What exactly defines a “dance song”? It’s a question that opens up a world of rhythmic possibilities. In the broadest sense, any song capable of moving even a single person can be considered a dance song. From the infectious melodies of The Beatles to the raw energy of Slayer, the spectrum is vast. Hip-hop and reggae, in their near entirety, naturally fall into the realm of dance music. However, when curating a list of the Best Dance Songs of all time, we delve into a more specific, yet still expansive, “dance music culture.” This culture, rich and evolving, spans nearly half a century, continually reinventing itself from its origins to the sounds of today and beyond.
Our journey through dance music history begins in the mid-1970s with the shimmering emergence of disco, paying tribute to James Brown, the undeniable godfather of extended grooves. From there, we trace the evolution into the early 1980s with club sounds like electro and Latin freestyle. The culture experienced a vibrant rebirth as disco was reimagined into house music in Chicago and techno in Detroit. This sonic revolution then exploded into the 1990s rave scene, giving rise to genres from jungle and trance to gabba and garage, eventually paving the way for the EDM and dubstep phenomenon of the 2000s. While these genres have had their moments in the mainstream spotlight, they never truly disappear. Drum ‘n’ bass, for example, is experiencing a resurgence, and contemporary house tracks continue to emerge, proving the timeless appeal of these sounds.
This list isn’t an exhaustive catalog of every micro-genre within this vast ocean of dance music. Instead, we focused on tracks that transcend sub-genres, achieving a sense of universal recognition and canonical status. We paid particular attention to moments where dance music intersected with broader musical landscapes – synth-pop, hip-hop, funk, Miami bass, R&B, indie-rock, Latin music, and pop. This is why you’ll find artists like Prince, Robyn, Britney Spears, and Shakira alongside pioneers like Adonis, Frankie Knuckles, Moodymann, Goldie, and SOPHIE.
If you’re curious about the path that led to a present where mainstream artists like Drake and Beyoncé are releasing house-infused records, this collection tells that story, or at least, our version of it – a curated exploration of the best dance songs that have shaped and continue to define dance music culture.
Donna Summer, ‘Last Dance’ (1979)
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While the film Thank God It’s Friday might be seen as a lengthy advertisement for Casablanca Records, a powerhouse disco label signaling the genre’s peak, “Last Dance” stands apart. This track rightfully earned its Oscar for Best Original Song. Beginning at a pace so slow it makes “Three Times a Lady” seem fast, it gracefully transitions into a taut and exhilarating disco anthem. The unsung hero is Casablanca’s producer Bob Esty, who masterfully conceived the song’s tempo shift, creating one of the best dance songs of the disco era. —M.M.
Fatboy Slim, ‘The Rockafeller Skank’ (1998)
Fatboy Slim performing at Pop Music Festival in Porto Alegre, Brazil, 2011.
Image Credit: AP
Producer-DJ Norman Cook, known as Fatboy Slim, humorously recounts the debut of his biggest hit, “The Rockafeller Skank”: “The first time it ever got played was at the Boutique in Brighton. I put it on and everybody just looked up, mouthing, ‘This is you, isn’t it?’” Cook’s signature formula of breakbeats and guitar riffs reached peak effectiveness with “Skank.” Featuring a surf-rock guitar riff and a Lord Finesse vocal sample (“Right about now, the funk soul brother/Check it out now, the funk soul brother”), it quickly became ubiquitous. Despite the jokes about “Frat-Boy Slim,” Cook acknowledged, “I suppose ‘Rockafeller Skank’ became an anthem for that sort of beer-boyish mentality.” This track is undeniably one of the best 90s dance songs, known for its infectious energy. —M.M.
Mescalinum United, ‘We Have Arrived’ (1991)
Techno’s equivalent to heavy metal is “gabber,” Dutch for “buddy,” with the Netherlands being its stronghold. However, gabber’s pioneering figure is Marc Acardipane, operating under approximately 90 aliases. His initial breakthrough, “We Have Arrived,” credited to Mescalinum United, remains intensely impactful. Built upon powerful drums and piercing air-raid sirens, it became the foundational track for the gabber genre. At Brooklyn raves hosted by Lenny Dee, whose label released the track in America, crowds would enthusiastically mosh to this high-energy, best techno song. —M.M.
Oliver Heldens, ‘Melody’ (2016)
Dutch DJ and producer Oliver Heldens performing at a music festival.
By the mid-2010s, even DJs headlining major festivals were tiring of the predictable build-and-drop formula that dominated dance music. Oliver Heldens’ “Melody” marked a significant shift. Released when the Dutch producer was only 18, “Melody” showcased dramatic string swells and an uplifting piano melody, hinting at a more refined dance music classicism. Yet, the bass retained a powerful stomp, proving that sophisticated melodies and hard-hitting beats could coexist. This track signaled a new direction in EDM and stands out as one of the best EDM dance songs of its time. —M.M.
