are about "if there was a Jesus, if there was a Buddha, if there was a whatever great holy leader you'd like to name, there's nothing supernatural about them. They are merely men." It contains a reference to Jimmy Swaggart in the lyric. "Cynical Days" was described by a CMJ New Music Monthly reviewer as Moulding "finding his symmetrical vocal/bass compositional counterpart recalling Mummers more disjointed approach". Like "One of the Millions", the band played live without a click. A reviewer for the magazine Sonics compared it to Miles Davis, because of its use of muted trumpet, and Ray Davies of the Kinks. Moulding said: "I wasn't feeling cynical when I wrote it. I think it had more to do with the melancholy nature of the chords. Sometimes you play something and these sentiments descend on you." Later, he expressed dissatisfaction with the track, calling it too "loungey". "Across This Antheap" is a track built on "Latin percussion, my swampy, pulled Bluesy guitar, and Colin's burping little bass". The lyrics are "about the human inability to communicate. No more than these ants can communicate. ... and yes, there is a very cynical eye being cast on the human race." It was originally written for Skylarking but rejected by Todd Rundgren. Gregory wanted the song to be the album's closing track but his suggestion was vetoed. Fox considered it a potential single and urged Partridge to include "'a kind of tacky, brassy-sounding keyboard," which I really didn't like, but he said, 'Yeah, it's so awful, it's almost ironic!' I just found it awful-sounding. ... I thought, 'He's had some good decisions as we've gone along so far—maybe he's right!'" Partridge programmed the percussion samples on a LinnDrum and Mastelloto played along on a kit. The end of the song includes the voices of the band members, Fox, and guests who visited the session that day, who may have included River Phoenix, Chris Squire, or journalist Neville Farmer. Side four "Hold Me My Daddy" was written from the point of view of a son begging for his father's love. It also features South African-styled choral stylings and an Afro-pop coda. Partridge played the song for his father, who "insisted on hearing it. We got to that point on the album and I had to leave the room: 'Hm! Is that the baby crying? I'll just go and have a look'. l came