What exactly makes Good Dance Songs truly great? It’s a question that delves into the heart of rhythm and movement in music. While almost any song can inspire a sway or a tap of the foot – from the raw energy of Slayer to the infectious melodies of The Beatles – the tracks that define “dance songs” exist within a specific and vibrant “dance music culture.” This culture, a constantly evolving phenomenon spanning nearly half a century, is the focus of our exploration into the greatest dance songs of all time.
Our journey begins in the mid-1970s with the shimmering sounds of disco, then moves through the early 80s club scene with electro and Latin freestyle. Dance music was reborn as house music in Chicago and techno in Detroit, and then exploded into the 90s rave era, birthing genres from jungle to trance, gabba to garage, eventually leading to the EDM and dubstep boom of the 2000s. These sounds have had their moments in the spotlight, but they never truly disappear. Drum ‘n’ bass, for example, is experiencing a resurgence, and even in recent years, house music continues to produce incredible tracks.
This list isn’t aiming to capture every nuance within this vast ocean of subgenres. We’ve focused on tracks that feel timeless and universally resonant, paying particular attention to moments where dance music intersected with the wider musical landscape – with synth-pop, hip-hop, funk, Miami bass, R&B, indie-rock, Latin music, and mainstream pop. That’s why you’ll find artists like Prince, Robyn, Britney Spears, Shakira, and Justin Bieber alongside pioneers like Adonis, Frankie Knuckles, Moodymann, Goldie, and SOPHIE.
If you’ve ever wondered how we arrived at a point where major artists like Drake and Beyoncé are releasing house records, this list tells that story – or at least, our version of it.
Donna Summer – ‘Last Dance’ (1979) – The Disco Finale
Donna Summer performing 'Last Dance', a quintessential disco anthem and good dance song, in 1979.
Image Credit: Redferns
“Last Dance” by Donna Summer, released in 1979, is more than just a song; it’s a cinematic experience in sound and a prime example of good dance songs from the disco era. Featured in the movie Thank God It’s Friday, the track transcends its film origins, earning an Academy Award for Best Original Song and solidifying its place in music history. This good dance song is celebrated for its innovative structure, beginning as a slow, emotionally resonant ballad before transforming into an electrifying disco anthem. This dramatic tempo shift, masterfully crafted by Casablanca Records producer Bob Esty, creates an unforgettable dynamic on the dance floor. “Last Dance” remains a staple in any good dance music collection and a testament to Donna Summer’s reign as the “Queen of Disco.” Its profound impact on dance music culture is undeniable, cementing its status as one of the best dance songs ever created.
Fatboy Slim – ‘The Rockafeller Skank’ (1998) – Big Beat Energy
British DJ Fatboy Slim performing 'The Rockafeller Skank', a high-energy big beat track and good dance song, at a festival in Brazil in 2011.
Image Credit: AP
“It’s funny,” producer-DJ Norman Cook, known as Fatboy Slim, remarked about his massive hit, “The Rockafeller Skank.” This track, a definitive example of good dance songs from the big beat genre, perfectly encapsulates the high-energy, sample-heavy sound of the late 90s. Cook recounts the first time he played it at the Boutique in Brighton: “everybody just looked up, mouthing, ‘This is you, isn’t it?’” The formula of breakbeats combined with catchy guitar riffs, pushed to peak efficiency, made “Skank” instantly recognizable and wildly popular. Featuring a surf-rock guitar riff and the iconic Lord Finesse vocal sample (“Right about now, the funk soul brother/Check it out now, the funk soul brother”), it quickly became inescapable. While Cook jokingly referred to the “Frat-Boy Slim” image, “Rockafeller Skank” undeniably became an anthem for a beer-fueled, energetic mentality, solidifying its place as a good dance song for parties and high-spirited crowds.
Mescalinum United – ‘We Have Arrived’ (1991) – The Gabber Anthem
Techno’s heavier, faster counterpart, gabber, meaning “buddy” in Dutch, found its most dedicated fanbase in the Netherlands. However, the genre’s pioneering figure is Marc Acardipane, who operates under approximately 90 different aliases. His initial impact remains powerful: “We Have Arrived,” released under the name Mescalinum United, stands as a foundational good dance song for gabber. Built upon relentlessly crushing drums and piercing air-raid siren sounds, this track became the blueprint for the entire gabber movement. In Brooklyn raves, where DJ Lenny Dee championed the sound, the track – released in America on his label – incited moshing among the crowds, showcasing the raw energy and intensity of this unique good dance music style. “We Have Arrived” is a landmark good dance song for those who appreciate the harder edges of electronic music.
Oliver Heldens – ‘Melody’ (2016) – Airy House Classicism
Oliver Heldens performing 'Melody', a modern house track and good dance song, at a music event.
By the mid-2010s, even DJs headlining major festivals were growing tired of the predictable build-and-drop formula that dominated the dance music scene. Oliver Heldens’ “Melody” signaled a refreshing shift. This track, a good dance song representative of a more sophisticated house sound, arrived at a crucial moment. Dutch producer Oliver Heldens was only 18 when he released “Melody,” yet its soaring string arrangements and uplifting piano melody exuded a sense of classicism, while still maintaining a powerful bassline. “Melody” demonstrated a move towards more nuanced and melodic good dance music, proving that dance tracks could be both energetic and emotionally rich. It stands as a pivotal good dance song in the evolution of festival house music.
