Basically, this song is essentially four-plus minutes of perfect new-wave-revival-meets-power-pop from start to finish — and NME agrees with me (kind of).
In the right bar, on the right night, this is a great karaoke choice, especially if one can hold the final note of the “I’m not a sol-dieeeeeeer” bridge sufficiently (psssst — I can — though down a couple of keys). Swap “wrong” in for those two “rights,” and it can be a mild disaster during which four minutes feels like 26. Just as a random example, if one is in a crowd full of 60-something chain-smoking Busch Light drinkers, and singing to a low-rent MIDI backing track posing as karaoke.
Best part? 0:39. The most well-known version of the song kicks off with a slow and quiet tinkling of the ivories and a lone vocal that is later called back to in the second verse. Almost 40 seconds in, the drums pick up tempo, the main guitar riff emerges, all is right with the world. I dare you to be listening to this in the car and not roll the windows down and crank the volume to 45 — or whatever the high point is for today’s modern vehicles.
RUNNER UP: 3:51 – 4:07. The vocals swell to a climax and then? We are finally treated to the payoff of the song’s title. This was hardly a “runner up” for me, because it MOVES me, but doesn’t quite make me rip the knob off like the intro.