Wee Kev is another artist whose web team needs to “get on it.”

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[5.25]

Katherine St Asaph: Damn good thing “Turn Me On” was Kevin Lyttle’s track, because the extraneous dude and leached-away energy are the only things keeping “Losing Control” from copyright infringement. 
[4]

Hazel Robinson: It possibly ought to be classed as a failing that I forgot what I was doing when this came on and thought “Cor, ‘Turn Me On’ is still bloody great isn’t it?” On the other hand, “Turn Me On” was and is bloody great and although I don’t think I’ll ever hammer as much play out of this, I can’t imagine a world where I’d ever be anything but rather pleased to hear it.
[7]

Edward Okulicz: A welcome, if delayed, return of the Casio Casanova is pretty welcome, and mixes of this go back as early as 2008. Even tidied-up it still sounds incredibly tinny and trebly, which is a description, not a criticism. You can imagine its dinky rhythm sounding refreshing pumping out of a radio, but despite having the same joyful palette as “Turn Me On,” it doesn’t have the same energy, confidence or swagger. It’s like he’s in low gear throughout and in no danger of losing control of anything.
[6]

Andy Hutchins: There might be a law that Kevin Lyttle has to lilt “caress me” in every song he records. I don’t know. But this is a perfectly pleasant and summery soca/dancehall track that goes almost nowhere despite the threatening guitar in the back, and that’s gonna make it a huge hit when someone finds the wormhole to 2003.
[6]

Alex Ostroff: His voice is immediately identifiable, and well-suited to the gentle clip of soca beats. Plus, I’m a sucker for a good call and response “Oh Oh”. In order to truly succeed, though, ‘Losing Control’ should either sell the conflicted emotions and lust of the lyrics’ affair, or be as catchy as “Turn Me On“. It fails on both counts.
[5]

Josh Langhoff: Sounds like something the lido deck band in Speed 2: Cruise Control would’ve played as foreshadowing.
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Jonathan Bogart: The cheap, chintzy backing can’t escape a whiff of vacation-destination budget-travel advertising, like something that would be played in a hotel lounge on a loop in 1989. Lyttle’s voice is stronger than that, of course, and he almost succeeds in convincing me this is an actual song rather than a jingle. But then he pauses for breath, and I just hear Buster Poindexter Muzak again.
[5]

Pete Baran: The thing about minority scenes is you never know when one of their big old tunes might come back around again. Lyttle’s little Soca jam has been around for five years, and there seems no particular reason for it to be back now. Every year has had a summer, and it is a nicely innocuous radio buzzer (at least until Lyttle does his own rather surprising vocal acrobatics). Jamesy’s chatting is on the thuggish side of pointless mid noughties guesting. Its nice its getting its day in the sun, but it was always in the sun anyway.
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