Kerri Chandler – ‘Rain’ (1998) – Soulful House Monologue
New Jersey house producer Kerri Chandler’s deeply soulful and emotionally resonant tracks have made him a significant influence on younger producers and DJs. “I never considered myself a singer,” he explained 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 on “Rain,” with each line punctuated by the title word, encapsulates raw emotion. Lines like “Never knew you could be this way — rain,” touch on heartbreak and vulnerability. Yet, the music itself is more playful than melancholic, especially the whimsical xylophone solo. “Rain” is a good dance song that blends soulful vocals with an infectious house groove, showcasing Chandler’s unique approach to good dance music by combining personal storytelling with danceable rhythms.
Detroit Grand Pubahs – ‘Sandwiches’ (2000) – Electro Club Humor
Mack Goudy Jr, aka Paris the Black Fu, of Detroit Grand Pubahs performing 'Sandwiches', an electro track and good dance song, live in London in 2002.
Image Credit: Jim Dyson/Getty Images
Andy Toth and Mack Goudy—a.k.a. Dr. Toefinger Paris the Black Fu—of Detroit Grand Pubahs, first connected while working at a restaurant in Royal Oak, Michigan. “We both liked whiskey and working on music,” Toth recalled. One night, Toth crafted a dynamic, quirky electro track, and Paris spontaneously grabbed the microphone. “I said ‘What you got?’ He said, ‘Don’t worry about it. Just turn the mic on.’” Within minutes, Paris improvised a playfully sleazy narrative about a dance-floor encounter, resulting in “Sandwiches.” This track became a defining moment in Detroit’s turn-of-the-century electro revival and an instant global club hit. “Sandwiches” is a good dance song not just for its infectious electro beat but also for its humorous and unconventional lyrics, making it a standout good dance music track with a unique personality. It’s a testament to the spontaneous creativity that can lead to memorable good dance songs.
Black Box – ‘Everybody Everybody’ (1990) – House Music Controversy
Sometimes, great records emerge from less-than-ideal circumstances. Consider “Everybody Everybody.” Martha Wash of the Weather Girls was hired in 1989 to record demos for Italian house producers Groove Groove Melody, with the understanding that the songs would be presented to 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 rightfully sued and won, highlighting the ethical issues within the music industry. (She also took similar action against C+C Music Factory). Daniele Davoli of Black Box later expressed remorse: “We didn’t know any better at the time. I guess we had to learn from our mistakes,” he admitted in 2013. Despite the controversy, “Everybody Everybody” remains a quintessential good dance song of the early 90s house music era, showcasing an undeniable energy and catchiness that made it a global hit. It’s a reminder that even behind good dance songs, there can be complex stories.
Big Freedia – ‘Azz Everywhere’ (2010) – Bounce Music Explosion
Big Freedia performing 'Azz Everywhere', a bounce music anthem and good dance song, at the Essence Festival in New Orleans in 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 shared in 2011, speaking about New Orleans’ distinctive, high-energy club sound—the very music for which twerking was invented. “Azz Everywhere” was the track that propelled bounce music into the mainstream consciousness. This good dance song is a riotous blend of rapid-fire snares, catchy samples, and the shouted title phrase, creating an undeniably infectious energy. “We hold classes on the road sometimes at performing venues and different colleges to teach about the history of bounce music,” Big Freedia added, emphasizing the cultural significance of the genre. “We describe it as an uptempo, heavy bass, holler-response music. And it definitely has a lot to do with azz shaking!” “Azz Everywhere” is a crucial good dance song for understanding the vibrant and unique world of bounce music.
Joy Orbison – ‘Hyph Mngo’ (2009) – Dubstep’s Heartstring Pull
In the late 2000s, dubstep producers were pushing creative boundaries, leading to a wave of innovative tracks. Joy Orbison’s debut, “Hyph Mngo,” emerged as the quintessential dubstep track of 2009, capturing the scene at its peak. This good dance song stands out for its surprisingly emotive qualities within the often-bass-heavy dubstep genre. The bassline and synth textures are smooth and gliding, but the ricocheting snare drum and fragmented vocal samples—a woman’s voice calling out “Ooh!” and “I do”—impart a heart-tugging feeling rarely found in dubstep. This emotional depth helped “Hyph Mngo” resonate beyond the dubstep underground and reach a wider audience. It’s a good dance song that demonstrated the genre’s capacity for nuance and emotional complexity, contributing to dubstep’s mainstream crossover.
ESG – ‘Moody’ (1981) – Post-Punk Percussion
ESG Moody performing 'Moody', a post-punk influenced dance track and good dance song, live on stage.
The Scroggins sisters from the South Bronx left a lasting impact on New York dance music when they formed ESG in the late 1970s. While their grooves drew inspiration from funk and disco, their minimalist sound and strong emphasis on percussion resonated with the post-punk and no-wave club scenes. This cross-genre appeal was amplified after they collaborated with Joy Division producer Martin Hannett for their debut EP. “Moody,” the EP’s centerpiece, remains remarkably contemporary. This good dance song is characterized by a slinking bassline, hypnotic bongo rhythms, and Renee Scroggins’ ethereal vocals, creating a soundscape that is both sparse and intensely atmospheric. “Moody” is a pioneering good dance song that bridged the gap between genres and continues to influence contemporary dance music.
