(Latin for "here and now") is an upbeat pop song with phased piano, tenor saxophone by Michel Ripoche, a crowd chanting "Here and now!" in the chorus, a reuse of the audience sound effect from "Babylon" and the "We got the system to fuck the system" chant from "The System" during Vangelis' piano solo, foreshadowing the concluding "montage". Side four The longest song on the album, "All the Seats Were Occupied" begins as a slow raga-influenced instrumental before incorporating other genres such as funk and culminating in a musique concrète "montage" that incorporates samples from "Seven Trumpets", "The System", "Babylon", "The Four Horsemen", "Loud, Loud, Loud", "The Capture of the Beast", "Ofis", "∞", "Seven Bowls", "The Lamb", "The Wakening Beast", "The Marching Beast", "Altamont" and "The Wedding Of The Lamb". The sentence "all the seats were occupied" was taken from a BBC Teaching English record. The song concludes with a chaotic ending and a sample of Papas' pained groaning from "∞". This track was later included on the compilation album A Monstrous Psychedelic Bubble Exploding in Your Mind: Volume 3. "Break", the closing song, is a ballad sung by Sideras, backed by piano and organ. Vangelis scat sings backing vocals, meant to make fun of the song's dramatic mood. Ferris' lyrics originally had an additional verse that began the song, starting "Now/Got no place to go", which was left out of the final version. Hegarty and Halliwell describe the last lines, "Fly/High/And then/You make it", as lacking in narrative link to the rest of the album, but ending on a "melancholic high". The song ends with a piano and organ chord, which is followed after 6 seconds of silence by a sample of Forst saying "Do it!", the final sound of the album. Packaging The album's sleeve was created by production coordinator Gerard Fallec. Ferris stated that Fallec's initial idea was to have a black cover with "666" printed in white in the middle, inspired by the white background of The Beatles, and created the original design with three plastic car numbers. Ferris and Vangelis liked the idea but preferred a red background with the number printed white on black in the middle, similar to a vehicle registration plate. This became the final design, although several vinyl issues of the album use the original white number on black background sleeve. Fallec also brought to the band a surreal, Dalí-influenced painting