"Push the Feeling On" is a house song by the British music group Nightcrawlers and American DJ Marc Kinchen (MK).

The original version released in 1992 was also partially disco and acid jazz-influenced and was a minor chart hit in the United Kingdom.

In the wake of its success, the band deleted the original version from their catalogue, reclassified the remix as the first single from their debut album, Lets Push It (1995), and changed their genre to house music.

[5] The song itself was rooted in acid jazz and disco, and the vocalist of the band John Reid noted later it was quite out of date for the time.

In 2017, a garage version simply titled "Push the Feeling" credited to Nightcrawlers x John Reid featuring Big Narstie was released, alongside a lyric video.

Larry Flick from Billboard wrote, "Dance act is making quick club inroads with this delightfully retro romp.

A chunky, midtempo groove is dressed in snakey funk guitar licks, bright horn thrushes, and pulses of strings.

"[10] James Hamilton from Music Week's RM Dance Update commented that "the soulful John Reed led Glaswegians get really classy with this Seventies-style chantingly harmonized joyful swirling and soaring brassy jiggler".

[14] In his weekly UK chart commentary, James Masterton said, "With hindsight it is easy to see why, as it is one of those dance hits to rank alongside the Source's "You Got The Love" and Robin S's "Show Me Love" - a simple but insistent rhythm upon which is built layer after layer of production to reach a rousing climax... watch it go Top 3.

"[15] In September 1994, Ben Turner from Melody Maker stated, "Proof that, on its day, pure "house" is still the saviour of contemporary music.

"[16] Pan-European magazine Music & Media wrote, "Third time lucky for the Brits who finally score a hit at home with the MK Dub Revisited Edit.

In fact they're the creators of that "canned vibraphone" sound as popularised by Robin S."[17] James Hamilton from Music Week's RM Dance Update described it as "a bouncily honking and jolting infectious 121.8bpm beefy strider that chops up Jon Reed's vocal into almost continuously looped gibberish lacking any quotable hook".

[18] Iestyn George from NME commented, "Curious reissue of this 1994 favourite, faithfully deconstructed by Mark Kinchen, retaining the garage-friendly sparkle of the original with neatly layered vocal samples and sparse, skipping rhythms.