La Roux – ‘In for the Kill (Skream’s Let’s Get Ravey Remix)’ (2009) – Remix Rebirth
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Artists sometimes have mixed feelings about remixes of their songs. However, La Roux’s Elly Jackson had nothing but praise for Skream’s remix of her synth-pop single “In for the Kill.” She credited fellow Londoner Skream with not only capturing the essence of the original but also “regave birth to the real meaning and atmosphere of the song as we wrote it.” Skream’s remix drastically reimagines the original. He removed the original’s upbeat tempo and Kanye West’s guest rap, transforming the synths into a tense, atmospheric soundscape before shattering the tension with explosive drum-and-bass breaks. “What he did with the song is what we would have done if we’d been brave enough,” Jackson confessed. “We wanted to make a pop record and that just isn’t a pop thing, what he did to it.” Skream’s remix of “In for the Kill” is a good dance song that showcases the transformative power of remixing, taking a synth-pop track and turning it into a dynamic dubstep-infused good dance music experience.
Double 99 – ‘RIP Groove’ (1997) – UK Garage Arrival
Double 99 performing 'RIP Groove', a UK garage anthem and good dance song, at a music event.
After collaborating as RIP for several years in the mid-90s, London producers Tim Deluxe and DJ Omar rebranded as Double 99 to celebrate “a double-pack vinyl EP,” explained Omar. Due to time constraints in assembling the package, “we decided to make up track names and get the artwork done before the tracks had actually been made.” “RIP Groove,” a name paying homage to their previous moniker, was cleverly constructed using samples from Armand Van Helden’s remix of CJ Bolland’s “Sugar Is Sweeter,” alongside elements from Kenny Dope and singer Tina Moore. Remarkably, it took only three hours to create and became one of the defining tracks of 1997, propelling UK garage (then often called “speed garage”) onto the pop charts and announcing a fresh, exciting sound. “RIP Groove” is a seminal good dance song that marked the arrival of UK garage as a major force in good dance music.
Snap! – ‘The Power’ (1990) – Europop Blueprint
Snap!’s “The Power” is a quintessential example of a dance-music archetype. Two German producers sampled American rapper Chill Rob G (from Queen Latifah’s Flavor Unit) and R&B vocalist Jocelyn Brown to create a club hit. It was then picked up by major label Arista and re-recorded with a new vocalist, Turbo B, an American G.I. stationed in Germany. Adding another layer of complexity, the originally sampled rapper, Chill Rob G, re-recorded that version under the name Power Jam feat. Chill Rob G. Both versions became club hits. However, “The Power” transcended mere chart success, becoming the blueprint for a new wave of 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 a highly influential good dance song that shaped the sound of Europop and demonstrated the global reach of good dance music.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth – ‘Ride That Wave (Remix)’ (2010) – Jersey Club Chant
DJ Frosty performing 'Ride That Wave (Remix)', a Jersey club track and good dance song, at a music event.
Originating in Newark, New Jersey (initially known as Brick City club), Jersey club is characterized by its energetic, syncopated rhythms, clipped vocal samples, and a vibe that’s visceral yet never aggressive, resembling classic hip-house in a blender. DJ Frosty’s “Ride That Wave” perfectly exemplifies these qualities. This relentlessly catchy, chant-along banger arrived just as the sound began to gain traction with EDM producers globally. This contributed to Jersey club’s gradual mainstream infiltration, eventually influencing tracks like Drake’s Honestly, Nevermind. The remix featured, among others, Fatman Scoop, whose 90s hip-hop cut-ups on AV8 Records were favorites of DJs like Armand Van Helden and Fatboy Slim. “Ride That Wave (Remix)” is a standout good dance song that showcases the infectious energy of Jersey club and its growing influence on broader good dance music trends.
Todd Terje – “Inspector Norse” (2012) – Nu-Disco Delight
Todd Terje performing 'Inspector Norse', a nu-disco track and good dance song, at a music event.
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When Norwegian nu-disco producer Todd Terje created “Inspector Norse”—which, like the rest of his 2012 It’s the Arps EP, was crafted entirely using sounds from a vintage ARP synthesizer—he didn’t anticipate its widespread appeal. “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 admitted. However, the track’s playfully catchy melody proved irresistible. “It really helped me as a DJ in terms of popularity,” he added. “Inspector Norse” is a good dance song celebrated for its infectious melody and laid-back groove, becoming a nu-disco classic and a staple in DJ sets worldwide. It’s a testament to the power of simple, well-crafted melodies in good dance music.
The Rapture – ‘House of Jealous Lovers’ (2002) – Dance-Punk Ignition
The Rapture performing 'House of Jealous Lovers', a dance-punk track and good dance song, live in New York City in 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 achieved precisely that. It blended edgy Gang of Four-esque guitar riffs with a frenetic, shout-along vocal style, all underpinned by a powerful beat and deep bass designed to be undeniable for dance DJs. It worked flawlessly. The song became the pinnacle of the early 2000s “dance-punk” movement, and suddenly, every new band in New York sounded like they hailed from 1979 Manchester or Leeds, and every indie bar in the city installed a DJ booth and turntables. “House of Jealous Lovers” is a groundbreaking good dance song that ignited the dance-punk scene and blurred the lines between rock and good dance music.
TNGHT – ‘Higher Ground’ (2012) – Trap’s EDM Crossover
TNGHT performing 'Higher Ground', a trap-influenced EDM track and good dance song, at a music event.
