What exactly defines a “dance song”? It’s a question that opens up a world of rhythm and movement. In its broadest sense, almost any song could be considered a dance song if it inspires someone to move, even subtly. Think about it – The Beatles, Slayer, and nearly every hip-hop and reggae track ever created have made people dance. However, when we talk about the greatest dance songs, we’re diving into a more specific and vibrant realm: “dance music culture.” This culture, rich and expansive, spans nearly half a century, constantly evolving and shaping the sounds of today and tomorrow.
Our journey through the landscape of dance music begins in the mid-1970s with the rise of disco, paying tribute to the foundational grooves laid down by James Brown. From there, we trace its evolution into the early 80s club scenes, marked by electro and Latin freestyle. The genre experienced a powerful rebirth with the emergence of house music in Chicago and techno in Detroit. This resurgence ignited a rapid mutation, exploding into the rave culture of the 90s, which birthed diverse subgenres from jungle to trance, gabba to garage, and eventually leading to the EDM and dubstep phenomena of the 2000s. While each of these sounds enjoyed periods of mainstream prominence, they’ve never truly disappeared. Drum ‘n’ bass, for instance, is experiencing a vibrant resurgence, and contemporary house tracks continue to emerge, keeping the spirit alive.
This curated list isn’t about capturing every fleeting trend within this vast ocean of subgenres. Instead, we aimed to highlight tracks that feel timeless, universally resonant, and truly canonical within dance music. We paid particular attention to moments where dance music intersected with the broader musical world – blending seamlessly with 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 Justin Bieber sharing space with pioneers such as Adonis, Frankie Knuckles, Moodymann, Goldie, and SOPHIE.
If you’ve ever wondered how we arrived at a moment where artists like Drake and Beyoncé are releasing house-infused tracks, this is the story – or at least, our take on it. Join us as we explore some of the greatest dance songs that have shaped generations and continue to move us.
Donna Summer, ‘Last Dance’ (1979)
Image Credit: Redferns
While the film Thank God It’s Friday might be seen as a lengthy advertisement for Casablanca Records, a powerhouse disco label signaling its peak, “Last Dance” stands as a truly deserving Oscar winner for Best Original Song. This track begins at a ballad’s pace, making “Three Times a Lady” seem like a speed metal anthem in comparison. It then gracefully transitions into a tight, exhilarating disco groove. The unsung hero here is Casablanca’s own producer, Bob Esty, who masterfully conceived the song’s dramatic tempo shift, making it an unforgettable dance floor classic and one of the great disco dance songs.
Fatboy Slim, ‘The Rockafeller Skank’ (1998)
Fatboy Slim performing at Pop Music Festival in Porto Alegre, Brazil in 2011 Image Credit: AP
Norman Cook, known as Fatboy Slim, humorously recalled the debut of his massive 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?’” His signature formula of breakbeats and infectious guitar riffs was in full force, reaching peak effectiveness with “Skank.” Fueled by a catchy surf-rock riff and the iconic Lord Finesse vocal sample (“Right about now, the funk soul brother/Check it out now, the funk soul brother”), the track quickly became ubiquitous. Cook playfully acknowledged the “Frat-Boy Slim” label, noting that “Rockafeller Skank” became an anthem for a certain “beer-boyish mentality,” solidifying its place as a great party dance song.
Mescalinum United, ‘We Have Arrived’ (1991)
Techno’s heavier, more intense counterpart is “gabber,” a Dutch word for “buddy,” and the Netherlands is indeed the heartland of this hardcore sound. However, gabber’s primary innovator is Marc Acardipane, who operates under approximately 90 different aliases. His initial breakthrough, “We Have Arrived,” released under the name Mescalinum United, remains powerfully impactful. Built upon relentless, crushing drums and jarring air-raid siren sounds, this track became the foundation upon which gabber music was constructed. At Brooklyn raves, where DJ Lenny Dee championed the sound and released the track in America, crowds would enthusiastically mosh to its aggressive energy, making it a standout in hard dance songs.
Oliver Heldens, ‘Melody’ (2016)
Oliver Heldens performing DJ set
By the mid-2010s, even DJs headlining major festivals were growing tired of the predictable, overused build-and-drop formula that had become dominant in dance music. Oliver Heldens’ “Melody” signaled a refreshing shift. The Dutch producer, only 18 when he released this track, infused it with dramatic string swells and an uplifting piano melody, evoking a lighter, more classic dance music sensibility. While maintaining a powerful bassline, “Melody” offered a more sophisticated sound, marking a move towards a new era in dance music and establishing itself as a modern great dance track.