Kerri Chandler, ‘Rain’ (1998)
New Jersey house producer Kerri Chandler’s deeply soulful tracks are a primary reason for his influence on younger producers and DJs. “I never considered myself a singer,” he stated in 2014. “I feel I’m more of a vocalist. I write my life’s story and let it out through the music.” Perhaps “monologist” is a more fitting term. Chandler’s heartfelt plea in “Rain,” with each line punctuated by the titular word, approaches emotional vulnerability. (“Never knew you could be this way — rain”). However, the music is more playful than melancholic, particularly with the whimsical xylophone solo, making it a unique and soulful best house song. —M.M.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
Paris the Black Fu of Detroit Grand Pubahs performing live in London, 2002.
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Andy Toth and Mack Goudy, known as Dr. Toefinger and Paris the Black Fu respectively, of Detroit Grand Pubahs, first connected while working at a Royal Oak, Michigan restaurant. “We both liked whiskey and working on music,” Toth explained. One evening, Toth created a buzzing, incredibly flexible electro track. Paris instructed him to turn on the microphone: “I said ‘What you got?’ He said, ‘Don’t worry about it. Just turn the mic on.’” Within minutes, Paris spontaneously delivered suggestive rhymes about a dance-floor encounter. This improvisation became a defining moment of Detroit’s turn-of-the-century electro revival, a global club hit, and one of the most unexpectedly humorous best dance songs of the early 2000s. —M.M.
Black Box, ‘Everybody Everybody’ (1990)
Sometimes, exceptional records emerge from questionable circumstances. Consider “Everybody Everybody.” In 1989, Martha Wash of the Weather Girls was hired to record demos for Italian house producers Groove Groove Melody. She was told these recordings were for other singers. Instead, the tracks were released under the name Black Box, featuring her uncredited vocals. Adding insult to injury, a model was hired to lip-sync Wash’s vocals in music videos. Wash took legal action and won. (She pursued similar action against C+C Music Factory for the same offense). Daniele Davoli of Black Box later expressed regret: “We didn’t know any better at the time. I guess we had to learn from our mistakes,” he admitted in 2013. Despite its controversial origin, “Everybody Everybody” became a massive hit and remains a classic, best 90s dance song. —M.M.
Big Freedia, ‘Azz Everywhere’ (2010)
Big Freedia performing at Essence Festival in New Orleans, 2019.
Image Credit: Amy Harris/Invision/AP
“I’ve run across half the globe now, spreading the goodness of bounce and trying to get people everywhere onto what’s been around for two decades,” Big Freedia stated in 2011, referring to New Orleans’ high-energy, chaotic, and exhilarating homegrown club sound – the very music that birthed twerking. “Azz Everywhere” became the breakout track for this genre, a sonic explosion of snares, samples, and the chanted title phrase. “We hold classes on the road sometimes at performing venues and different colleges to teach about the history of bounce music,” Big Freedia added. “We describe it as an uptempo, heavy bass, holler-response music. And it definitely has a lot to do with azz shaking!” This track is a definitive example of the best bounce music and a high-energy best party song. —M.M.
Joy Orbison, ‘Hyph Mngo’ (2009)
In the late 2000s, dubstep producers were pushing boundaries, resulting in a wave of experimental tracks. Joy Orbison’s debut, “Hyph Mngo,” became the quintessential dubstep track of 2009, capturing the scene at its peak. The bass line and plastic-sounding synths create a smooth glide, but the bouncing snare drum and fragmented vocal samples – a woman’s voice calling out “Ooh!” and “I do” – gave it an unexpectedly emotional quality, rare in dubstep at the time. This emotional depth helped propel “Hyph Mngo” into the mainstream and solidify its place as one of the best dubstep dance songs. —M.M.
ESG, ‘Moody’ (1981)
ESG performing live, highlighting their influential sound.
The Scroggins sisters from the South Bronx left an enduring mark on New York dance music with their band ESG, formed in the late 1970s. While their grooves were rooted in funk and disco, their minimalist sound and emphasis on percussion resonated with post-punk and no-wave clubs. This appeal intensified after they collaborated with Joy Division producer Martin Hannett for their debut EP. “Moody,” the EP’s centerpiece, still sounds futuristic – a stealthy bassline, bongo rhythms, and Renee Scroggins’ distant vocals cutting through the mix. “Moody” remains a seminal track, exemplifying the best post-punk dance music fusion. —C.S.
La Roux, ‘In for the Kill (Skream’s Let’s Get Ravey Remix)’ (2009)
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Artists sometimes have mixed feelings about remixes of their songs. However, La Roux’s Elly Jackson praised Skream for his remix of her synth-pop single “In for the Kill.” Jackson credited Skream, a fellow Londoner, for capturing the true essence of the song, stating it “regave birth to the real meaning and atmosphere of the song as we wrote it.” Skream’s remix discards the original’s bouncing beat (and Kanye West’s rap verse), creating an intensely tense atmosphere with flattened synths, before unleashing hurtling drum-and-bass breaks. “What he did with the song is what we would have done if we’d been brave enough,” Jackson elaborated. “We wanted to make a pop record and that just isn’t a pop thing, what he did to it.” Skream’s “Let’s Get Ravey Remix” elevated “In for the Kill” into a best remix dance song category, surpassing the original in dance floor impact. —M.M.