Image Credit: Getty Images
“The first time around was our take on big American rap beats, with a little bit of cheekiness to it,” Hudson Mohawke explained about the 2012 EP he created with Lunice as TNGHT. This five-track EP propelled both artists to the forefront of EDM, thanks to its energetic and dancefloor-focused take on trap music. “Higher Ground,” a standout track, is described as a “jeweled-elephantine stomp,” simultaneously cavernous and intricately detailed. Within a year, Kanye West enlisted TNGHT to produce “Blood on the Leaves” from Yeezus, demonstrating the duo’s significant impact. “Higher Ground” is a pivotal good dance song that bridged the gap between trap and EDM, showcasing a powerful and innovative sound that resonated across genres and influenced mainstream good dance music.
Roni Size and Reprazent – ‘Brown Paper Bag’ (1997) – Drum & Bass Jazz Fusion
Roni Size Reprazent performing 'Brown Paper Bag', a drum and bass track with jazz influences and good dance song, live on stage.
In the late 90s, drum and bass was becoming increasingly fragmented and detached from its roots in dancehall and hip-hop. Bristol, England, collective Roni Size and Reprazent managed to create drum and bass that felt both experimental and expansive while staying true to its Black musical heritage. They achieved this by fusing frenetic beats with warm, organic jazz-funk elements. “It’s funny how ‘Brown Paper Bag’ split people,” Size mentioned in a 2018 interview, referring to their most famous 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 good dance song that expanded the sonic palette of drum and bass by incorporating jazz influences, creating a sophisticated and rhythmically complex form of good dance music.
Soul II Soul – ‘Back to Life (However Do You Want Me)’ (1989) – Smooth Groove Pioneer
Led by the charismatic DJ-producer Jazzie B and, for their first two albums, co-producer Nellee Hooper, Soul II Soul began as a London sound system specializing in reggae and soul. When they started recording in the late 80s, their mellow grooves seamlessly blended both genres with effortless grace. Initially, their tracks were intended solely for Soul II Soul’s own 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 soon became interested in them. “Back to Life” soared to Number One on the Billboard R&B chart and reached the Top Five on the Hot 100, introducing their unique sound to a global audience. “Back to Life” is a seminal good dance song that defined the smooth groove sound of the late 80s and early 90s, bridging soul and dance music in a sophisticated and commercially successful way.
Felix da Housecat – ‘Silver Screen Shower Scene’ (2001) – Electroclash Anthem
Felix Da Housecat performing 'Silver Screen Shower Scene', an electroclash track and good dance song, at a music event.
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 reached a global scale with the 2000 album Kittenz and Thee Glitz. For this project, he assembled an international group of collaborators, including Junior Sanchez, Tommie Sunshine, and Parisian vocalists Miss Kittin and Melistar, creating a conceptual work exploring celebrity and artifice. “Silver Screen Shower Scene” became an instant anthem. Its lyrics playfully critiquing celebrity culture and its driving electro beat seemed to single-handedly usher in the entire electroclash era. Jacques Lu Cont’s “Thin White Duke Remix” became even more popular with DJs. “Silver Screen Shower Scene” is a defining good dance song of the electroclash movement, capturing its blend of irony, fashion, and danceable beats.
Dntel feat. Ben Gibbard – ‘(This Is) The Dream of Evan and Chan (Superpitcher Kompakt Remix)’ (2001) – Dreamy Remix State
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 energetic beats and buzzing synths, but the remix by Superpitcher, from the influential German label Kompakt, elevated the track to a different level. Superpitcher’s remix featured hazy, layered synths and echoing bell sounds, perfectly capturing the dreamlike state hinted at in the lyrics. The Superpitcher Kompakt Remix of “(This Is) The Dream of Evan and Chan” is a good dance song that exemplifies the power of remixing to enhance and deepen the emotional resonance of a track, creating a truly immersive good dance music experience.
Patrick Cowley feat. Sylvester – ‘Do Ya Wanna Funk?’ (1982) – Hi-NRG Landmark
Portrait of Sylvester James performing 'Do Ya Wanna Funk?', a Hi-NRG track and good dance song, circa 1980.
Image Credit: Getty Images
Patrick Cowley was a synth virtuoso who became a key innovator of Hi-NRG, a staple sound in gay clubs. His work, both solo and with Sylvester, and his epic 16-minute extension of Donna Summer’s “I Feel Love.” cemented his legacy. Sadly, Cowley fell ill in November 1981 and passed away a year later at 32, just four months after the term “AIDS” was officially recognized. In his final months, Cowley continued creating his vibrant, energetic grooves from his studio bed. “Do Ya Wanna Funk” remains a landmark of his work—featuring soaring synth riffs and Sylvester’s stratospheric falsetto. The song also achieved iconic status by soundtracking the party scene in the movie Trading Places. “Do Ya Wanna Funk” is a monumental good dance song in the Hi-NRG genre, showcasing Cowley’s synth mastery and Sylvester’s vocal brilliance while carrying a poignant history.
Funkadelic – ‘One Nation Under a Groove’ (1978) – Funk Banjo Groove
Funkadelic performing 'One Nation Under a Groove', a funk classic and good dance song, live on stage.
Image Credit: Redferns
Remarkably led by a banjo, “One Nation Under a Groove” is arguably the greatest funk track ever created. Its instantly infectious rhythm propelled it to the top of the R&B singles chart for six weeks in 1978. Assigning the song to the guitar-heavy Funkadelic (as opposed to the horn-driven R&B of Parliament) was George Clinton’s strategic decision to give it more weight. “Parliament is smashing,” he explained, “But Funkadelic is the movement.” “One Nation Under a Groove” is a timeless good dance song that transcends genre boundaries, blending funk, rock, and psychedelic elements into an irresistibly groovy and socially conscious anthem. It stands as a testament to Funkadelic’s innovative approach to good dance music.