Kerri Chandler, ‘Rain’ (1998)
New Jersey house producer Kerri Chandler’s deeply soulful and uplifting tracks are a major reason why he’s revered by 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 description. In “Rain,” Chandler’s heartfelt plea, with each line punctuated by the word “rain,” teeters on the brink of sorrow. Yet, the music itself is more playful than melancholic, especially with the delightful xylophone solo. This emotional depth combined with a subtly groovy beat makes “Rain” a truly captivating house dance song.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
Paris the Black Fu of Detroit Grand Pubahs performing in London, 2002 Image Credit: Jim Dyson/Getty Images
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 restaurant in Royal Oak, Michigan. “We both liked whiskey and working on music,” Toth explained. One evening, Toth crafted a vibrant and quirky electro track. Paris, hearing it, told 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 improvised some suggestive, humorous lyrics about a dance-floor encounter. This spontaneous creation became “Sandwiches,” a standout moment in Detroit’s turn-of-the-century electro revival and an instant club hit worldwide, recognized for its playful and provocative nature among great electro dance songs.
Black Box, ‘Everybody Everybody’ (1990)
Sometimes, exceptional records emerge from less-than-ideal circumstances. Take “Everybody Everybody” by Black Box. Martha Wash of the Weather Girls was hired in 1989 to record demos for an Italian house production team, Groove Groove Melody. She was told these were for other singers. However, 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. She rightly sued and won, as she did similarly against C+C Music Factory. Daniele Davoli of Black Box later expressed regret, stating in 2013, “We didn’t know any better at the time. I guess we had to learn from our mistakes.” Despite the controversy, “Everybody Everybody” became a massive hit, its infectious energy solidifying its place as one of the great 90s dance anthems.
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 said in 2011, championing New Orleans’ high-energy, chaotic, and distinctly local club sound – the very music for which twerking was born. “Azz Everywhere” was the track that propelled bounce music into wider recognition. A whirlwind of snares, samples, and the shouted title phrase, it’s a pure burst of 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. “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 essential for anyone looking for high-energy, booty-shaking great bounce dance songs.
Joy Orbison, ‘Hyph Mngo’ (2009)
In the late 2000s, dubstep producers were pushing boundaries, creating a wave of experimental tracks. Joy Orbison’s debut, “Hyph Mngo,” became the defining dubstep track of 2009, capturing the scene at its peak. The bassline and synthetic textures are smooth and gliding, but the sharp, ricocheting snare drum and fragmented vocal samples – a woman’s voice calling out “Ooh!” and “I do” – give the track a surprisingly emotional core, rare for dubstep at the time. This emotional depth contributed to its mainstream crossover success and cemented its status as a key track in the evolution of great dubstep dance songs.
ESG, ‘Moody’ (1981)
ESG performing live
The Scroggins sisters from the South Bronx left an enduring legacy 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 focus on percussion resonated with post-punk and no-wave club scenes. This was especially true after they collaborated with Joy Division producer Martin Hannett for their debut EP. “Moody,” the EP’s centerpiece, still sounds futuristic. It’s a stealthy, rumbling track built on bass, bongo drums, and Renee Scroggins’ detached vocals echoing through the mix, making it a timeless example of great minimalist dance songs.
La Roux, ‘In for the Kill (Skream’s Let’s Get Ravey Remix)’ (2009)
Image Credit: Jim Ross/Invision/AP
Artists sometimes have mixed feelings about remixes of their work. However, La Roux’s Elly Jackson praised Skream for his remix of her synth-pop single “In for the Kill.” She credited him with not only capturing the song’s essence but also “regaving birth to the real meaning and atmosphere of the song as we wrote it.” Skream’s remix strips away the original’s upbeat rhythm (and Kanye West’s verse), building an intensely tense atmosphere with flattened synths before unleashing a powerful drum-and-bass breakdown. Jackson noted, “What he did with the song is what we would have done if we’d been brave enough… We wanted to make a pop record and that just isn’t a pop thing, what he did to it.” Skream’s remix transformed the song into a more daring and dynamic track, solidifying its place amongst great remix dance songs.
