"Bungle in the Jungle," the album's single, represents human nature by personifications of the animal kingdom, much like Simon and Garfunkel's "At the Zoo." Here Anderson's reflections on aggression are most plainly presented:

I'll write on your tombstone, "I thank you for dinner."

This game that we animals play is a winner.

Towards the end of the song, Anderson can't resist mentioning the chaotic state of the world and the pleasure of the king, who day after day, flips the switch as play is resumed. The track is well constructed, beginning with flute, guitar and sundry animal growlings hinting at a safari into the darkest depths of Africa. The beat is promptly established allowing the glass-like quality of Barre's guitar to cut through the string section's forceful countermelody.

In "The Third Hoorah," Anderson rejoices in his Scottish heritage. Employing every instrument from baritone to synthesizer, this is the catchiest melody on the record. He even enlists the help of a couple of bagpipe players (found, he says, outside the entrance of a London department store honking merrily away) which give the air of a Scottish reel to the piece.

"Two Fingers" concludes the album much in the way "Wind-Up" did on Aqualung. By and large, it's a pretty pessimistic conclusion, portraying us well as Aqualungs on the final day of judgement. "Two Fingers" is musically very similar to "Wind-Up" although greater emphasis is placed on its up-tempo portions.

Despite Ian Anderson's new stand toward's the critics in general, he seems to have take to heart some of their objections. War Child is divided into a series of ten songs instead of being one continuous composition. And, reflecting critical influence even more strongly, its musical foundations are taken directly from the Benefit album--Tull's most critically-acclaimed work. War Child, then, is not only musically enjoyable, but gives credence to the concept of constructive criticism as well.