Evelyn Thomas – ‘High Energy’ (1984) – Hi-NRG Definition
Evelyn Thomas sighted at the Limelight Disco in New York City in 1984, the year 'High Energy', a Hi-NRG track and good dance song, was released.
Image Credit: Ron Galella Collection via Getty
Released in April 1984, “High Energy” is the track that gave Hi-NRG, the synth-driven gay club sound, its name. However, it was not the first of its kind, even for its creators. Chicago singer Evelyn Thomas was signed by Manchester producer Ian Levine to Pye Records in the mid-Seventies, when she was a teenager. Levine, originally a DJ in the Northern Soul scene playing rare 60s American R&B, transitioned towards disco, especially as synths became more prominent. Smash Hits magazine reported that Levine “straddle[ed] both gay disco and old Motown — the two main Hi-NRG ingredients.” Brash, cheerful, and undeniably catchy, “High Energy” reached the UK Top Five and remains a dance floor favorite, as highlighted by DJ-producer Black Madonna (now the Blessed Madonna) on her Bunker Podcast. “High Energy” is a defining good dance song of the Hi-NRG genre, characterized by its fast tempo, synth-heavy production, and infectious energy, making it a classic example of good dance music designed for high-spirited club nights.
Daft Punk feat. Pharrell Williams and Nile Rodgers – ‘Get Lucky’ (2013) – Modern Disco Magic
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.” When they convened in Paris, Williams shared his inspiration from Nile Rodgers, and the robots played him the track they had already created with Rodgers. Williams recorded his smooth vocals during that same visit. “You don’t need MDMA for this music, because it’s so incredibly vivid,” he enthused. “Get Lucky” is a modern good dance song that successfully revived disco for a new generation. The collaboration between Daft Punk, Pharrell Williams, and Nile Rodgers resulted in a track that is both nostalgic and fresh, showcasing the timeless appeal of disco rhythms and melodies in good dance music.
Mat Zo and Porter Robinson – ‘Easy’ (2013) – Trance-Infused Homage
Porter Robinson and Mat Zo performing 'Easy', a trance and disco influenced EDM track and good dance song, at a music event.
“‘Easy’ in my mind is an homage to Daft Punk’s Discovery,” Porter Robinson explained in 2013 about his collaborative track with Mat Zo. “It takes the disco chords of all of the early French stuff and gives it a louder, more trance-inspired feel.” The result is a masterfully updated sound, both dazzling and classically inspired. The central synth melody evokes a Theremin as much as a Moog, and the vocal sample (from Colourblind’s NYC garage classic “Nothing Better”) carries an emotional intensity that was often missing from much of the stadium EDM of that era. “Easy” is a good dance song that skillfully blends disco, trance, and EDM elements, creating a track that is both energetic and emotionally resonant. It stands as a testament to the enduring influence of Daft Punk and French touch on good dance music.
Justice vs. Simian – “We Are Your Friends” (2006) – Electroclash to EDM Bridge
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In 2003, Parisian musicians Gaspard Augé and Xavier de Rosnay, known as 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 outcome was a jagged, powerful track that perfectly bridged electroclash and EDM. Retitled “We Are Your Friends,” it became a hit in 2006, launching Justice’s career and prompting Simian to transform themselves into the dance act Simian Mobile Disco. “We Are Your Friends” is a pivotal good dance song that connected the energy of electroclash with the growing sound of EDM, becoming an anthem for a generation and a landmark in good dance music.
Martin Garrix – ‘Animals’ (2013) – EDM Anthem of Youth
Martin Garrix performing 'Animals', an EDM anthem and good dance song, at the Coachella Music and Arts Festival in 2014.
Image Credit: Scott Roth/Invision/AP
Dance music is often seen as a young person’s domain, and no era exemplified this like the early 2010s EDM boom. Built around a swarming synth riff so catchy that crowds chanted along with it (despite the absence of lyrics), Martin Garrix’s “Animals” was released when the Dutch producer was only 18 and became an instant global phenomenon. This rapid success naturally raised skepticism. “At first, people in the industry assumed I didn’t make my own shit,” Garrix later admitted. “So I would do livestreams and production tutorials on the internet to get rid of that stigma.” “Animals” is a defining good dance song of the EDM boom, characterized by its infectious synth melody and high-energy drop, appealing to massive audiences and cementing Martin Garrix’s status as a leading figure in good dance music.
Debbie Deb – ‘Lookout Weekend’ (1984) – Freestyle Froth
“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, high-energy tracks bridged the musical gap between KC and the Sunshine Band and 2 Live Crew. “Lookout Weekend,” his second single with Debbie Weshoff Lopez—whom he discovered while she worked in a record shop—was freestyle at its most vibrant. Like its predecessor, “When I Hear Music,” “Weekend” achieved triple platinum status. In response to this success, Tony recounted, “I bought me a Porsche. As a matter of fact, two Porsches.” “Lookout Weekend” is a quintessential good dance song of the freestyle era, defined by its energetic beats, catchy melodies, and Debbie Deb’s distinctive vocals, making it a classic example of good dance music from Miami’s vibrant scene.