Double 99, ‘RIP Groove’ (1997)
Double 99 performing, capturing the UK garage sound.
After collaborating as RIP in the mid-1990s, London producers Tim Deluxe and DJ Omar rebranded as Double 99 to commemorate “a double-pack vinyl EP,” according to Omar. Due to time constraints, “we decided to make up track names and get the artwork done before the tracks had actually been made.” “RIP Groove,” a tribute to their earlier moniker, cleverly sampled Armand Van Helden’s remix of CJ Bolland’s “Sugar Is Sweeter,” alongside Kenny Dope and singer Tina Moore samples. Created in just three hours, it became a defining track of 1997, propelling UK garage (then called “speed garage”) into the pop charts and announcing a fresh sound. “RIP Groove” is a landmark best UK garage song and a testament to spontaneous creativity. —M.M.
Snap!, ‘The Power’ (1990)
A quintessential dance-music archetype: German producers sampling an American rapper (Chill Rob G from Queen Latifah’s Flavor Unit) and an American R&B diva (Jocelyn Brown) to create a club hit. Major label Arista picked it up and rerecorded it with a new vocalist (Turbo B, an American G.I. stationed in Germany). Subsequently, the originally sampled rapper rerecorded that version as Power Jam feat. Chill Rob G. Both versions became club hits, but “The Power” transcended genre, becoming the blueprint for Europop. As Snap!’s Michael Muenzing explained in 1994: “Now you have 50 or 60 groups singing this way — rapping, singing the chorus, and going back to the rap.” “The Power” is an iconic best Europop dance song that defined a sound and an era. —M.M.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ Frosty performing, representing the Jersey club sound.
Originating in Newark, New Jersey (initially called Brick City club), Jersey club is characterized by sharp, syncopated rhythms, clipped vocal samples, and a visceral yet non-violent energy, reminiscent of classic hip-house blended and updated. DJ Frosty’s “Ride That Wave” perfectly embodies these elements. A relentlessly catchy chant-along track, it emerged as Jersey club began gaining global recognition from EDM producers. This momentum eventually led Jersey club influences to reach mainstream artists like Drake on Honestly, Nevermind. The remix notably features Fatman Scoop, whose 90s hip-hop cut-up 12-inches on AV8 Records were favored by DJs like Armand Van Helden and Fatboy Slim. “Ride That Wave (Remix)” is a prime example of the best Jersey club dance songs, bridging underground energy with global appeal. —J.D.
Todd Terje, “Inspector Norse” (2012)
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Norwegian nu-disco producer Todd Terje didn’t anticipate the success of “Inspector Norse.” Created entirely with sounds from a vintage ARP synthesizer, like his 2012 It’s the Arps EP, he saw it as a DJ-friendly track with a danceable beat. “I thought it was going to go well with the DJs, as I’d tried it out and it had a danceable beat, but I never thought I’d hear people singing along to the melodies,” Terje confessed. However, the track’s infectious melody proved irresistible. “It really helped me as a DJ in terms of popularity,” he acknowledged. “Inspector Norse” became an unexpected anthem, celebrated as one of the best nu-disco dance songs for its catchy and unique sound. —M.M.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture performing at Bowery Ballroom, New York City, 2002.
Image Credit: Redferns
“Most people now have no memory of how absolutely sacrilegious it was at the time,” DFA founder and “House of Jealous Lovers” co-producer James Murphy told Spin. “We wanted to make a rock track that could compete with dance music. We obsessed over it.” The Rapture’s debut single combined edgy Gang of Four-esque guitar riffs and a frenzied shout-along vocal with a powerful beat and deep bass, engineered for dance floor dominance. It succeeded. The song became the pinnacle of the early 2000s “dance-punk” movement, influencing countless New York bands to emulate a 1979 Manchester/Leeds sound. Indie bars across the city quickly installed DJ booths and turntables. “House of Jealous Lovers” is a defining track of the best dance-punk songs and a cultural catalyst. —J.D.
TNGHT, ‘Higher Ground’ (2012)
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“The first time around was our take on big American rap beats, with a little bit of cheekiness to it,” Hudson Mohawke said of the 2012 EP he created with Lunice as TNGHT. The five-song EP catapulted both artists into EDM’s spotlight, thanks to their playful, club-focused take on trap music. “Higher Ground,” a majestic and detailed track with a “jeweled-elephantine stomp,” quickly gained traction. Within a year, Kanye West enlisted TNGHT to produce “Blood on the Leaves” from Yeezus. “Higher Ground” established TNGHT as innovators and is recognized among the best trap dance songs for its unique and influential sound. —M.M.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size and Reprazent performing Brown Paper Bag live.
