On this album, KICKS was the highest charting song. KICKS is distinguished by its lead guitar riff played on the twelve string guitar. This riff is played over and over again, and it is somewhat similar to the repeated riff in DAY TRIPPER by the Fab Four. In KICKS, the singer begins, almost with a whisper, for the first stanza. Then, there is a transition, and the voice becomes pure and strong. The bridge, at the center of the song, is particularly clever. If one was compelled to compare it to anything, the bridge is somewhat like that in HELP by the Fab Four. Here, I am referring to the descending motif, where the bass notes have a twangy sound. After the bridge comes the chorus. The chorus has the men, singing in unison.
THERE'S ALWAYS TOMORROW is somewhat like a country/western song with a quick-stepping bass line.
LITTLE GIRL IN THE 4th ROW is about the vocalist's puppy love for a girl in the audience. He's helpless to introduce himself because he needs to be on stage. The song has a slow, plodding rhythm, and the bass line has a luscious timbre. The key shifts up a notch halfway through the song. I used to think that the song was about a boy in love with a girl in the 4th row at school, in the 4th row of classroom seating. But that is not what its about. The lyrics go like this: "All my life I had dreamed of that one certain girl. And I know just exactly how I'd want her to be. She looked so fine. And she'd want to be mine. And now I've found her, but it don't do not good for me, 'cause she's that little girl, little girl in the 4th row, little girl how can you know that my heart's full of pain, 'cause I've got to be leaving when the show's over . . ." (Personally, I would not recommend establishing a romantic goal based on somebody's appearance, especially not from a viewing from the stage to the 4th row. The girl could be scatterbrained, or her life's ambition could be limited to the style of her next pair of shoes, or she could have a pretty face (but a huge, ungainly bottom), and so on and so forth. At any rate, the tune is nice, and the song's expression of yearning is honestly done.
BALLAD OF A USELESS MAN is a recitative, from start to finish. For garage band wannabees, Ballad of a Useless Man is well suited for a band member who cannot sing.
I'M NOT YOUR STEPPING STONE has growling vocals, on par with the growling found on the first album by KILLING JOKE. KILLING JOKE's first album arguably has the best collection of growling vocals found on any rock'n'roll album, outside of the genre known as "grindcore." At any rate, there is no need to detail I'M NOT YOUR STEPPING STONE, since it received a fair amount of airplay. Needless to say, this version of I'M NOT YOUR STEPPING STONE is magnitudes superior to the version by that other rock'n'roll band.
THERE SHE GOES is a lively country/western rockabilly song. The tune is a fine one. The lead guitar parts ring clear as a bell, or perhaps, like a penetrating set of chimes. The song begins with a motif of three power chords. From then on, the lyrics go, "There she goes, walkin' away from me, startin' to make me cry, throwin' away my life and lovin' heart. The bridge in the song has a changed key. In the bridge, and behind the lead vocal, we hear a chorus of, "DOOO, doo-doo. DOOO, doo-doo."
TAKE A LOOK AT YOURSELF has a great walking bass line, equal to anything composed by Paul McCartney. The lyrics start out with, "You say I'm the one that's wrong, but of you'd stop and think for long, soon you'd sing a different song for meee-ee-ee-ee!" These lyrics are processed with an echo chamber. The bridge has a change in key, and there are plenty of bended notes from the lead guitar.
ALL I REALLY NEED IS YOU is one of the most dramatic songs in the realm of rock'n'roll. The rhythm is like a start-and-stop rhythm, at least at first. Then, the lead guitar enters, providing a raga motif, imported from Bombay or Calcutta (I can't tell which). The singing is somewhat like growling. Then, there is a bit of a syncopation, where the beat changes, and the singing is anthemic and soaring. In detail, the song begins with 4/4 time with a slipped, syncopated beat that goes like this: BOMP thuddunk, BOMP thuddunk, BOMP thuddunk. The vocals go, "All my life I've worked and slaved and cried and prayed and tried to do the things . . . that people tell us we should do." Then, the key changes to a half step higher, but the BOMP thuddunk beat continues. "Now, now I see the things I try for most are things about which they can boast, but I don't want to act the way they do." Then, the beat switches to 3/4 time, and a chorus of voices bursts forth with, "While you smile at me and say, you don't care for money. All my troubles go away, I'm so lucky honey, all I really need is you by my side!!!"
GET IT ON starts with guitar glissandos, and the vocal begins with a low-throated ominous quality. The lead guitar is complex, and seems to be double-tracked. Later, the vocal features full-throttled screaming.
LOUIE GO HOME starts with a riff on the low strings of the lead guitar. Then, the rhythm guitar chips in, with clipped chords, sounding something like an accompaniment to a scorching rhythm'n'blues number from James Brown. The singing is more like a gutteral chant. But the bridge has a chorus of harmonious voices. Towards the end, the song changes to 3/4-time, with the lead guitar dominating with a solo that resembles a strummed raga, or perhaps, a strummed Scottish bagpipe, or perhaps a carrousel, or perhaps all three of these. After viewing several renditions of LOUIE GO HOME from a certain internet source, I realized that some of LOUIE GO HOME, e.g., the bridge or chorus, was copied from or at least influenced by FOR YOUR LOVE, a hit by the YARDBIRDS. It is also the case that THE WHO copied LOUIE GO HOME in their "own" song called, LUBIE, COME BACK HOME. However, LUBIE, COME BACK HOME by THE WHO only copies the lyrics, and does not copy the excellent chord structure or excellent musical style of LOUIE GO HOME by Paul Revere and the Raiders.
MELODY FOR AN UNKNOWN GIRL starts with a vocal recitative, where the singer recites his devotion to a girl he's not yet met. The recitative starts like this, "Sometimes it's hard to say the right words even when they're written in your heart. Most songs have words but this one, which is written for someone I don't even know yet . . ." Following this, the listener is treated to a forlorn-sounding saxophone solo.