described Punch the Clock as an "enjoyable listening experience" in Sounds, praising the performances of Costello, the Attractions and TKO Horns. He concluded: "If you were to judge this particular 'book' by its cover then you'd probably drop it like a hot potato, but once inside you'll be amply rewarded." Jock Baird of Musician magazine similarly said: "For many, critics and otherwise, the pearls of Punch the Clock will have to be dived for, but their value will be all the more increased for it." In a five-star review for Record Mirror, Mike Gardner declared Punch the Clock "a vital collection that holds its head up high even amongst Elvis' vast legacy". Boo Browning of The Washington Post considered it his "most honest and well-integrated work to date", one that contains his "best arrangements, melodies and singing" since My Aim Is True (1977). Several felt Costello remained one of the best songwriters of the era. Some agreed that while the album is not perfect, it still contained several "knockouts". David Hepworth of Smash Hits felt there was "enough power and detail" in tracks such as "King of Thieves" and "The World and His Wife" to warrant repeated listens, while Jon Young deemed Punch the Clock "a smart album that protests its own cleverness too much" in Trouser Press. Rolling Stone Christopher Connelly declared it "a satisfying, if unstartling, opus", one that contains what fans expect of him: "terrific tunes, take-it-or-leave-it singing and jaw-breaking wordplay that baffles as much as it enlightens." Amongst individual tracks, numerous highlighted "Shipbuilding" and "Pills and Soap" as the album's standouts; some even felt the former was Costello's finest composition to date. Billboard magazine found the songs more accessible and believed Costello was striving for a broader audience. Other critics commented on Costello's change in musical direction; Holden described the material as his "frothiest, most accessible pop music" to date in The New York Times. Langer and Winstanley's production received both positive and negative comments. According to Hinton, several saw the production as "over-slick" compared to Emerick's on Imperial Bedroom. Other reviewers were more negative towards Punch the Clock. In Creem, Fissinger felt it was a "(fairly) simple case of reach exceeding grasp". Writing for The Village Voice, Robert Christgau criticised the album for a lack of innovation coming off its predecessor, equating to a "disparate collection" that is a "major letdown". Richard Cromelin was also