In the late 1990s, drum and bass was evolving into increasingly specialized subgenres, often distancing itself from its dancehall and hip-hop origins. Bristol-based collective Roni Size and Reprazent managed to create drum and bass that was both experimental and expansive while staying true to its Black roots, blending frenetic beats with warm, organic jazz-funk influences. “It’s funny how ‘Brown Paper Bag’ split people,” Size mentioned in a 2018 interview, referring to their most recognized track, the double-bass driven highlight from their 1997 album, New Forms. “They heard the jazz, how it sounded different from everything else, and they saw this other audience that loved it.” “Brown Paper Bag” is a groundbreaking track, celebrated as one of the best drum and bass songs for its innovative fusion of genres. —J.D.
Soul II Soul, ‘Back to Life (However Do You Want Me)’ (1989)
Soul II Soul, led by the charismatic DJ-producer Jazzie B and co-producer Nellee Hooper for their first two albums, began as a London sound system specializing in reggae and soul. When they started recording in the late 1980s, their smooth grooves seamlessly blended both genres. Initially, their tracks were intended solely for Soul II Soul’s parties. “It was literally for our sound [system] at the beginning,” Jazzie B explained. “We weren’t really interested in what anybody else was doing.” However, everyone became interested in them. “Back to Life” reached Number One on the Billboard R&B chart and Top Five on the Hot 100. This track became a defining best R&B dance song of the era, marking Soul II Soul’s crossover success. —M.M.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix Da Housecat DJing, highlighting his electroclash influence.
Felix Stallings Jr., known as Felix da Housecat, is a Chicago house music veteran. He co-created the acid house classic “Fantasy Girl” as Pierre’s Pfantasy Club with DJ Pierre in 1987 while still in high school. His career went global with the 2000 album Kittenz and Thee Glitz. This quasi-conceptual work on celebrity and artifice involved international collaborators like Junior Sanchez, Tommie Sunshine, and Parisian vocalists Miss Kittin and Melistar. “Silver Screen Shower Scene” emerged as an instant anthem. Its celebrity-mocking lyrics and music seemed to single-handedly usher in the electroclash era. Jacques Lu Cont’s “Thin White Duke Remix” gained even more popularity among DJs. “Silver Screen Shower Scene” is a pivotal best electroclash dance song, encapsulating the genre’s sound and attitude. –M.M.
Dntel feat. Ben Gibbard, “(This Is) The Dream of Evan and Chan (Superpitcher Kompakt Remix)” (2001)
In 2000, Death Cab for Cutie’s frontman Ben Gibbard had “a weird dream … involving [Lemonheads frontman] Evan Dando and Chan Marshall,” also known as Cat Power. “It was completely G-rated, not one of those inappropriate dreams, but it was bizarre – you know, in the same way you dream that you’re in your house but it’s not your house, your friend is there but he’s a merman.” He transformed this dream into a song, collaborating with Dntel (Jimmy Tamborello) before their Postal Service project. Dntel set Gibbard’s vocals to skittering beats and buzzing synths. However, the remix by Superpitcher from the German label Kompakt, featured hazy synth layers and ricocheting bells, capturing the dreamlike state hinted at in the lyrics. The “(Superpitcher Kompakt Remix)” elevates the original to a best remix dance song, adding a layer of atmospheric depth. —M.M.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Sylvester James, portrait circa 1980, known for disco and Hi-NRG music.
Image Credit: Getty Images
Patrick Cowley, a synth wizard, became the leading innovator of Hi-NRG, a staple of gay clubs. His work included solo tracks, collaborations with Sylvester, and a 16-minute extended version of Donna Summer’s “I Feel Love.” Cowley fell ill in November 1981 and passed away a year later at 32, just four months after “AIDS” became the official term. In his final months, he worked from his studio, propped up by pillows, to finish his plastic-fantastic grooves. “Do Ya Wanna Funk” remains a landmark – with ringing synth riffs and Sylvester’s soaring falsetto. It also provided a memorable movie moment, soundtracking the party scene in Trading Places. “Do Ya Wanna Funk?” is a quintessential best Hi-NRG dance song, showcasing Cowley’s genius and Sylvester’s vocal power. —M.M.
Funkadelic, ‘One Nation Under a Groove’ (1978)
Funkadelic performing live, highlighting their unique funk sound.
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“One Nation Under a Groove,” arguably the greatest funk track led by a banjo, possesses an irresistible undertow that topped the R&B singles chart for six weeks in 1978. Assigning the song to the guitar-heavy Funkadelic (as opposed to the horn-heavy Parliament) was George Clinton’s way of adding weight: “Parliament is smashing,” he explained. “But Funkadelic is the movement.” “One Nation Under a Groove” is not only one of the best funk dance songs but also a cultural anthem, embodying the spirit of Funkadelic’s movement. —M.M.
