The ten-dollar bill was for eating money and the prod pole to be used when the train stopped for water in getting downers back on their feet.

Nothing seems more natural than to approach confirmability via confirmation.

A satrapy′s borders were generally the same as those of the previously independent kingdom, with the satrap stationed in the old capital. […] The Great King expected two things from the satrapies: a regular supply of taxes (called tribute because it underlined the satrapy′s subordination to the king) and units for the Persian army when needed.

Although at first the song succeeds, after a while the effects and/or lack of harmony begin to outstay their welcome, and it isn't until the instrumental break reaches the dominant D (3:16), and thence to Am (in a change reminiscent of the coda to Richard Thompson's When I get the border) than the song really takes off. But then the song returns to monotonous G, we have two more chori, and then the song ends with a bang.