Analysis best viewed @ Johnny-Newman.com

Before I setup this analysis, I must state definitively that this serious of harmonic relativity is to create tension as well as forward motion. These set of chords, in fact, have a rising chromatic pedal tone every 4 chords, and a separate analysis can be given as so; however, this analysis is given with knowledge that this "pedal tone" acts with the chord as a whole in propelling it forward.

C#sus* F#m D* D#dim // Dsus* Gm Eb* Edim // D#sus* G#m E* Fdim
-----F# pedal------------------// -----G pedal---------------------//----- G# pedal------------------

* = first inversion chord
// = end of 4 bar phrase

This chorus section is 12 bars, divided into 3 equal parts. The relationship between the first & second, second & third, and third & fourth chords of each 4 bar phrase is one risen note. Before continuing into the next 4 bar phrase, one note is risen against another being lowered; this contrary motion only happens at the end of the first and second 4 bar phrases. This contrary motion, in relation to the next chord, consists of a leading tone and a lowered-super tonic
Also, of interest; all three diminished chords are used in this chorus section

For recording and general harmonic strength, the bass does follow root motion underneath all of this. Clip available at Arise Lazarus - Chorus - unmixed clip and the Johnny Newman Myspace