The track, like plenty of dancefloor bombs, is a simple one. A rotating organ line and disembodied vocal that cuts in and out lay the groundwork, all building to the moment that a Rhodes unleashes its funk. Taken by itself, the line that it runs through is limp, but the focus here is on the groove and it melds perfectly with the Chicago house feel of the drum pattern running underneath. And, of course, the acid line that comes in at around six minutes doesn't hurt either.
The rest of the tracks here don't match up—and they're not meant to. One loses the Rhodes, which seems to me to be the entire reason the track exists. And the same goes for the dub, which loses both organs. And cuts the track down to a paltry six minutes. Both simply whet the appetite for the original, so don't bother flipping this one over, unless you want to tease.