Double 99, ‘RIP Groove’ (1997)
Double 99 performing live
London producers Tim Deluxe and DJ Omar, initially known as RIP, rebranded as Double 99 to celebrate 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 former name, cleverly sampled Armand Van Helden’s remix of CJ Bolland’s “Sugar Is Sweeter,” along with elements of Kenny Dope and singer Tina Moore. It took just three hours to create and became a massive hit in 1997, propelling UK garage (then called “speed garage”) into the pop charts and announcing a fresh sound. “RIP Groove” is a defining track of the UK garage scene and a great example of sample-based dance songs.
Snap!, ‘The Power’ (1990)
A classic dance music origin story: Two German producers sample an American rapper (Chill Rob G of Flavor Unit) and an American R&B diva (Jocelyn Brown) to create a club hit. It’s then picked up by a major label (Arista) and re-recorded with a new vocalist (Turbo B, an American G.I. in Germany). The original sampled rapper then re-records that version as Power Jam feat. Chill Rob G. Both versions become club hits, but “The Power” transcends even that, becoming a Europop blueprint. 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 track that defined an era of Europop and great crossover dance songs.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ Frosty performing live
Originating in Newark, New Jersey (originally called Brick City club), Jersey club is characterized by its energetic, syncopated rhythms, clipped vocal samples, and a vibe that’s energetic but never aggressive, reminiscent of classic hip-house but with a modern twist. DJ Frosty’s “Ride That Wave” perfectly encapsulates this sound. A relentlessly catchy, chant-along banger, it emerged as Jersey club was gaining international attention from EDM producers, eventually influencing even Drake’s Honestly, Nevermind. The remix features, among others, Fatman Scoop, known for his 90s hip-hop cut-up 12-inches on AV8 Records, beloved by DJs like Armand Van Helden and Fatboy Slim. “Ride That Wave (Remix)” is a prime example of great Jersey club dance songs.
Todd Terje, “Inspector Norse” (2012)
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Norwegian nu-disco producer Todd Terje created “Inspector Norse” – and his entire It’s the Arps EP from 2012 – using only sounds from a vintage ARP synthesizer. He didn’t anticipate the laid-back, groovy track becoming a hit. “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 said. The song’s memorable melody proved irresistible. “It really helped me as a DJ in terms of popularity,” he acknowledged. “Inspector Norse” became a nu-disco anthem and a great example of melody-driven dance songs.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture performing live in New York City, 2002 Image Credit: Redferns
“Most people now have no memory of how absolutely sacrilegious it was at the time,” DFA founder James Murphy, co-producer of “House of Jealous Lovers,” 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 frantic, shout-along vocal with a compelling beat and powerful bass, specifically engineered to appeal to dance DJs. It worked. The song became the pinnacle of the early 2000s “dance-punk” movement. Suddenly, every new band in New York sounded like they were from 1979 Manchester or Leeds, and every indie bar had a DJ booth. “House of Jealous Lovers” is a defining track of the dance-punk era and a great fusion of rock and dance sensibilities.
TNGHT, ‘Higher Ground’ (2012)
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 said of the 2012 EP he created with Lunice as TNGHT. The five-song EP catapulted both artists to the forefront of EDM, thanks to its energetic, club-focused take on trap music. “Higher Ground,” a track with a grand, almost regal stomp, is both expansive and intricate. Within a year, Kanye West enlisted TNGHT to produce “Blood on the Leaves” for Yeezus. “Higher Ground” is a landmark track in trap music’s crossover into EDM and a great example of bass-heavy dance songs.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size Reprazent performing live
In the late 90s, drum and bass was becoming increasingly fragmented and distancing itself from its dancehall and hip-hop roots. Bristol, England’s Roni Size and Reprazent managed to create drum and bass that felt both experimental and grounded, retaining its Black origins by blending fast-paced 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 biggest track, a 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, fusing jazz and drum and bass, and a great example of genre-bending dance songs.
