do anything about except wait for opportunities to come. In his 1989 book Elvis Costello: God's Comic, Gouldstone gives an interpretation of the song as "a dissident aside on the values and organisation of post-war Britain". Perone highlights the track as showcasing Costello's skills as a guitar player. Employing a punk-ska groove, "The Imposter" is the narrator's attack on a man who has won the affection over a woman he is also in love with; to the narrator, he is an 'imposter' and is surprised no one else sees it. AllMusic's Stewart Mason argued the track is Nieve's finest performance on record. "Secondary Modern" employs a slower soul groove with downbeat lyrics that Gouldstone finds "enigmatic". Like other tracks, the narrator pleas for a woman to accept him. Interpreting the phrase "secondary modern"–former schools for children that failed grammar school–Gouldstone finds that the phrase might have appealed to Costello due to its "secondary importance" in modern times, which is the final fate of most of his songs' characters. Like "The Imposter", "King Horse" is aimed at tough guys who harass waitresses and stewardesses. Gouldstone comments that "to call someone 'king horse' is in effect to accuse them of being driven by ruthless selfishness, of trampling over other people to reach their desires". Musically, the song uses the guitar figure from the Four Tops' "Reach Out I'll Be There" (1966). AllMusic's Rick Anderson argued that it anticipated the sound Costello would explore on Trust the following year. "Possession" was written in Holland during a five-minute taxi ride heading back to the studio from a local café. The opening lines and basic quotes are taken from the Beatles' "From Me to You" (1963) and took inspiration from, in Costello's words, the "grand marching style" of Bob Dylan's "Is Your Love in Vain?" (1978). Reassuring a recurring theme of finance and business throughout Get Happy!!, the song concerns a failed relationship and implies that money be provided rather than love itself. The narrator in "Men Called Uncle" shows distaste for a woman and her older man, whom she calls "uncle". Like other tracks, he displays indifference towards her but deep down desires her love and affection. Perone finds the music similar to the pop styles of the 1960s British Invasion. The lyrics of "Clowntime Is Over" are vague, but Gouldstone argues that it concerns "some kind of lament". He continues that words and