Evelyn Thomas, ‘High Energy’ (1984)
Evelyn Thomas at Limelight Disco in New York City, 1984, associated with Hi-NRG.
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Released in April 1984, “High Energy” gave the Hi-NRG genre its name. However, it wasn’t the first of its kind, even for its creators. Chicago singer Evelyn Thomas was signed by Manchester producer Ian Levine to Pye Records as a teenager in the mid-Seventies. Levine, a DJ on the Northern Soul circuit playing rare 60s American R&B, transitioned to disco, especially as synths became dominant. Smash Hits noted Levine “straddle[d] both gay disco and old Motown — the two main Hi-NRG ingredients.” Brash, cheerful, and irresistibly cheesy, “High Energy” reached the British Top Five and remains a dance floor anthem. The Blessed Madonna showcased its enduring appeal on her Bunker Podcast. “High Energy” is a definitive best Hi-NRG dance song and a testament to the genre’s enduring appeal. —M.M.
Daft Punk feat. Pharrell Williams and Nile Rodgers, ‘Get Lucky’ (2013)
When Pharrell Williams first met Daft Punk at a Madonna party, he expressed his desire to collaborate: “If you just want me to play a tambourine, I’ll do it.” During their Paris meeting, Williams conveyed his wish to channel Nile Rodgers. The robots played him a track they had already created with Rodgers, and Williams recorded his smooth vocals during that visit. “You don’t need MDMA for this music, because it’s so incredibly vivid,” he enthusiastically stated. “Get Lucky” became a global phenomenon and is widely considered one of the best Daft Punk dance songs, blending disco, funk, and modern production seamlessly. –M.M.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson and Mat Zo performing Easy live.
“‘Easy’ in my mind is an homage to Daft Punk’s Discovery,” Porter Robinson said in 2013 about his collaboration with Mat Zo. “It takes the disco chords of all of the early French stuff and gives it a louder, more trance-inspired feel.” “Easy” is a masterfully updated track, both sparkling and classic. The central synth line evokes a Theremin and a Moog, while the vocal sample (from Colourblind’s NYC garage classic “Nothing Better”) carries an emotional depth often missing in stadium EDM of that era. “Easy” is a standout best progressive house dance song, praised for its blend of classic influences and modern EDM energy. —M.M.
Justice vs. Simian, “We Are Your Friends” (2006)
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In 2003, Parisian musicians Gaspard Augé and Xavier de Rosnay (Justice) entered a remix contest for British rockers Simian’s “Never Be Alone.” “You could download the separate tracks: guitar, drums, and other things,” de Rosnay told The New York Times. “But we were working without music software: just a sampler, a sequencer, and a synthesizer. So we downloaded just the voice on the chorus, because there was not space enough for more than eight seconds of sound on our sampler.” The result was a jarring yet brilliant track that bridged electroclash and EDM. Retitled “We Are Your Friends,” it became a hit in 2006, launching Justice’s career and prompting Simian to transform into the dance act Simian Mobile Disco. “We Are Your Friends” is a defining track, recognized as one of the best electro house dance songs and a genre-bending success. —M.M.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix performing at Coachella Music and Arts Festival, 2014.
Image Credit: Scott Roth/Invision/AP
Dance music is often perceived as a young person’s domain, a notion amplified by the early 2010s EDM boom. Built around a catchy synth vamp so infectious people chanted along (despite no lyrics), Martin Garrix’s “Animals” was released when the Dutch producer was just 18, becoming an instant global sensation. This rapid success sparked skepticism. “At first, people in the industry assumed I didn’t make my own shit,” Garrix later said. “So I would do livestreams and production tutorials on the internet to get rid of that stigma.” “Animals” is an iconic best big room house dance song that propelled Martin Garrix to stardom and defined an era of EDM. —M.M.
Debbie Deb, ‘Lookout Weekend’ (1984)
“As far as I know, I coined the phrase. I hadn’t heard anybody call it freestyle music prior to me coming up with the name of the group Freestyle,” Miami production pioneer Pretty Tony stated in 2015. His airy, energetic tracks bridged the gap between local Miami sounds like KC and the Sunshine Band and 2 Live Crew. “Lookout Weekend,” his second single with Debbie Weshoff Lopez (recruited while she worked at a record shop), represented freestyle at its peak. Like its predecessor, “When I Hear Music,” “Weekend” went triple platinum. In response, Tony remarked, “I bought me a Porsche. As a matter of fact, two Porsches.” “Lookout Weekend” is a quintessential best freestyle dance song, capturing the genre’s upbeat and carefree spirit. —M.M.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang performing at YouTube Music Showcase in Austin, Texas, 2016.