Soul II Soul, ‘Back to Life (However Do You Want Me)’ (1989)
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 smooth grooves seamlessly blended both genres with effortless grace. 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 the Top Five on the Hot 100. “Back to Life” is a seminal track in the fusion of soul and dance music and a great example of smooth, soulful dance songs.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix Da Housecat performing DJ set
Felix Stallings Jr., known as Felix da Housecat, is a Chicago house 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 global heights with the 2000 album Kittenz and Thee Glitz. This project involved international collaborators like Junior Sanchez, Tommie Sunshine, and Parisian vocalists Miss Kittin and Melistar, creating a concept album exploring celebrity and artifice. “Silver Screen Shower Scene” became an instant anthem, its lyrics and music critiquing celebrity culture and seemingly ushering in the electroclash era. Jacques Lu Cont’s “Thin White Duke Remix” became even more popular among DJs. “Silver Screen Shower Scene” is an iconic electroclash track and a great example of witty, genre-defining dance songs.
Dntel feat. Ben Gibbard, “(This Is) The Dream of Evan and Chan (Superpitcher Kompakt Remix)” (2001)
In 2000, Death Cab for Cutie’s Ben Gibbard had “a weird dream … involving [Lemonheads frontman] Evan Dando and Chan Marshall,” a.k.a. 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 turned this dream into a song, collaborating with Dntel (Jimmy Tamborello) before their Postal Service project. Dntel set Gibbard’s vocals to lively beats and shimmering synths, but the Superpitcher remix, from the Kompakt label, elevated it further. With hazy synth layers and echoing bells, it truly captured the dreamlike state hinted at in the lyrics. The “(This Is) The Dream of Evan and Chan (Superpitcher Kompakt Remix)” is a standout remix that enhanced the dreamy quality of the original and a great example of atmospheric electronic dance songs.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Portrait of Sylvester James, circa 1980 Image Credit: Getty Images
Patrick Cowley, a synth maestro, pioneered Hi-NRG, a staple of gay clubs, through his solo work, collaborations with Sylvester, and his extended, mind-bending 16-minute version of Donna Summer’s “I Feel Love.”. Tragically, Cowley fell ill in November 1981 and passed away a year later at 32, shortly after AIDS was officially recognized. Even in his final months, he worked from his studio, propped up by pillows, to complete his vibrant, synthetic grooves. “Do Ya Wanna Funk” remains a landmark – with soaring synth riffs and Sylvester’s stratospheric falsetto. It also provided a memorable movie moment, soundtracking the party scene in Trading Places. “Do Ya Wanna Funk?” is a Hi-NRG classic and a great example of energetic, synth-driven dance songs.
Funkadelic, ‘One Nation Under a Groove’ (1978)
Image Credit: Redferns
Undoubtedly the greatest funk track ever to feature banjo prominently, “One Nation Under a Groove” possesses an instantly captivating rhythm that propelled it to the top of the R&B singles chart for six weeks in 1978. Assigning the song to the guitar-heavy Funkadelic (rather than the horn-driven Parliament) was George Clinton’s way of emphasizing its power: “Parliament is smashing,” he explained. “But Funkadelic is the movement.” “One Nation Under a Groove” is a funk masterpiece and a great example of groove-heavy, politically charged dance songs.
Evelyn Thomas, ‘High Energy’ (1984)
Evelyn Thomas at Limelight Disco in New York City, 1984 Image Credit: Ron Galella Collection via Getty
Released in April 1984, “High Energy” not only gave the Hi-NRG genre its name but also solidified its sound. 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 in the mid-70s as a teenager. Levine, a DJ on the Northern Soul circuit, known for playing rare 60s American R&B, transitioned towards disco, especially as synthesizers became dominant. Smash Hits noted Levine “straddle[ed] both gay disco and old Motown — the two main Hi-NRG ingredients.” “High Energy,” brash, cheerful, and irresistibly cheesy, reached the UK Top Five and remains a dance floor hit, as demonstrated by The Blessed Madonna (formerly Black Madonna) in her Bunker Podcast. “High Energy” is a defining track of the Hi-NRG genre and a great example of upbeat, synth-pop influenced dance songs.
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.” When they met in Paris, Williams shared his admiration for Nile Rodgers – and the robots played him a track they had already created with Rodgers. 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” is a modern disco classic, a collaboration of musical giants, and a great example of feel-good, globally popular dance songs.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson and Mat Zo – Easy artwork
“‘Easy’ in my mind is an homage to Daft Punk’s Discovery,” Porter Robinson said in 2013, describing 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.” It’s a masterful update, both shimmering and classic. The central synth melody evokes both a Theremin and a Moog, and the vocal sample (from Colourblind’s NYC garage classic “Nothing Better”) carries an emotional intensity that was often missing from stadium EDM of that era. “Easy” is a standout EDM track, bridging classic disco and modern trance, and a great example of emotionally resonant electronic dance songs.