Tate Kobang – ‘Bank Rolls’ (2015) – Baltimore Club Tribute
Tate Kobang performing 'Bank Rolls (Remix)', a Baltimore club tribute and good dance song, at the Youtube Music Showcase in Austin, Texas in 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 contemporary tribute to Baltimore, its people, its resilience, and especially its energetic sound. In his final verse, he even shouts out K-Swift, the legendary DJ who helped bring Baltimore club music to a wider audience 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 has said. And just like K-Swift’s work before it, “Bank Rolls (Remix)” introduced a new generation to the underground Baltimore club sound. “Bank Rolls (Remix)” is a vital good dance song that honors the legacy of Baltimore club music while updating it for a contemporary audience, showcasing the enduring energy and innovation of this regional good dance music genre.
Soft Cell – ‘Tainted Love/Where Did Our Love Go?’ (1981) – New Wave Medley
Soft Cell performing 'Tainted Love/Where Did Our Love Go?', a new wave disco medley and good dance song, live on stage.
“We both like Northern soul, Sixties music, and the 12-inch record,” Marc Almond explained in 1981, speaking 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 stomper “Tainted Love” was already a hit, but for the extended version, they seamlessly integrated another classic from the same era, The Supremes’ “Where Did Our Love Go?” “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—a perfect encapsulation of New Wave disco—has captivated dance floors ever since. “Tainted Love/Where Did Our Love Go?” is a timeless good dance song that blends synth-pop and classic soul, creating a unique and enduring medley that remains a staple in good dance music collections.
The Orb – ‘Little Fluffy Clouds’ (1990) – Ambient House Dreamscape
Alex Paterson of The Orb, portrait, London, United Kingdom, 1991, known for 'Little Fluffy Clouds', an ambient house track and good dance song.
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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 of her youth: “The most beautiful skies, as a matter of fact … purple and yellow and red and on fire.” Side B featured Steve Reich’s Electric Counterpoint. When Paterson combined them, he created “Little Fluffy Clouds,” the most soothing track of the acid-house era. Reich “was very happy when he heard it,” Paterson recalled. “Suddenly, it was being played to the masses, and they were loving it.” “Little Fluffy Clouds” is a pioneering good dance song in ambient house, blending spoken word samples with a gentle, atmospheric soundscape, creating a relaxing yet engaging form of good dance music.
Polygon Window – ‘Quoth’ (1993) – Rave Barn Burner
Richard D. James, known as Aphex Twin, is often associated with dance music best appreciated while seated. However, in the early 90s, he produced rave anthems of the highest caliber. Exhibit A: “Quoth,” a percussion symphony released under the moniker Polygon Window, is a true rave barn burner. It was particularly popular among American Midwesterners of the period, who literally danced to it in barns. “Quoth” is an energetic and intricate good dance song from the early rave era, showcasing Aphex Twin’s ability to create high-energy tracks while still hinting at his signature experimental sound. It remains a classic example of good dance music from the 90s rave scene.
Skream – ‘Midnight Request Line’ (2005) – Dubstep Limelight Launch
Skream performing 'Midnight Request Line', a dubstep track and good dance song, at Fabric Nightclub in London.
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Shortly after London dubstep producer-DJ Skream released his playfully 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 bassline, and clap-heavy beat, propelled Skream and dubstep into the mainstream spotlight. “Midnight Request Line” is a pivotal good dance song in the history of dubstep, characterized by its atmospheric sound and distinctive bassline, marking Skream’s breakthrough and contributing significantly to the rise of good dance music within the dubstep genre.
Paul Johnson – ‘Feel My M.F. Bass’ (1994) – Ghetto House Force
“Ghetto house” was house music’s equivalent to gangsta rap—a self-described style from a group of 90s Chicago producers (notably on the Dance Mania label) who created a raw, sample-based, and street-oriented style. Paul Johnson, who used a wheelchair, was a prominent figure in this style, producing unconventional genre pieces with a unique flair. (His DJ mixtapes, often featuring his dreamy voice-overs, were equally distinctive.) Johnson’s pinnacle was “Feel My M.F. Bass,” a blunt-force track featuring a cavernous kick drum over which the producer, who sadly passed away from Covid in August 2021, playfully chants, “Feel my motherfuckin’ bass in your face,” as if serenading a lover. When the kick drum returns, the message is clear. “Feel My M.F. Bass” is a raw and impactful good dance song within the ghetto house genre, known for its heavy bass and provocative vocal samples, making it a defining track in the more underground and edgy realms of good dance music.
Ten City – ‘That’s the Way Love Is’ (1989) – Philly Soul House
Ten City, group portrait, London, United Kingdom, 1990, known for 'That’s the Way Love Is', a Philly soul influenced house track and good dance song.
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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,” explained Marshall Jefferson, who produced the Chicago house vocal trio. “That’s the Way Love Is,” Ten City’s third single, perfectly embodied their style—lush Philly-soul strings layered over heartfelt love songs, topped by Byron Stingily’s soaring falsetto. It reached the Top 10 in the UK 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 sophisticated and emotionally resonant good dance song that successfully blended house music with Philly soul influences, achieving both commercial success and cultural impact as a powerful example of good dance music.
Nitzer Ebb – ‘Join in the Chant’ (1987) – Industrial Dance Crossover
Nitzer Ebb performing 'Join in the Chant', an industrial dance track and good dance song, live on stage.
