Like" contains a snippet of the 1953 song "I Love Paris". The album's credits include details of which drummer(s) are playing on each song. Mixed in with these credits are the notes "Robbery Assault & Battery – keyboard solo Phil" and "Cinema Show – Bill Bruford, Phil keyboard solo". This should be read to mean that Collins played the drum kit (along with Thompson or Bruford) during that solo, not that Collins played keyboards. Hackett's departure When Seconds Out was announced in the press on 8 October 1977, the news coincided with Hackett's departure from Genesis. He had announced his decision to the group two months earlier while cuts for the album were selected and mixed. Collins recalled spotting Hackett on the street while on his way to the studio and offered him a lift, but Hackett declined. Collins found out from Banks and Rutherford that Hackett had quit. Hackett later said that if he had got in the car, Collins would have been the one person to make him reconsider. On the 1990 documentary video Genesis – A History, Banks joked that Hackett was mixed out of Seconds Out as a result. Although Hackett's guitar is audible, it lacks the volume of previous albums or rough soundboard mix bootlegs from the 1977 tour. Release Seconds Out was released on 14 October 1977. Charisma Records organised an extensive promotional campaign for the album that included double page spreads in newspapers, window displays, colour posters, and commercials on national radio. In the US, the album was released by Atlantic Records. It peaked at No. 4 on the UK Albums Chart and No. 47 on the US Billboard 200. Reception Hugh Fielder of Sounds gave the album five stars out of five. Melody Maker reporter Chris Welch, with assistance from Bob Gallagher, also praised the album. Rolling Stone praised the contemporary incarnation of the band, noting they had "less reliance on theatrics" than before Peter Gabriel's departure, "and an added dollop of jazz-rock inclinations." In their retrospective review, AllMusic wrote that Genesis's renderings of songs from A Trick of the Tail and Wind & Wuthering surpass the studio recordings, with "superb vocals by Collins throughout," and drumming by Chester Thompson, which they described as "at least a match for Collins' best playing." They considered the tracks from earlier albums to be weaker, however, finding Collins "...can't match the subtlety or expressiveness of