Justice vs. Simian, “We Are Your Friends” (2006)
Image Credit: FilmMagic
In 2003, Parisian musicians Gaspard Augé and Xavier de Rosnay 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 raw, powerful track that perfectly connected electroclash and EDM. Retitled “We Are Your Friends,” it became a hit in 2006, launching Augé and de Rosnay’s career as Justice and inspiring Simian to reinvent themselves as the dance act Simian Mobile Disco. “We Are Your Friends” is a pivotal track that bridged electroclash and EDM and a great example of powerful, sample-based dance songs.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix performing at Coachella, 2014 Image Credit: Scott Roth/Invision/AP
Dance music is often seen as a young person’s domain, and the early 2010s EDM boom certainly exemplified this. Built around a catchy synth melody so infectious people chanted along even without lyrics, Martin Garrix’s “Animals” was released when the Dutch producer was just 18. It became an instant global phenomenon. This success naturally led to skepticism. “At first, people in the industry assumed I didn’t make my own shit,” Garrix later recalled. “So I would do livestreams and production tutorials on the internet to get rid of that stigma.” “Animals” is an iconic EDM track that defined the sound of an era and a great example of high-energy, anthemic dance songs.
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 said in 2015. His airy, energetic tracks bridged the gap between KC and the Sunshine Band and 2 Live Crew. “Lookout Weekend,” his second single with Debbie Weshoff Lopez (whom he recruited from a record shop), was freestyle at its peak. Like its predecessor, “When I Hear Music,” “Weekend” went triple platinum. In response, Tony said, “I bought me a Porsche. As a matter of fact, two Porsches.” “Lookout Weekend” is a freestyle classic and a great example of upbeat, Miami bass influenced dance songs.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang performing 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 even shouts out K-Swift, the legendary DJ who helped bring Baltimore club music into the mainstream 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. Just like K-Swift’s work, “Bank Rolls (Remix)” introduced a new audience to the underground Baltimore sound. “Bank Rolls (Remix)” is a modern Baltimore club anthem and a great example of regional, high-energy dance songs.
Soft Cell, ‘Tainted Love/Where Did Our Love Go?’ (1981)
Image Credit: Redferns
“We both like Northern soul, Sixties music, and the 12-inch record,” Marc Almond explained in 1981, describing his and Soft Cell partner David Ball’s shared tastes. They combined these influences into one iconic track. Their synth-pop rendition of Gloria Jones’ R&B stomper “Tainted Love” was a hit on its own. For the extended version, they seamlessly merged it with 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 – New Wave disco in a nutshell – has hypnotized dance floors ever since. “Tainted Love/Where Did Our Love Go?” is a New Wave classic and a great example of a medley dance song that combines classic and contemporary sounds.
The Orb, ‘Little Fluffy Clouds’ (1990)
Alex Paterson of The Orb, London, 1991 Image Credit: Getty Images
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 featured an interview with Rickie Lee Jones describing Arizona’s starry 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. Putting them together, Paterson created “Little Fluffy Clouds,” the most comforting track of the acid-house era. Reich “was very happy when he heard it,” Paterson said. “Suddenly, it was being played to the masses, and they were loving it.” “Little Fluffy Clouds” is an ambient house classic and a great example of atmospheric, sample-based dance songs.
Polygon Window, ‘Quoth’ (1993)
Richard D. James, also known as Aphex Twin, is often associated with more introspective dance music. However, in the early 90s, he produced rave anthems of the highest caliber. Exhibit A: “Quoth,” released under the moniker Polygon Window. This percussion-driven track was a true barn burner, particularly popular in the American Midwest during that period, where it was literally played and danced to in barns. “Quoth” is a classic rave track and a great example of high-energy, complex electronic dance songs.
Skream, ‘Midnight Request Line’ (2005)
Skream at Fabric Nightclub, London Image Credit: Universal Images Group via Getty
Shortly after London dubstep producer-DJ Skream released his atmospheric and melancholic “Midnight Request Line” 12-inch, 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 seminal dubstep track and a great example of atmospheric, influential dance songs.
