What exactly makes a song a “dance song”? It’s a question that opens up a vibrant and diverse world of music. In a broad sense, you could argue that any song that inspires movement qualifies. From The Beatles to Slayer, countless artists across genres have created tracks that get people moving. Hip-hop and reggae, in their essence, are deeply rooted in dance culture.
However, when we talk about “Dance Songs” within the context of “dance music culture,” we’re diving into a more specific, yet still expansive realm. This world, with its own rich history and evolution, spans nearly fifty years and continues to evolve dynamically today and into the future.
Paying tribute to James Brown, the undisputed “Godfather of Soul” and a pioneer of groove, our exploration of dance music begins in the mid-1970s with the rise of disco. From there, we trace its journey into the early 1980s club scenes, marked by electro and Latin freestyle. Disco’s spirit was reborn in the underground, morphing into house music in Chicago and techno in Detroit. The 1990s witnessed an explosion of rave culture, giving birth to genres like jungle, trance, gabba, and garage. The 2000s brought the era of EDM and dubstep, further expanding the landscape of dance music. While these genres have had their moments in the mainstream spotlight, they never truly disappear. Drum ‘n’ bass, for example, is experiencing a resurgence, and contemporary house tracks continue to emerge, proving the enduring appeal of these sounds.
This exploration doesn’t aim to capture every nuance within this vast ocean of subgenres. Instead, we focus on tracks that possess a timeless quality, transcending specific trends and resonating universally. We particularly highlight moments where dance music intersects with broader musical styles – 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 like Adonis, Frankie Knuckles, Moodymann, Goldie, and SOPHIE.
If you’ve ever wondered how we arrived at a point where artists like Drake and Beyoncé are releasing house-infused tracks, this journey through dance music history provides context. It’s our perspective on this fascinating evolution.
Video Editor, Brian Lynch for Rolling Stone
Visual Credits (in order of appearance): Kylie Minogue – Can’t Get You Out of My Head, Crystal Waters – Gypsy Woman, Beyonce – Blow, Corona – The Rhythm of the Night, Madonna – Sorry, Britney – Till the World Ends, Madonna – Vogue, Daft Punk – Get Lucky, Robyn – Dancing on my Own, Joey Beltram – Energy Flash, Azealia Banks – 212, Rihanna & Calvin Harris – We Found Love, DJ Snake & Lil Jon – Turn Down for What, Sylvester – You Make Me Feel, Piri – Soft Spot, Chic – Le Freak, Dee-Lite – Groove is in the Heart, Donna Summer – I Feel Love, Prince – When Doves Cry, Erik B & Rakim – Paid in Full, First Choice – Let No Man Asunder, Michael Jackson – Don’t Stop ’Til you get Enough, A Guy Called Gerald – Voodoo Ray, Grace Jones – Bumper, Marshall – Move Your Body, Internet sensation kid 1997 in Berlin, Whitney Houston – It’s Not Right. Licensed Tracks/SFX (in order): Biodynamic modulated stutter riser, Dance like crazy – Ikoliks, Our Vibe – Superlative, Dance Out There – Alejandro Molinari, Pineapple Disco – Audiopanther, Bring It – Naems, Blurry Stars – Nbdy Nprtnt, Dark Future – Skygaze, Taika Promo (Rolling Stone VO). Song Samples (in order): Erik B & Rakim – Paid in Full, Dee-Lite – Groove is in the Heart, Madonna – Vogue, Azealia Banks – 212, Sylvester – You Make Me Feel, Michael Jackson – Don’t Stop ’Til you get Enough, Marshall Jefferson – Move Your Body, DJ Snake ft. Lil Jon – Turn Down for What, Dee-Lite – Groove is in the Heart, Whitney Houston – It’s Not Right
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, Donna Summer’s label and a symbol of disco’s peak and potential decline, “Last Dance” stands alone as a masterpiece. Awarded an Oscar for Best Original Song, it begins at a ballad tempo, gradually building into an energetic and captivating disco anthem. Bob Esty, Casablanca’s in-house producer, deserves praise for conceiving the song’s brilliant tempo shift. —M.M.
Fatboy Slim, ‘The Rockafeller Skank’ (1998)
British DJ Fatboy Slim performs a concert at the Pop Music Festival, held at the parking lot of the Federation of Industries of Rio Grande do Sul, in northern Porto Alegre, southern Brazil, on March 15, 2011. Photo: WESLEY SANTOS/AE/AE (Agencia Estado via AP Images)
Image Credit: AP
Norman Cook, known as Fatboy Slim, humorously recalled the debut of his 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?’” The track, a prime example of Cook’s signature breakbeats-plus-guitar-riffs formula, combined a surf-rock riff with a Lord Finesse vocal sample (“Right about now, the funk soul brother/Check it out now, the funk soul brother”) to achieve instant and widespread appeal. Cook jokingly referred to the track’s association with a “beer-boyish mentality,” suggesting its anthemic quality for a specific type of audience. —M.M.
