'Come, Come', also re-recorded for the debut solo album to follow 2 years later, takes a lyrical swipe at fellow ex-Husker Du member Bob Mould, with a riff that is both simple and yet complex enough to sound complete in this mostly acoustic rendering.
Closing track, 'Let Go' is almost throwaway in comparison, with a seemingly improvised melody and spoken vocal that doesn't play to any of Hart's well documented strengths. The production suggests maybe a Pixies feel was the intention, but the finished product lacks any of the charm or menace of Black Francis and company.
As if to remind us what a glorious feeling this must be, the following track, 'The Main' (an acoustic version of the song from the 'Intolerance' album), deals with the cycle of drug addiction, and the repetitiveness of copping from dealers, feeling okay for a while and then having to return to places that given a plausible choice you'd rather not return to. The tune is weirdly familiar, and there is a distinct Irish folk influence that is the driving force behind the melody.
Final track, 'Signed D.C.', is a self-pitying blues, again recorded acoustically, which given a fuller production treatment, could easily have matched any of Harts later work, but here suffers from the minimal, 'man and guitar' approach.