Get Up And Dance

Cloonee · Get Up And Dance

Come on, baby, when the music play
Wanna see you dance
Get up and dance
Said move, ye-yeah, groove, ye-yeah
Come on, lil' lady, let me show you what a man can do
Let me show you what a man can do
Sing my music, sweet music (Ayy)
Soothing to my bone, never-never-never leave me lonely

Get up and dance, get up and dance
Get up and dance, get up and dance
Get up and get up and
Get up and get up and
Get-get-get-get-get-get-get-get

Get up and dance

Get up and dance, get up and dance
Get up and get up and get up and dance
Get up and get up and get up and dance
Come on, lil' lady, let me show you what a man can do
Yeah, all over the place

(Now that we found love, what are we gonna do? We ???)
Now that we found love, what are we gonna do? We [win ?]
Now that we found love, what are we gonna do? We ???
Now that we found love, what are we gonna do? We ???

Come on, baby, when the music play
Wanna see you dance
Get up and dance
Said move, ye-yeah, groove, ye-yeah
Come on, lil' lady, let me show you what a man can do

Get up and dance, get up and dance
Get up and get up and
Get up and dance

Get up and dance, get up and dance
Soothing to my bone, never-never-never leave me lonely
(Now that we found love, what are we gonna do?)
(Now that we found love, what are we gonna do?)
Get up and get up and get up and dance

A soul refrain in tech-house form

An old-school vocal call to dance supplies the foundation of Cloonee’s “Get Up And Dance,” a 2026 tech-house release that reworks a familiar refrain associated with “Now That We Found Love.” That song has its own lineage, from the O’Jays’ original to Heavy D & the Boyz’ 1991 version, and Cloonee’s track draws on the latter’s recognizable vocal energy. The lyric fragments are not a new narrative so much as a sequence of invitations and commands, chosen for their rhythmic value and their ability to trigger recognition.

Released on Hellbent Records in September 2026, the track is credited as a collaboration with Franky Rizardo. Cloonee’s driving low end meets a more stripped-back groove, while the repeated vocal is chopped into a compact hook. Beatport lists an extended mix, fitting the track’s DJ-facing structure: the refrain can return in cycles while the instrumental sections give a set room to build. The release’s timing and club-oriented presentation place it squarely within contemporary tech house, where familiar vocal material is often used to create immediate crowd connection.

The available coverage focuses on release and production context rather than rigorous chart measurement, so claims of broad commercial success would be premature. The song’s reception is best framed as a club record whose source vocal gives it an instant point of access. That familiarity is also the central creative trade-off: the hook brings a long history of soul and hip-hop dance music into a new setting, while the house arrangement prioritizes repetition and momentum over the original’s fuller song form. The result is a functional, high-energy rework rather than a replacement for its source recordings.