This is something. Tubular bells at the beginning as a symbol of the divine (reminiscent of some freakbeat songs from the same period attempting such a thing in the context of real power music). First part of the verse in six-four time (four plus two) with a melodic line that both thrives on the irregularity and yet manages structural power anyway with some beautifully-timed long notes. Chord progression here is a loop of four chords - Bb minor/Eb major/Db major add 9/Eb major - and notice how the bass never grounds the Eb chord. Same pattern continues in the second part of the verse, where the guitar begins on F minor and then moves away and back while the bass keeps an F pedal. Singer is already in the higher part of his register here, but still they manage a higher harmony part. By the time of the last line of the verse, both singers are in falsetto.
The type of exploratory harmonic progressions (with continued vocal harmonies) heard in the bridge and at the very end was seemingly this group's domain only.