live favourite, is about Partridge's fears of the Cold War and Britain’s downplayed role in it. “It was total nuclear-war paranoia. That, and the uselessness of England – this completely and utterly useless little country whose significance in the world ended at the First World War.” "Towers of London" is a tribute to the workers who constructed Victorian era London. It is one of the few XTC songs that modulates key, which was unintentional, and one of the few XTC recordings that necessitated an edit on Chambers' drum performance. The music stemmed from Partridge "subconsciously" trying to rewrite the Beatles' "Rain", desiring "clangorous guitars crashing together, and sort of droning." At the beginning of the recording, Lillywhite is heard saying "take-a-hundred-and-three", followed by the same phrase echoed by Chambers and Partridge, who are imitating the voice of Ian Reid. This was one of the band's running jokes during sessions. "Sgt. Rock (Is Going to Help Me)" is a lyrical throwback to the group's earlier songs when they were known as the Helium Kidz. It was considered "the most irrelevant song on the album" by Partridge. He explained: "I wrote it as a bit of fun, rehearsed it and started to think, 'Why did I write this?' Then the record company go, 'Brilliant, it's a single.' I wish I hadn't written it, this is crass but not enjoyably crass." "Travels in Nihilon", the album's closing track, is about Partridge's feelings of disillusionment with the music industry. The song (and album) ends with the sound of a shower running, meant to mimic the sound of rain falling, but someone told Partridge they thought it instead sounded like someone urinating, which he liked even more as he thought it fit with the song's lyrical theme of "the Pop industry, the fashion industry, the religion industry -- pissing on you, in contempt, for being such a dolt and buying into all their shit!" Title and packaging The band wanted the album's cover design to be a marked contrast from Drums and Wires. One of the potential titles for the LP—had drummer Terry Chambers agreed to pose in a Lurex tuxedo for the album cover—was Terry and the Lovemen. Late in production, the title was changed to Work Under Pressure, in conjunction with the cover photo depicting the members in diving suits, before being vetoed by manager Ian Reid, who felt the title reflected negatively