Paul Johnson, ‘Feel My M.F. Bass’ (1994)
“Ghetto house” was house music’s answer to gangsta rap – a raw, street-oriented style pioneered by Chicago producers in the 90s, particularly those on the Dance Mania label. Paul Johnson, who used a wheelchair, was a leading figure in this style, creating unconventional genre pieces with a unique flair. (His DJ mixtapes, often featuring his dreamy voice-overs, are also notable.) Johnson’s pinnacle was “Feel My M.F. Bass,” a blunt and impactful track featuring a cavernous kick drum over which Johnson gleefully purrs, “Feel my motherfuckin’ bass in your face,” as if serenading a lover. When the kick drum returns, the message is clear. Paul Johnson’s “Feel My M.F. Bass” is a ghetto house anthem and a great example of raw, energetic, and provocative dance songs.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City group portrait, London, 1990 Image Credit: Getty Images
“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, perfectly captured their style – lush love songs with Philly-soul strings, topped by Byron Stingily’s soaring falsetto. It reached the UK Top 10 and Number One on the Billboard dance chart. Jefferson added, “people in South Africa have told us stories of how that song represents liberation for them.” “That’s the Way Love Is” is a soulful house classic and a great example of vocal-driven, uplifting dance songs.
Nitzer Ebb, ‘Join in the Chant’ (1987)
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Hailing from England’s Midlands, industrial groove act Nitzer Ebb’s danceability was inherent. “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,” was a perfect techno crossover, especially in Detroit, where techno pioneers like Carl Craig and Jeff Mills had once been drawn to industrial music. Richie Hawtin included “Chant” in his influential 1999 mix CD Decks, EFX & 909, and Andrew Weatherall famously said, “The closest I felt to God was listening to ‘Join in the Chant.’” “Join in the Chant” is an industrial dance anthem and a great example of powerful, rhythmic, and chant-based dance songs.
Bronski Beat, ‘Smalltown Boy’ (1984)
Bronski Beat performing live
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 said. “I just had had enough of the abuse and the heartache.” He channeled this emotion into “Smalltown Boy,” a poignant depiction of alienation and escape. With its yearning vocal hook (“Run away, run away, run away”) and smooth synth backdrop, it became an instant gay club anthem, reaching Number One on the Billboard club chart and the UK Top Three. “Smalltown Boy” is a synth-pop anthem with deep emotional resonance and a great example of socially conscious, emotionally powerful dance songs.
LFO, ‘LFO (Leeds Warehouse Mix)’ (1990)
Image Credit: PYMCA/Universal Images Group/Getty Images
LFO were pioneers of Sheffield, England’s “bleep” scene – Warp Records’ initial signature sound. 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 got LFO signed was their self-titled number, “LFO.” Icy synth chords and bleeping sounds set the stage for layers of low end. The bassline compels movement, while the sub-bass can shake foundations. “LFO (Leeds Warehouse Mix)” is a bleep techno classic and a great example of bass-driven, minimalist dance songs.
Drake, ‘Sticky’ (2022)
Drake performing live
As the title of Drake’s dance music foray, Honestly, Nevermind, suggests, it’s intentionally understated, drawing inspiration from Jersey and Baltimore club music and various deep-house styles. The standout track is “Sticky,” produced by Gordo and Ry X. Here, Drake shifts from the album’s prevalent low-key vocals, rapping about personal topics like Young Thug’s release from jail and the passing of Virgil Abloh. It’s a successful example of a megastar venturing into a subculture and emerging with a fresh and compelling sound. “Sticky” is a modern house-influenced track and a great example of contemporary, genre-bending dance songs.
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 recalled, referring to the Newark, New Jersey, club where Tony Humphries had a legendary DJ residency. This anthem makes his passion evident. Over lively kicks, hi-hats, and a swirling keyboard melody, Clark delivers a spoken-word monologue capturing the ecstatic experience of a dance floor – “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, which was later sampled by Fatboy Slim on his album Halfway Between the Gutter and the Stars. “I Get Deep (Shelter Mix)” is a deep house classic and a great example of spoken-word, emotionally resonant dance songs.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us performing live
Early house music often had a raw, slightly unpolished quality, which was part of its charm. This is especially true of the uplifting anthem, “Follow Me,” a gospel-infused track in form and spirit (“We must stop fighting/To achieve the peace”) from a New Jersey vocal trio. Recorded in a basement on a four-track, its lo-fi nature, along with occasional vocal imperfections, only enhances the song’s sense of urgency. “Follow Me” is an uplifting house anthem and a great example of raw, gospel-infused dance songs.