Image Credit: Redferns
Built around a sample of Tim Trees’ Baltimore club track “Bank Roll,” then-23-year-old rapper Tate Kobang’s remix is a modern tribute to Baltimore, its people, resilience, and energy. In his final verse, he shouts out K-Swift, the legendary DJ who popularized Baltimore club music before her untimely passing in 2008. “She was just one of those bodies in our culture that was like, ‘She ain’t never going anywhere,’” Kobang said. Similar to K-Swift’s work, “Bank Rolls (Remix)” introduced a new audience to the underground Baltimore sound. This remix is a standout best Baltimore club dance song, honoring the city’s vibrant music scene. —C.S.
Soft Cell, ‘Tainted Love/Where Did Our Love Go?’ (1981)
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“We both like Northern soul, Sixties music, and the 12-inch record,” Marc Almond explained in 1981 about himself and Soft Cell partner David Ball. They combined these influences into one powerful track. The duo’s synth-pop rendition of Gloria Jones’ R&B hit “Tainted Love” was successful on its own. However, for the extended version, they seamlessly merged it with The Supremes’ classic “Where Did Our Love Go?” from the same era. “It was originally just going to include a few bars of ‘Where Did Our Love Go?’ but we like the way it turned out and included the whole song,” Almond said. This nine-minute medley – New Wave disco in essence – has captivated dance floors ever since. “Tainted Love/Where Did Our Love Go?” is a timeless best New Wave dance song medley, showcasing Soft Cell’s innovative approach. —M.M.
The Orb, ‘Little Fluffy Clouds’ (1990)
Alex Paterson of The Orb, portrait in London, 1991, known for ambient house.
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One day, The Orb’s Alex Paterson received a tape from a friend with a note: “This might be a good idea for a new Orb single.” Side A contained an interview with Rickie Lee Jones describing the starry Arizona skies: “The most beautiful skies, as a matter of fact … purple and yellow and red and on fire.” Side B was Steve Reich’s Electric Counterpoint. When Paterson combined them, he created “Little Fluffy Clouds,” the most comforting track of the acid-house era. Reich “was very happy when he heard it,” Paterson noted. “Suddenly, it was being played to the masses, and they were loving it.” “Little Fluffy Clouds” is a seminal best ambient house dance song, blending spoken word and electronic textures beautifully. —M.M.
Polygon Window, ‘Quoth’ (1993)
Richard D. James, also known as Aphex Twin, is often associated with more introspective dance music. However, in the early 1990s, he produced rave anthems of the highest caliber. “Quoth,” released under the moniker Polygon Window, is a prime example – a percussion symphony, particularly impactful for American Midwesterners who embraced it in actual barns. “Quoth” stands out as one of the best rave dance songs from Aphex Twin’s early period, showcasing his versatility. —M.M.
Skream, ‘Midnight Request Line’ (2005)
Skream DJing at Fabric Nightclub, London, showcasing dubstep.
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Shortly after London dubstep producer-DJ Skream released his subtly brooding 12-inch “Midnight Request Line,” he recounted, “I was on a boys’ holiday with my friends. They had a DJ Magazine or a Mixmag rack up on a shelf … I looked at it, and I had Record of the Month. I was like, ‘Shit, I need to get home.’” The track, with its fluttering synth melody, smooth bass glide, and clap-heavy beat, propelled Skream and dubstep into the mainstream. “Midnight Request Line” is a groundbreaking best dubstep dance song, marking a pivotal moment for the genre. –M.M.
Paul Johnson, ‘Feel My M.F. Bass’ (1994)
“Ghetto house” was house music’s answer to gangsta rap – a self-defined style from 90s Chicago producers (notably on Dance Mania label) who created a raw, sample-based, street-oriented sound. Paul Johnson, who used a wheelchair, was a leading figure, crafting unconventional genre pieces with unique flair. (His DJ mixtapes, often featuring his dreamy voice-overs, were also notable). Johnson’s peak achievement was “Feel My M.F. Bass,” a blunt-force track with a cavernous kick drum. Over it, Johnson, who tragically passed away from Covid in August 2021, playfully croons, “Feel my motherfuckin’ bass in your face,” as if serenading a lover. When the kick drum returns, the intention is clear. “Feel My M.F. Bass” is a raw and powerful best ghetto house dance song, epitomizing the genre’s energy. —M.M.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City group portrait in London, 1990, known for soulful house.
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“When Ten City started, I think we were both at a point where we wanted to expand the genre by writing proper songs while at the same time doing more abstract things,” said Marshall Jefferson, who produced the Chicago house vocal trio. “That’s the Way Love Is,” Ten City’s third single, crystallized their style – Philly-soul strings over lush love songs, topped by Byron Stingily’s soaring falsetto. It reached the UK Top 10 and Number One on the Billboard dance chart. Moreover, Jefferson noted, “people in South Africa have told us stories of how that song represents liberation for them.” “That’s the Way Love Is” is a timeless best soulful house dance song, recognized for its musicality and cultural impact. —M.M.
