"So in Love with You" is a song by British singer, songwriter and producer Mark Carson Adams under the name Duke in 1994. Released by CNR Music, Dance Street and Virgin, it became the singer's biggest hit and was also included on his 1995 album, The 10 Commandments Of Love. The single's radio edit is mixed by Norman Cook, as Pizzaman. It reached number three in the Netherlands and number 12 in Flemish Belgium. The track has since been remixed and re-released several times; in 1996, 2000, 2001 and 2012. The 1996 version peaked at number four in Italy and number 22 on the UK Singles Chart, while reaching number two on the UK Dance Singles Chart. In 1997, it peaked at number-one on the BillboardHot Dance Music/Club Play chart in the US.
Larry Flick from Billboard described "So in Love with You" as a "vibrant disco ditty", noting that Duke "brings a friendly vibe to the song with a voice that is actually better suited to pop airwaves than underground dance-floors—though there's plenty here for club kids to nosh on".[1] In October 1994, Mandi James from Melody Maker wrote, "The melancholic vocoder vocals and midnight hustle rhythms are on an almost Herbie Hancock tip. Old skool house before the 4/4 fascism kicked in, this is perfect for that 3am eternal."[2] Pan-European magazine Music & Media stated that "falsettos are rare. Here's the first convincing high-pitched male pop singer since Jimmy Somerville. Duke has apparently listened a lot to Marvin Gaye's "What's Going On"."[3] Upon the 1995 re-release, they wrote that the song, "with its mid-tempo romanticism is one of those songs that sound awfully familiar, even though it's the first time you hear them."[4]
A reviewer from Music Week's RM Dance Update said it is "a great track in its own right — lots of Latin flavour topped with Duke's cool vocals".[5] In 1996, Music Week rated it four out of five, noting that it is "evoking the infectious vibes of War's Low Rider and the vocal splendour of Marvin Gaye."[6] The magazine's James Hamilton declared it as a "simply marvellous Marvin Gaye/William DeVaughn-ish falsetto soulful European smash with a madly infectious summery humming 'la-la-la-la-la na' refrain".[7] In 1997, another editor, Alan Jones, wrote, "Hopefully we'll catch on this time, since it's a funkily soulful groove, with a bassline reminiscent of Sub Sub's "Ain't No Use", elements of Freakpower's "Turn On..." and a sweet vocal not far removed from Marvin Gaye's "Got to Give It Up". A good radio record."[8]
