and the Beach Boys' "Don't Worry Baby" (1964). Described by Murray as "sexual fascism", "Big Boys" follows a narrator who is split between sympathy and contempt in his infatuation with a woman; he wants to be a 'big boy' and is seen as immature. Gouldstone compares it to "The Beat" from This Year's Model. Bruno states that it is the album's first track on which the mixture of personal and political themes appear as "volatile". The fifth track, "Green Shirt", concerns paranoia and predicts the rise of sex hotlines. It uses three different themes: assault on the media, a woman tidying herself, and images of betrayals to establish a connection between personal behaviour and relationships on a larger scale. Musically, it is primarily led by a loop created on a Minimoog. Regarding the colour green, Bruno interprets it as a possible reference to the members of the Romanian fascist movement Iron Guard. "Party Girl" is a ballad in the vein of "Alison" and "Little Triggers"; away from the new wave of the rest of the album. Reportedly about Buell, Costello denied this in the 2002 Armed Forces reissue liner notes, stating he wrote it for an art student he barely knew. In the song, the narrator pleads for the 'party girl' not to dismiss him even though he knows she has control over him and does not care how long it will take. After multiple political-related tracks, "Party Girl" represented a return to a more personal side. Side two The first track on side two, "Goon Squad" builds on the theme of "Oliver's Army" of "underhand recruitment". In the song, a soldier relays messages on his experiences back to his family but by the end, he has lost his hand and fully joined the 'good squad'. Gouldstone notes that the vague lyrics do not specifically mention the 'good squad' as being the army–they could be police or big businesses–but the song nevertheless paints them in a poor light. Musically, Costello traced the song back to Don Covay's "It's Better to Have (and Don't Need)", but admitted that "we were too wound up to play it in that fashion". Described by Lundy as "intentionally cavernous and bleak", Gouldstone finds it "near heavy metal", while Hinton compares the intro to Thin Lizzy and the outro to the Beatles' "Tomorrow Never Knows" (1966). "Busy Bodies" is, in Gouldstone's words, a "snappy pop tune"