My Aim Is True is the debut album from Elvis Costello, released in 1977. The album consisted mainly of songs that he had written while with his former band, Flip City, and brought to his audition at Stiff Records, along with some newly composed material. His backing band for the album was the Bay Area's Clover, essentially Huey Lewis and the News without Huey Lewis.
- "Welcome To The Working Week" (1:22)
- "Miracle Man" (3:31)
- "No Dancing" (2:39)
- "Blame It On Cain" (2:49)
- "Alison" (2:54)
- "Sneaky Feelings" (2:09)
- (The Angels Wanna Wear My) Red Shoes" (2:47)
- "Less Than Zero" (3:15)
- "Mystery Dance" (1:38)
- "Pay It Back" (2:33)
- "I'm Not Angry" (2:57)
- "Waiting For The End Of The World" (3:22)
Bonus Track (from the original American release and all CD versions):
- "Watching the Detectives" (3:42)
Don't you think that I know that troping on water won't make me a miracle man?:
- Album Title Drop: "Alison":Alison, I know this world is killing you
Alison, my aim is true.
- Alliterative Title: "Welcome to the Working Week" and "Miracle Man".
- Altar the Speed: "Waiting For The End of the World":"Hiding from a scandal in the national press
They had been trying to get married since they stole the wedding dress"
- Always Someone Better: "Miracle Man":Why do you have to say that there's always someone who can do it better than I can?
But don't you think that I know that walking on water
Won't make me a miracle man?
- Argentina Is Nazi-Land: "Less Than Zero", a Take That! at former British fascist leader Oswald Mosley:She says, "I hear that South America is coming into style."
- At Least I Admit It: The chorus to "Alison" seems to translate to "I know the world will break your heart, but I'll be more forthright about it than the rest."
- Be Yourself: From "Pay It Back":"And I tried so hard just to be myself
But I keep on fading away"
- Big "WHY?!": "Welcome to the Working Week" has a repeated one:All you gotta tell me now is why why why why
- The Chikan: "Waiting for the End of the World":And then they shut down the power all along the line
And we got stuck in the tunnel where no lights shine
They got to touching all the girls who were too scared to call out
Nobody was saying anything at all
- Deliberately Monochrome: The cover photos.
- Early-Bird Cameo: The album was recorded before Elvis had formed the Attractions, but Attractions keyboardist Steve Nieve plays on "Watching the Detectives".
- Face on the Cover: Elvis featured central on the album cover, playing guitar.
- Genre Roulette: Costello shows stylistic versatility already. "No Dancing" has a Phil Spector sound and is in fact one of many rock songs to use the slow, echoey drumbeat from the Ronettes' "Be My Baby". "I'm Not Angry" is punky hard rock. "Alison" is country-influenced. "Mystery Dance" is a rockabilly number that takes its cue from the other Elvis' "Jailhouse Rock".
- The Loins Sleep Tonight: Male sexual inadequacy, for various reasons, has never been a big topic in rock music, but it's all over this album.
- Miniscule Rocking: "Welcome to the Working Week" and "Mystery Dance" are both well under two minutes.
- One-Man Song: "Miracle Man".
- One-Woman Song: "Alison"
- Page Three Stunna: The line "your picture's in the paper being rhythmically admired" from "Welcome to the Working Week".
- Police Brutality: "Watching the Detectives":They beat him up until the teardrops start
But he can't be wounded cos he's got no heart.
- Record Producer: Nick Lowe, Costello's usual producer in the early years.
- The Scapegoat: "Blame It on Cain" asserts "It's nobody's fault, but we need somebody to burn."
- Something Completely Different: "Less Than Zero," from The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made by Dave Marsh:A couple are making out on the couch at the home of one of their parents (it isn't clear which, only that they have no place of their own to go, and are worried that the old folks will arrive home too soon.) The lights are off but the TV is on. On the tube, an interviewer is talking with Oswald Mosley, leader of Britain's fascist movement in the thirties, and Mosley's sister. Mosley is enjoying something of a revival, and he has been brought to the screen to further falsify history- his own, the world's, perhaps even the singer's. But the singer is only dimly aware that Mosley's being on TV helps explain his own unemployment and lack of housing, partially because he's too wrapped up in his lovemaking, partially because creating unawareness is Mosley's purpose. (And those cries of 'Hey red!' in the chorus- who's shouting them, and to what end?) This isn't something I made up. This is what Elvis Costello is singing about."