Los Angeles humming the music, and improvisational instrumentation by Collins and the Phenix Horns. "The Roof Is Leaking" has Delta blues and country elements. "Behind the Lines" was originally recorded by Genesis on Duke album as a progressive rock number. Collins worked up a horn-driven R&B/funk-inspired arrangement after speeding up the tape on the Genesis version and thinking that the sped-up version sounded like a Michael Jackson song. The cover of The Beatles' "Tomorrow Never Knows" includes instruments and vocals playing in reverse while Collins provided multi-layered background vocals and sparse drumming. After the song ends, Collins can be heard quietly singing "Over the Rainbow" in reference to the recent murder of John Lennon; this final song is unlisted on most releases of the album (the original US cassette version being an exception), and would be the only time Collins used a hidden track on one of his own releases. Four songs that Collins wrote during the Face Value sessions were ultimately omitted: "Misunderstanding" and "Please Don't Ask" which appeared in the Genesis album Duke, "How Can You Just Sit There" (which evolved into his 1984 single "Against All Odds (Take a Look at Me Now)"), and what would become "Don't Lose My Number", which would not appear until Collins' third album No Jacket Required in 1985. Collins also reported that "Don't Let Him Steal Your Heart Away" and "Why Can't It Wait 'Til Morning" (from Hello, I Must Be Going) were written during the Face Value sessions. Packaging Collins regarded Face Value as a highly personal project, which gave rise to the iconic cover art with Collins' face in extreme close-up, originally intended to symbolise the listener "getting into his head"; the reverse side of the sleeve shows the rear of his head, although the CD version of the album placed this image on the insert card instead. To emphasise the personal nature of the album, Collins also hand wrote all of the liner and sleeve notes, even down to the legal statements on the outer circumference of the centre label of the disc itself. Both of the main visual elements of Face Value — the facial close-up, and the handwritten notes — would become a motif of Collins' subsequent albums until 1996's Dance into the Light. When crediting the musicians in the liner notes, rather than write "Phil Collins", Collins simply wrote "Me", although in future albums he