major revisions and even dropped some tracks entirely. By necessity then, some songs were revised or fully composed in the studio. One of the late-coming compositions was "Sleep Comes Down", which was written during pre-album rehearsals. The song incorporated irregular time changes – lilting and "sweetly woozy" – and a surging, psychedelic outro, and became a fan favourite. Other prominent tracks on the album include the overtly political rocker "President Gas"; and "Danger" which, with its "headlong pace and slamming beat", was described by critic Ken Tucker as "the most ferocious, impassioned song the Furs have ever recorded". The album's title track has been cited as a foremost example of Rundgren's "wall of sound" technique. The album also includes one of the Furs' most well-known songs, "Love My Way". Although it was critically acclaimed as a "brilliant single", it turned out to be only a moderate hit, peaking at No. 44 on the US Billboard Hot 100 and No. 42 in the UK Singles Chart. The song has nonetheless had an enduring afterlife – it has appeared in movie soundtracks like The Wedding Singer, Valley Girl, and Call Me by Your Name; in video games, including Rock Band and Grand Theft Auto: Vice City; and in a wide variety of genre compilation albums. Ashton specifically accords Buller credit as the creator of the memorable keyboard riff on "Love My Way". This was the riff that would ultimately be played by Rundgren on a marimba, in what's been called the best use of that instrument in rock music "since the Stones' 'Under My Thumb'". Rundgren also left his mark on the song's vocal line, persuading Richard Butler to forego his usual "sarcastic tone" and instead "sing it straight". Artwork The original UK album release featured psychedelic cover art by the English artist Barney Bubbles (aka Colin Fulcher, 1942–1983), who was later recognised as one of the key pioneers of modern album cover design. Initial UK pressings of the album included a free poster of the Bubbles cover art. When it was released in the US in 1982, the record label changed the artwork to a simpler, red-tinted design – "this horrible 'new-wave'-looking generic cover", in Ashton's view. Richard Butler says that when he first saw the replacement cover, he "actually burst into tears". Ostensibly Columbia decreed the change to increase legibility of the band's name, and perhaps to mimic the design