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Hailing from England’s Midlands, industrial groove group Nitzer Ebb’s danceability was organically derived. “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 rousing anthem, “Join in the Chant,” became a perfect techno crossover—especially in Detroit, where techno artists like Carl Craig and Jeff Mills had previously created industrial music. Richie Hawtin included “Chant” in his influential 1999 mix CD Decks, EFX & 909, while Andrew Weatherall famously declared, “The closest I felt to God was listening to ‘Join in the Chant.’” “Join in the Chant” is a powerful and energetic good dance song that bridged industrial music and techno, becoming an anthem in both genres and a testament to Nitzer Ebb’s innovative approach to good dance music.
Bronski Beat – ‘Smalltown Boy’ (1984) – Gay Club Anthem of Escape
Soft Cell performing 'Tainted Love/Where Did Our Love Go?', a new wave disco medley and good dance song, live on stage.
Bronski Beat’s Jimi Somerville once joked that 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 explained. “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 haunting vocal hook (“Run away, run away, run away”) and smooth synth backdrop, it instantly became a gay club anthem, reaching Number One on the Billboard club chart and the UK Top Three. “Smalltown Boy” is a deeply moving and iconic good dance song that became an anthem for the LGBTQ+ community, resonating with its themes of alienation and the desire for escape while offering a powerfully danceable synth-pop sound, making it an enduring piece of good dance music.
LFO – ‘LFO (Leeds Warehouse Mix)’ (1990) – Bleep Bass Pioneer
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LFO were pioneers of Sheffield, England’s “bleep” scene—Warp Records’ initial signature sound, which is precisely what it suggests. However, as Warp’s Steve Beckett clarified, “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, “LFO,” in which icy synth chords and quirky 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 groundbreaking good dance song in bleep techno, characterized by its minimalist structure and emphasis on bass frequencies, creating a deeply physical and influential form of good dance music.
Drake – ‘Sticky’ (2022) – Subculture Swoop
Drake performing 'Sticky', a dance influenced hip-hop track and good dance song, at a music event.
As the title of Drake’s dance music foray, Honestly, Nevermind, suggests, his exploration of the genre feels intentionally understated, casually drawing from Jersey and Baltimore club music and various deep-house styles. The standout track is “Sticky,” produced by Gordo and Ry X. On this track, Drake deviates from the low-key vocals that dominate the rest of the album and raps about topics close to him, such as the release of Young Thug and the passing of Virgil Abloh. It’s a prime example of a megastar venturing into a subculture and emerging with a refined version of his own sound. “Sticky” is a noteworthy good dance song in Drake’s catalog, demonstrating his ability to integrate elements of dance music into his hip-hop style, resulting in a track that is both contemporary and reflective of current good dance music trends.
Roland Clark – ‘I Get Deep (Shelter Mix)’ (2000) – House Music Confession
“The love of house music started when I went to Club Zanzibar in lieu of my prom,” Roland Clark explained, referencing the Newark, New Jersey, club where Tony Humphries had a legendary DJ residency. This anthem makes the depth of his passion evident. Over energetic kicks and hi-hats and a swirling keyboard melody, Clark delivers a spoken-word monologue capturing a transcendent 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 on the 12-inch release, which was later sampled by Fatboy Slim on his third album, Halfway Between the Gutter and the Stars. “I Get Deep (Shelter Mix)” is a deeply personal and evocative good dance song that captures the spiritual experience of being lost in the music on the dance floor, blending spoken word with a classic house beat, making it a unique and powerful example of good dance music.
Aly-Us – ‘Follow Me’ (1992) – Lo-Fi Gospel House
Aly-Us performing 'Follow Me', a gospel house track and good dance song, live on stage.
Early house music often had a raw, slightly imperfect quality—and this handmade feel was a significant part of its charm. This is particularly true of “Follow Me,” an uplifting anthem, a gospel song in form and spirit (“We must stop fighting/To achieve the peace”) from a New Jersey vocal trio who recorded it in a basement on a four-track recorder. Its lo-fi roughness, along with occasional sharpness in the vocal harmonies, only enhances the song’s sense of urgency. “Follow Me” is an uplifting and raw good dance song from the early days of house music, characterized by its gospel-infused vocals and lo-fi production, giving it a unique and authentic charm within the landscape of good dance music.
George McCrae – ‘Rock Your Baby’ (1974) – Disco Dawn Classic
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In the summer of 1974, two songs that first gained popularity 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 among the first major disco hits. The shimmering instrumental track for “Rock Your Baby” was created by keyboardist Henry Wayne Casey, drummer and bassist Richard Finch, and guitarist Jerome Smith. McCrae was added because he was often at the TK Records offices: “I think they gave me ‘Rock Your Baby’ to get me out of their hair,” he joked. After the record became a hit, Casey, Finch, and Smith formed the nucleus of KC and the Sunshine Band. “Rock Your Baby” is a foundational good dance song in disco history, marking the genre’s breakthrough into mainstream popularity with its smooth melodies and infectious rhythm, solidifying its place as a vital piece of good dance music history.
El General – ‘Perezosa’ (1995) – Reggaeton Blueprint
El General performing 'Perezosa', a reggaeton track and good dance song, live on stage.
Panamanian pioneer El General established the blueprint for reggaeton when he started creating massive international hits using reggae rhythms in the 80s and 90s. Often overlooked is his experimental approach and his broader influence on club music. A prime example of his impressive range is “Perezosa,” a booming and empowering dance anthem featured on his album Club 555. This album was packed with high-voltage electronic sounds that captured the vibrant spirit of parties across Latin America. “Perezosa” is a crucial good dance song in the development of reggaeton, showcasing El General’s innovative fusion of reggae rhythms with electronic elements, influencing not only reggaeton but also broader trends within good dance music.