Nitzer Ebb, ‘Join in the Chant’ (1987)
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Hailing from England’s Midlands, industrial groove group Nitzer Ebb naturally incorporated dance elements. “The clubs we knew were disco and funk,” frontman Douglas McCarthy told The Guardian. “It’s in the DNA of the area.” Nitzer Ebb’s most energetic anthem, “Join in the Chant,” was a perfect techno crossover, particularly in Detroit, where techno pioneers like Carl Craig and Jeff Mills had once created industrial music. Richie Hawtin included “Chant” in his influential 1999 mix CD Decks, EFX & 909, while Andrew Weatherall once declared, “The closest I felt to God was listening to ‘Join in the Chant.’” “Join in the Chant” is a powerful best industrial dance song, bridging industrial and techno genres effectively. —M.M.
Bronski Beat, ‘Smalltown Boy’ (1984)
Bronski Beat performing, known for synth-pop and social commentary.
Bronski Beat’s Jimi Somerville once joked his vocal training consisted of singing along to Donna Summer and Sylvester records. “I wanted a lot more out of life than working in a paint factory and having to accept that being gay was a nighttime occupation only,” he said. “I just had had enough of the abuse and the heartache.” He channeled this angst into “Smalltown Boy,” a poignant portrayal of alienation and escape. With its yearning vocal hook (“Run away, run away, run away”) and smooth synth foundation, it became an immediate gay club anthem, reaching Number One on the Billboard club chart and UK Top Three. “Smalltown Boy” is a deeply moving best synth-pop dance song, resonating with themes of identity and escape. —M.M.
LFO, ‘LFO (Leeds Warehouse Mix)’ (1990)
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LFO were pioneers of Sheffield, England’s “bleep” scene – Warp Records’ original sound, aptly named for its sonic characteristics. However, as Warp’s Steve Beckett explained, “it had nothing to do with the bleeps for the people making it — for them it was all about the bass.” The track that secured LFO’s signing was their self-titled number. Icy synth chords and squiggly bleeps set the stage for layers of low end. The bassline compels movement, while the sub-bass can shake city blocks. “LFO (Leeds Warehouse Mix)” is a seminal best bleep techno dance song, renowned for its innovative use of bass and minimalist sound. —M.M.
Drake, ‘Sticky’ (2022)
Drake in concert, representing his foray into dance music with Sticky.
As the title suggests, Drake’s venture into dance music, Honestly, Nevermind, feels intentionally understated, casually incorporating Jersey and Baltimore club music alongside deep-house elements. The standout track is “Sticky,” produced by Gordo and Ry X. Drake shifts from the album’s prevalent low-key vocals to rap about personal topics like Young Thug’s release from jail and Virgil Abloh’s passing. It’s a prime example of a superstar venturing into a subculture and emerging with a refined version of himself. “Sticky” is a notable best contemporary dance song, showcasing Drake’s successful genre exploration. —J.D.
Roland Clark, ‘I Get Deep (Shelter Mix)’ (2000)
“The love of house music started when I went to Club Zanzibar in lieu of my prom,” Roland Clark recounted, referring to the Newark, New Jersey club where Tony Humphries had a legendary DJ residency. This anthem makes his passion evident. Over lively kicks and hats and a swirling electric keyboard line, Clark delivers a monologue capturing a rapturous dance floor moment – “All the sweat just goes down my face/And I pretend that there’s nobody there but me in this place.” Clark also included the a cappella version on the 12-inch, later sampled by Fatboy Slim on his album Halfway Between the Gutter and the Stars. “I Get Deep (Shelter Mix)” is a deeply personal and evocative best vocal house dance song, capturing the essence of the dance floor experience. —M.M.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us performing, representing early house music's raw energy.
Early house music often had a raw, unpolished quality, which was a significant part of its appeal. This is especially true for “Follow Me,” an uplifting anthem, gospel-inspired in form and message (“We must stop fighting/To achieve the peace”) from a New Jersey vocal trio who recorded it in a basement on a four-track. Its lo-fi aesthetic, along with occasional vocal imperfections, only amplify the song’s urgency. “Follow Me” is a raw and emotionally resonant best early house dance song, capturing the genre’s heartfelt spirit. —M.M.
George McCrae, ‘Rock Your Baby’ (1974)
Image Credit: Redferns
In the summer of 1974, two songs that first gained traction in clubs reached Number One on the Billboard Hot 100. One was Hues Corporation’s “Rock the Boat,” and the other was “Rock Your Baby.” These were the first disco hits. The shimmering instrumental track for “Rock Your Baby” was created by keyboardist Henry Wayne Casey, drummer/bassist Richard Finch, and guitarist Jerome Smith. George McCrae was added because he was at TK Records offices: “I think they gave me ‘Rock Your Baby’ to get me out of their hair,” he recalled. After the record became a hit, Casey, Finch, and Smith formed the core of KC and the Sunshine Band. “Rock Your Baby” is a seminal best disco dance song, marking the genre’s breakthrough into mainstream popularity. —M.M.
