a meditative section containing phase-shifted instrumentation such as tabla tarang, harp (swarmandal) and sitar, and singing. The music is delivered via backwards-played tape loops as the vocals pan from one side to the other across the stereo image. The other two pieces include a section comprising Barham's piano and flutes, followed by a trumpet solo, harmonica interspersed with a police siren, and more backwards tape loops. The song fades out with a slowed-down spoken voice over the sound of church bells. Leng notes that "Dream Scene" was recorded several months before Lennon's experimental sound collage "Revolution 9", released on the double album The Beatles. Side two "Party Seacombe" includes a rock accompaniment that Clayson likens to the style of Pink Floyd, and the song equally recalls the Beatles' instrumental "Flying", with which it shares a twenty-bar blues structure. Recorded with the Remo Four, it includes wah-effected lead guitars, one of which resembles the sound of a human voice; phase-shifted treatment on the acoustic rhythm guitar; and additional drums and percussion, possibly played by Starr. Writing for NME Originals in 2005, Adrian Thrills described the track as "Whimsical '60s psychedelia from George's experimental dabblings". The two Indian pieces "Love Scene" and "Crying" form another medley, with the first track featuring Khan's call-and-response sarod parts. Overdubbing was unprecedented in Indian music until this time, and Khan later said he was "thrilled" with the effect on "Love Scene", where the sarods "[play] to each other like two lovers in a romantic mood". The piece resulted from Barham's suggestion that Khan play Mauj-Khamaj, a raga created by his grandfather, Allauddin Khan. Described by Madinger and Easter as "aptly titled", "Crying" contains the mournful tones of a tar shehnai. "Cowboy Music" is a country-and-western piece that Inglis likens to the incidental music typically heard in American westerns from the 1940s. The performance includes steel guitar and contributions from the Remo Four, along with Reilly on harmonica. Returning to the Indian style, "Fantasy Sequins" combines tar shehnai with harmonium, played by Desad, and bell-like percussion known as khas. This track segues into "On the Bed", although Madinger and Easter say that the correct title, as it appeared on early US copies of the album, should be "Glass Box", which is the name given instead to the Indian piece that follows it. "On the Bed" opens with a piano riff from Harrison, which, in Leng's description, is