[3][4][5][6] Pitchfork's Evan Minsker opined that, lyrically, "it's probably safe to assume that at least 80% of Night Club is laced with a meta joke that nobody's in on except DeMarco,"[2] and No Ripcord described his performance on the record as resembling a "hopelessly romantic swinger.

"[5] DeMarco's vocals on the first rough half of Rock and Roll Night Club were analyzed to be an impersonation of Elvis Presley.

"[4] The Peter Sagar co-written[1] "Baby's Wearing Blue Jeans" was called by Allmusic's Fred Thomas a "weird denim-fetish anthem", containing clean guitars and muffled drums in its instrumentation.

[7] Thomas opined that "instead of being an annoyingly repetitive conceptual misfire, the identical melodies work in DeMarco's homespun glam thug sonnets in an if-it-ain't-broke kinda way, lending different shades of the same color to their respective songs.

"[7] However, a new melody is introduced on "She's Really All I Need", a track which was lyrically compared by Loud and Quiet to Pavement,[8] and instrumentally containing wobbly guitar riffs and "beachy" percussion, as well as the absence of DeMarco's distorted vocals.

[7] The song forms a Duane Eddy-esque twangy guitar line into a "garage stomp" by the time its "dark, seductive chorus" comes in.

This contributed to the sludgy lo-fi sound of the record and was partly inspired by the techniques of Joe Meek's I Hear a New World.