El General, ‘Perezosa’ (1995)
El General performing, a pioneer of reggaeton and Latin dance music.
Panamanian pioneer El General laid the foundation for reggaeton by creating massive international hits using reggae rhythms in the 80s and 90s. His experimental approach and influence on broader club music are often overlooked. “Perezosa,” a powerful and empowering dance anthem from his album Club 555, showcases his impressive range. The album is filled with high-energy electronic sounds capturing the vibrant party atmosphere across Latin America. “Perezosa” is a standout best Latin dance song and a testament to El General’s pioneering role in reggaeton and beyond. —J.L.
Tom and Jerry, ‘Maximum Style’ (1994)
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4Hero – Marc Mac and Dego MacFarlane – are drum and bass stalwarts, consistently producing hits throughout the genre’s evolution, from early 90s UK hardcore to late 90s neo-fusion, sometimes under different aliases. Tom and Jerry is one of these aliases, credited with this gem, released as jungle’s popularity surged in the UK. This smooth, gliding track with a captivating guitar riff and playful cartoon effects, maintains a lighthearted feel while delivering a serious groove. “Maximum Style” is a classic best jungle dance song, showcasing 4Hero’s versatility and innovation. —M.M.
LCD Soundsystem, ‘Losing My Edge’ (2002)
James Murphy of LCD Soundsystem performing at Bowery Ballroom, 2002, dance-punk era.
Image Credit: Redferns
The debut single by James Murphy’s LCD Soundsystem is both a killer dance track and a brilliant comedic monologue, a sharp dose of irony that ignited the New York dance-punk scene of the early 2000s. Murphy portrays an aging hipster watching his relevance fade as younger generations emerge, making him feel obsolete, despite his past experiences, like attending “the first Can show in Cologne” or being the first “to play Daft Punk to the rock kids.” “Losing My Edge” makes you laugh and dance simultaneously, and its FOMO theme resonates universally. “Losing My Edge” is a defining best dance-punk song, capturing the wit and energy of LCD Soundsystem. —J.D.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
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Pablo Flores is considered a secret architect of Latin pop. The Puerto Rican DJ worked extensively with major artists associated with Emilio Estefan, including Gloria Estefan and Ricky Martin. When he met a relatively unknown Colombian singer named Shakira in the 90s, he and his partner Javier Garza helped her create “Ojos Asi,” a forward-thinking song honoring her Lebanese heritage while foreshadowing boundary-pushing, global Latin music. His extended remix, “Thunder Mix,” amplified these ideas with masterful production that resonated on dance floors worldwide. “Ojos Asi (Thunder Mix)” is a groundbreaking best Latin pop dance song remix, highlighting Shakira’s global sound and Flores’ production skills. —J.L.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher performing live in Nottingham, UK, 2013, known for experimental electronic music.
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Recording as Squarepusher in the mid-90s, Tom Jenkinson twisted drum and bass’s frenetic energy into complex sonic puzzles, often making it intentionally undanceable, with a touch of intellectual pretension. “Basically, I was beginning to stare up my own ass,” he later admitted. As a result, “I wanted to shake things up and make music in a more spontaneous, almost flippant way.” However, the cut-up vocals and glitch-heavy production of “My Red Hot Car” are not purely abstract. The flickering complexity alternates with clever negative space, creating a crowd-moving groove featuring Jenkinson’s playful bassline, irresistible to adventurous DJs. “My Red Hot Car” is an innovative best experimental electronic dance song, showcasing Squarepusher’s technical brilliance and rhythmic complexity. —M.M.
Moloko, ‘Sing It Back (Boris Musical Mix)’ (1997)
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Moloko’s 1998 single “Sing It Back,” featuring Róisín Murphy’s vocals (described by partner Mark Brydon as “Peggy Lee on mescaline”), was initially moody, downtempo, and expansive. It was commercially unsuccessful. Then, Belgian house producer Boris Dlugosch sent them his remix – a crisp house groove in the Chic style, with a captivating rhythm guitar and playful bass. This remix reached the UK Top Five and launched Murphy’s adventurous and dance-oriented solo career. “Sing It Back (Boris Musical Mix)” is a transformative best remix dance song, rescuing the original and propelling Moloko to mainstream success. —M.M.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League performing Don't You Want Me, iconic synth-pop track.
“Phil [Oakey] had this idea lyrically for this song: a story in the song which is very much A Star Is Born [and] My Fair Lady — the impresario who takes an everyday person and transforms her into a superstar that outshines himself,” Human League keyboardist Jo Callis explained about “Don’t You Want Me,” which he co-wrote. The group initially underestimated the song, despite its he-said-she-said structure and catchy riff, as hooky as the giant chorus. It became the group’s first Number One in both the UK and US, and a Top Three hit on the Billboard Dance Club chart, marking a key moment in the merging of UK synth-pop, club music, and the Top 40. “Don’t You Want Me” is an iconic best synth-pop dance song, bridging pop and club appeal successfully. —M.M.
