Editing This Year's Model (section)

===Side two===
The track "Hand in Hand" opens with guitar [[Feedback (music)|feedback]] evoking the Beatles and [[Jimi Hendrix]]. Although the music provides a Merseybeat shuffle,{{sfn|Hinton|1999|loc=chap. 3}}<ref name="Troper PM" /> the dark and revenge-driven lyrics follow two lovers walking hand in hand straight to [[Hell]]. Like "No Action" and ''My Aim Is True''{{'s}} "I'm Not Angry", the narrator tries to deal with chaotic emotions by denying they ever occurred.{{sfn|Hinton|1999|loc=chap. 3}}{{sfn|Gouldstone|1989|loc=chap. 3}} "(I Don't Want to Go to) Chelsea" is a [[ska]]-infected rocker<ref>{{cite web |last=Maginnis |first=Tom |url=https://www.allmusic.com/song/i-dont-want-to-go-to-chelsea-mt0002198379 |title='(I Don't Want to Go to) Chelsea' – Elvis Costello |publisher=AllMusic |access-date=4 March 2022 |archive-date=30 October 2021 |archive-url=https://web.archive.org/web/20211030170232/https://www.allmusic.com/song/i-dont-want-to-go-to-chelsea-mt0002198379 |url-status=live }}</ref> that was originally directly influenced by the works of the Who, before Bruce and Pete Thomas contributed new rhythms that made the track stand out on its own.<ref name="2002 liner notes" /><ref name="Troper PM" /> Lyrically, the song attacks fashionable society; the girl is described as 'last year's model', as she has suffered a fall from grace.{{sfn|Gouldstone|1989|loc=chap. 3}} According to Rachlis, "Chelsea represents Costello's nightmare world of success, where deceit is masked by propriety and last year's model is thrown out with yesterday's wash."<ref name="Rachlis RS" /> "Lip Service" represents a culmination of Beatles influences into a track that contains sexual innuendos, both in its lyrics and title. It is primarily led by Bruce Thomas's bassline, which Hinton compares to the sound of [[the Hollies]].{{sfn|Hinton|1999|loc=chap. 3}}<ref name="Troper PM" /> The partially vague lyrics express a narrator's sexual frustrations on a would-be lover and observations on insincerity around him.{{sfn|Perone|2015|pp=16–25}}

"Living in Paradise" was written in 1975 when Costello was a member of the [[Pub rock (United Kingdom)|pub rock]] band Flip City.{{sfn|St. Michael|1986|loc=chap. 3}} O'Grady calls it as "shuffling power-pop [[reggae]] detailing how dreams of soft-living actualise in soul-decaying corruption".<ref name="RAM" /> Morgan Troper of ''[[PopMatters]]'' maintained that it abandons the punk workings of the rest of the album for a ska-type rhythm.<ref name="Troper PM" /> According to Gouldstone the track has themes already present in the album's other songs,{{sfn|Gouldstone|1989|loc=chap. 3}} including misogynistic ideals.<ref name="Troper PM" /> "Lipstick Vogue" is described by AllMusic's Tom Maginnis as a showcase for the band's energy and skill.<ref>{{cite web |last=Maginnis |first=Tom |url=https://www.allmusic.com/song/lipstick-vogue-mt0000452070 |title='Lipstick Vogue' – Elvis Costello |publisher=AllMusic |access-date=4 March 2022 |archive-date=14 April 2019 |archive-url=https://web.archive.org/web/20190414180232/https://www.allmusic.com/song/lipstick-vogue-mt0000452070 |url-status=live }}</ref> It opens with a drum fill by Pete Thomas before Bruce Thomas and Nieve drive on bass and keyboards, respectively.<ref name="Troper PM" /> Reflecting themes of alienation,{{sfn|Hinton|1999|loc=chap. 3}} the song is about the perils of imperfect love.{{sfn|Gouldstone|1989|loc=chap. 3}} "Night Rally" provides commentary on the then-prevalent [[National Front (UK)|UK National Front]].<ref name="Kent NME" /><ref name="RAM" /> It presents, in Hinton's words, a "nightmare of state control and worse" that argues how [[totalitarianism]] infiltrates and affects society. Costello compares conglomerate corporations to these types of governments, in how they attempt to control the people.{{sfn|Hinton|1999|loc=chap. 3}}{{sfn|Gouldstone|1989|loc=chap. 3}} It cuts off abruptly, ending the album on, in St. Michael's words, "an explicit and disturbingly pessimistic note".{{sfn|Hinton|1999|loc=chap. 3}}{{sfn|St. Michael|1986|loc=chap. 3}}