knockoff like "No Dancing" as he does on the reggae-inflected "Less Than Zero." Costello went on to more ambitious territory fairly quickly, but My Aim Is True is a phenomenal debut, capturing a songwriter and musician whose words were as rich and clever as his music. [Ryko/Demon's 1993 reissue contained several bonus tracks, including the country B-sides "Radio Sweetheart" and "Stranger in the House," plus demos of his first group, Flip City.]