"Harry the One-Man-Band"

In "Harry the One-Man-Band," the lines "Give him a penny / He don't get many / Give him a shilling if you can" are sung to a melody something like:

The paucity of "He don't get many" and the small value of the penny itself are both reflected by the few pitches in the first half of the phrase (only F, A, and Bb).  Similarly, the greater number of pitches in the second half corresponds to the greater value of the shilling.  The inclusion of an accidental (B natural) in the second half of the phrase further highlights this contrast.

Some of these features are present even in the lyrics alone since "Give him a penny" and "He don't get many" are both short lines and "Give him a shilling if you can" is longer.

"Happy Families (with Eddie 'Fingers' Garvey)"

I listened to Mighty Garvey! a few days ago, and yester-day, I had a number of realizations about some of the songs.

In "Happy Families (with Eddie 'Fingers' Garvey)," the repeated line "Just look around" in the backing vocals is sung to a phrase of all different pitches (I think it's C D Eb F), and this musical span matches the breadth of "look[ing] around."

"That's All I Ever Want from You Baby"

This morning, I transcribed a couple more lines of the bass part in "That's All I Ever Want from You Baby" (I've been slowly writing it out since I learned it a few months ago), and I realized something about the choruses.  The bass part is different every time, but the first two iterations are something like this:

The lyrics also vary, but they're something like:

That is all I ever want

That is all I ever want

That is all I ever want from you, baby

In the first two iterations of the chorus, the bass plays diatonically ascending phrases spanning an octave (F to F), and these phrases highlight (and even literally underline) the "all"s in the lyrics because every note in the song's key is included.