[7] The song starts off with a bass riff by Glenn Cornick before Ian Anderson's flute comes in.

[8] Despite being similar in style to "My Sunday Feeling" and "Beggar's Farm", the instrumental section shows a greater influence of jazz rather than blues.

AllMusic's Bruce Eder called it "a superb example of commercial psychedelic blues" but did not consider it one of the album highlights.

[10] George Starostin called it one of the "catchiest ditties the band ever did: the interplay between the bloozy guitar and the poppy harmonica is amazing and promptly digs itself into your memory".

This was the only Tull performance with guitarist Tony Iommi during his two-week tenure with the band, and it has been suggested that he had not had time to learn his part and thus relied on Abrahams' recording.