[2] On the track, guitarist Les Buie came in on his guitar solo a few notes early,[2] and instead of doing a retake or something similar, Brown liked the take so much he decided to keep it, and has been replicated on multiple occasions during live performances of the song.

"[2] Its unusual chord progression – in Brown's words, it "opens with a 13, goes down to a C9, then goes to a G7 and to the A7" – prompted objections during the recording session from producer Gene Redd, who considered it musically "wrong".

[7] First played live in 1964, the three songs were all part of the Who's repertoire during this time as well, only being dropped after they had written enough original material for their stage act during mid 1966.

[9] The song opens with guitarist Pete Townshend strumming the C7 chord six times, while backed by both bassist John Entwistle and drummer Keith Moon.

[3] According to writer Mike Segretto, it was one of the Who's earliest attempts at rhythm and blues, a stint which was quickly ruined by Moon "flopping" on the beat of the song.

[12] Bob Carruthers however, believes that Hopkins piano playing is "the glue that holds everything together" and praises it compared with the rest of the backing artists.

[19] Atkins negatively reviewed the song, stating that it slowed down the pace of the record which "thankfully got reinstated" by the following track "The Good's Gone".