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[6.14]

Scott Mildenhall: There aren’t many songs more malleable than “You Got The Love”. This is (at least) the ninth iteration of it to chart in the UK, and the fifth of those to reach the top 10. More specifically it’s a second wave mutation, taking only the isolated “I know!” that New Atlantic did for their track of the same name in the early 90s, and that’s clearly an era Chase and Status think a lot about. Mostly this is just enjoyable homage, but they do place a twist on the source, flipping Candi’s sentiment of counting on her Lord (or in later surreptitiously secularised versions, her lover) to Moko being the one to be counted on. It’s a subtle difference, but proof that a song that feels like it’s been around forever could easily last for just as long, through alterations large and small.
[7]

Alfred Soto: Applaud early nineties house nostalgia? Hell yeah. “Count on Me,” however, is EDM insecure about its moorings.
[5]

Anthony Easton: The syncopated handclaps are elegant, and the bass beat is fractured enough to introduce an anxiety that reflects the obsessive nature of desire. One of the things I love most about disco is the fast dancing to mask heartbreak, the pleasure despite instead of in addition to pain — this may not be strictly disco, but its emotionally complicated nature and formal innovation take fascinating historical notes. 
[8]

Mallory O’Donnell: Hey kids, if you’re gonna steal, steal from the best. And it doesn’t get much better than New Atlantic’s early 90’s breaks monster “I Know.” Still, it seems a bit disingenuous to just swap out one generic house music piano breakdown with another. I feel like this really undermines the integrity of the generic house music piano breakdown. They’ve already taken so much…
[5]

Brad Shoup: Moko’s bog-standard house vocal gets outmatched by a twenty-year-old heartrender. Props to C&S for resisting the urge to utterly recontextualize her voice, but I’m just waiting for them to drop their Nile Rodgers track.
[5]

Rebecca A. Gowns: A good house throwback is always welcome. Most of the appeal here comes from Moko, whose power vocals are perfectly suited for any club, any stadium, any time. The jock-jam production from Chase and Status is serviceable, but ultimately, not too memorable. 10 points for Moko, 5 for Chase and Status; let’s round it out.
[8]

Will Adams: Nice throwback. Where’s the chorus?
[5]