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 this smooth classic, “Rock Your Baby.” These were among the very first 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 humorously 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 foundational disco track and a great example of smooth, early disco dance songs.
El General, ‘Perezosa’ (1995)
El General performing live
Panamanian pioneer El General set the stage for reggaeton with his massive international hits using reggae rhythms in the 80s and 90s. His experimental approach and broader influence on club music are often overlooked. A prime example of his range is “Perezosa,” a powerful and empowering dance anthem from his album Club 555. Packed with high-voltage electronic sounds, it captured the energy of the most vibrant parties across Latin America. “Perezosa” is a reggaeton precursor and a great example of energetic, Latin-infused dance songs.
Tom and Jerry, ‘Maximum Style’ (1994)
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4Hero – Marc Mac and Dego MacFarlane – are drum and bass stalwarts, creating hits throughout the genre’s evolution from early 90s UK hardcore to late 90s neo-fusion, often under various aliases. Tom and Jerry is one such alias, credited with this gem, released as jungle’s popularity surged in the UK. “Maximum Style,” an easy-gliding stepper with an enchanting guitar riff and playful cartoon sound effects, maintained a lighthearted feel while delivering a serious groove. “Maximum Style” is a jungle classic and a great example of playful yet groovy dance songs.
LCD Soundsystem, ‘Losing My Edge’ (2002)
LCD Soundsystem performing in New York City, 2002 Image Credit: Redferns
The debut single by James Murphy’s LCD Soundsystem, “Losing My Edge,” is both a killer track and a brilliant comedic monologue. It’s a blast of wry irony that helped ignite the New York dance-punk scene of the early 2000s. Murphy plays an aging hipster watching his relevance fade as a younger generation takes over, 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” is both hilarious and danceable, and its sense of FOMO resonates universally. “Losing My Edge” is a dance-punk anthem and a great example of witty, genre-defining dance songs.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
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Pablo Flores is considered a hidden architect of Latin pop. The Puerto Rican DJ spent years working 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.” This prescient song honored her Lebanese roots while foreshadowing the boundary-pushing, global sound of Latin music to come. His extended remix, the “Thunder Mix,” amplified these ideas with masterful production that resonated on dance floors worldwide. Shakira’s “Ojos Asi (Thunder Mix)” is a Latin pop dance hit and a great example of globally influenced, boundary-pushing dance songs.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher performing in Nottingham, UK, 2013 Image Credit: Redferns via Getty Images
Recording as Squarepusher in the mid-90s, Tom Jenkinson twisted drum and bass’s frenetic energy into complex sonic puzzles, making it intentionally undanceable and injecting a sense 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 glitchy production of “My Red Hot Car” aren’t purely abstract. The flickering complexity alternates with clever moments of space, all outlining a surprisingly groove-driven track, featuring Jenkinson’s playful bassline. It’s irresistible to adventurous DJs. “My Red Hot Car” is an IDM track with surprising groove and a great example of experimental, complex electronic dance songs.
Moloko, ‘Sing It Back (Boris Musical Mix)’ (1997)
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Featuring Róisín Murphy’s vocals, which her partner Mark Brydon famously described as “Peggy Lee on mescaline,” Moloko’s 1998 single “Sing It Back” was moody, downtempo, and expansive. It initially underperformed. Then, Belgian house producer Boris Dlugosch created his remix – a crisp house groove modeled after Chic, with a captivating rhythm guitar and playful bassline. This remix reached the UK Top Five and launched Murphy’s adventurous and often danceable solo career. Moloko’s “Sing It Back (Boris Musical Mix)” is a house remix classic and a great example of remix transformations that elevate original tracks to dance anthems.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League performing live
“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 said of “Don’t You Want Me,” which he co-wrote. The group initially didn’t think much of the song, despite its he-said-she-said structure and catchy riff. However, the song became their first Number One in both the UK and US, and a Top Three hit on the Billboard Dance Club chart. It marked a pivotal moment in the convergence of UK synth-pop, club music, and mainstream Top 40. “Don’t You Want Me” is a synth-pop classic and a great example of crossover dance songs that bridge club culture and mainstream pop.
These songs represent just a glimpse into the vast and vibrant world of great dance music. From disco’s glittering beginnings to the diverse sounds of today, dance music continues to evolve, inspire, and move us, proving its enduring power to connect people through rhythm and movement.