Tom and Jerry – ‘Maximum Style’ (1994) – Jungle Playfulness
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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 various aliases. Tom and Jerry is one of these aliases, credited with the gem “Maximum Style,” released as jungle’s popularity was flourishing in the UK. This effortlessly gliding track, with its enchanting guitar riff and playful cartoon sound effects, maintained a lighthearted feel while delivering a seriously powerful groove. “Maximum Style” is a standout good dance song in the jungle genre, characterized by its playful samples and infectious groove, showcasing the lighter yet still energetic side of good dance music within the jungle scene.
LCD Soundsystem – ‘Losing My Edge’ (2002) – Dance-Punk Irony
LCD Soundsystem performing 'Losing My Edge', a dance-punk track and good dance song, at the Bowery Ballroom in NYC in 2002.
Image Credit: Redferns
The debut single by James Murphy’s LCD Soundsystem is both a killer track and a brilliant comedic performance, a sharp blast of irony that also helped spark the New York dance-punk scene of the early 2000s. Murphy portrays an aging hipster watching his relevance fade as a new generation of cool kids emerges, making him feel obsolete, even if he “was there, at the first Can show in Cologne,” or was the first “to play Daft Punk to the rock kids.” “Losing My Edge” made you laugh and dance simultaneously, and even if you’ve never been to any of the places mentioned, its feeling of FOMO remains universal. “Losing My Edge” is a witty and energetic good dance song that captured the spirit of the early 2000s dance-punk scene, blending humor and social commentary with an infectious beat, solidifying its place as a unique and influential piece of good dance music.
Shakira – ‘Ojos Asi (Thunder Mix)’ (1999) – Latin Pop Global Remix
Shakira performing 'Ojos Asi (Thunder Mix)', a Latin pop remix and good dance song, live on stage.
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Pablo Flores is considered a key, yet often unacknowledged, architect of Latin pop. The Puerto Rican DJ spent years collaborating with major artists associated with Emilio Estefan, including Gloria Estefan and Ricky Martin. When he was introduced to a relatively unknown Colombian singer named Shakira in the 90s, he and his music partner, Javier Garza, helped her create “Ojos Asi.” This prescient song celebrated her Lebanese heritage while foreshadowing the boundary-pushing, global sound of future Latin music. His extended remix, “Thunder Mix,” took these ideas even further with masterful production that appealed to dance floors worldwide. “Ojos Asi (Thunder Mix)” is a groundbreaking good dance song that blended Latin pop with global dance music sensibilities, showcasing Shakira’s early experimentation with world music sounds and Pablo Flores’ innovative remixing skills, making it a significant track in the crossover of Latin music into mainstream good dance music.
Squarepusher – ‘My Red Hot Car’ (2001) – Glitch Bass Gymnastics
Squarepusher performing 'My Red Hot Car', a glitchy drum and bass track and good dance song, live on stage in Nottingham, UK in 2013.
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Recording as Squarepusher in the mid-90s, Tom Jenkinson twisted drum and bass’s frenetic athleticism into complex sonic puzzles, often making it intentionally undanceable and imbuing it with an air of intellectual superiority. “Basically, I was beginning to stare up my own ass,” he later admitted. Consequently, “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 mere abstraction. The flickering complexity alternates with cleverly used negative space, all outlining a surprisingly crowd-moving groove featuring Jenkinson’s playful bassline—irresistible to adventurous DJs. “My Red Hot Car” is an experimental yet engaging good dance song that showcases Squarepusher’s unique ability to blend complex rhythms and glitchy sounds with a danceable groove, pushing the boundaries of good dance music within the electronic genre.
Moloko – ‘Sing It Back (Boris Musical Mix)’ (1997) – Remix Redemption
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With Róisín Murphy’s vocals, which her partner Mark Brydon famously described as “Peggy Lee on mescaline,” Moloko’s 1998 single “Sing It Back” was initially moody, downtempo, and somewhat overwhelming. It was commercially unsuccessful in its original form. Then, Belgian house producer Boris Dlugosch sent them his remix—a crisp house groove in the style of Chic, with a beguiling rhythm guitar and playfully quirky bassline. This remix propelled the track to the UK Top Five and served as a launching pad for Murphy’s adventurous and frequently danceable solo career. “Sing It Back (Boris Musical Mix)” is a transformative good dance song that highlights the power of a remix to completely reimagine a track, turning a downtempo song into a house music hit and launching Róisín Murphy into the spotlight within good dance music.
The Human League – ‘Don’t You Want Me’ (1981) – Synth-Pop Soap Opera
The Human League performing 'Don’t You Want Me', a synth-pop classic and good dance song, live on stage.
“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 Callis co-wrote. Initially, the group didn’t think much of the song—although its he-said-she-said structure and nagging riff were undeniably catchy, as was the giant chorus. The song became the group’s first Number One in both the UK and US, as well as a Top Three hit on the Billboard Dance Club chart, marking a pivotal moment in the convergence of UK synth-pop, club music, and Top 40 radio. “Don’t You Want Me” is a classic good dance song of the synth-pop era, characterized by its storytelling lyrics, catchy hooks, and innovative use of synthesizers, bridging the gap between pop and good dance music and becoming a defining track of the early 80s.
