The band's follow-up still finds it working very much in the vein of orchestral rock, largely driven by Stewart Wooly Wolstenholme
's keyboards and the presence of the London Symphony Orchestra
. The reach of the music exceeds the grasp of the lyrics, though -- they lack the cold oracularity of Peter Sinfield
or the allusive cleverness of Peter Gabriel
. Still, there's some fine compositions here. "She Said" turns upon a keening opening Mellotron riff to develop into a slow-four dirge. "Song for Dying" shows off the band's fine ability at vocal harmonies, while the later concert standard, "Mocking Bird," shows a dramatic evolution from pensive acoustic guitar to a full-blown orchestral attack.