Mescalinum United, ‘We Have Arrived’ (1991)
Techno’s equivalent to heavy metal is “gabber,” a Dutch word for “buddy,” and the Netherlands is indeed the genre’s stronghold. However, Marc Acardipane, known under approximately 90 aliases, is considered gabber’s leading figure. His seminal track, “We Have Arrived,” released under the name Mescalinum United, remains powerfully impactful. Built on relentless drums and piercing air-raid siren sounds, it became the foundational record for gabber. At Brooklyn raves hosted by Lenny Dee, whose label released the track in America, audiences would enthusiastically mosh to its aggressive energy. —M.M.
Oliver Heldens, ‘Melody’ (2016)
Oliver Heldens
By the mid-2010s, even DJs headlining major festivals were seeking alternatives to the predictable build-and-drop formula that dominated dance music. Oliver Heldens’ “Melody” marked a significant shift. Released when the Dutch producer was only 18, the track’s soaring string arrangements and uplifting piano melodies evoked a more sophisticated dance music sensibility, while still retaining a powerful bassline. —M.M.
Kerri Chandler, ‘Rain’ (1998)
Kerri Chandler, a New Jersey house music producer, is revered by younger artists and DJs not only for his deeply soulful tracks. He stated in 2014, “I never considered myself a singer. I feel I’m more of a vocalist. I write my life’s story and let it out through the music.” Perhaps “monologist” is a more fitting term. Chandler’s heartfelt plea in “Rain,” with each line punctuated by the titular word, expressing profound emotion (“Never knew you could be this way — rain”), is both vulnerable and resilient. The music itself, particularly the playful xylophone solo, is more suggestive of teasing than sadness. —M.M.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
LONDON, ENGLAND – 2002: Mack Goudy Jr, aka Paris the Black Fu, of Detroit Grand Pubahs performs live at the ICA, circa 2002 in London, England. (Photo by Jim Dyson/Getty Images)
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 Royal Oak, Michigan restaurant. Toth recounted, “We both liked whiskey and working on music.” One evening, Toth created a dynamic and quirky electro track. Paris instructed him to turn on the microphone, saying, “What you got?’ He said, ‘Don’t worry about it. Just turn the mic on.’” Within minutes, Paris improvised suggestive lyrics about a dance floor encounter. This spontaneous creation became a defining moment of Detroit’s early 2000s electro revival and an instant international club hit. —M.M.
Black Box, ‘Everybody Everybody’ (1990)
The story behind “Everybody Everybody” illustrates that even exceptional records can emerge from ethically questionable beginnings. In 1989, Martha Wash of the Weather Girls was contracted by Italian house producers Groove Groove Melody to record demos, with the understanding that the songs would be offered to other singers. However, the tracks were released under the name Black Box, featuring Wash’s uncredited vocals. Adding insult to injury, a model was hired to lip-sync Wash’s vocals in music videos. Wash pursued legal action and won against Black Box and C+C Music Factory, who had employed a similar tactic. Daniele Davoli of Black Box later expressed remorse, stating in 2013, “We didn’t know any better at the time. I guess we had to learn from our mistakes.” —M.M.
Big Freedia, ‘Azz Everywhere’ (2010)
Big Freedia performs at the 2019 Essence Festival at the Mercedes-Benz Superdome, Sunday, July 7, 2019, in New Orleans. (Photo by Amy Harris/Invision/AP)
Image Credit: Amy Harris/Invision/AP
Big Freedia, speaking in 2011, described her mission to “spread the goodness of bounce” worldwide, a sound that had been a New Orleans club staple for two decades and the very music that inspired twerking. “Azz Everywhere” became the breakout track for bounce, a chaotic blend of snares, samples, and the repeated shouted title. Big Freedia elaborated, “We hold classes on the road sometimes at performing venues and different colleges to teach about the history of bounce music. We describe it as an uptempo, heavy bass, holler-response music. And it definitely has a lot to do with azz shaking!” —M.M.
Joy Orbison, ‘Hyph Mngo’ (2009)
In the late 2000s, dubstep producers were pushing boundaries, resulting in a wave of experimental tracks. Joy Orbison’s debut, “Hyph Mngo,” became the defining dubstep track of 2009, capturing the scene at its peak. While the bassline and synthetic textures were smooth, the track’s ricocheting snare drum and fragmented vocal samples – a woman’s voice uttering “Ooh!” and “I do” – created an unexpectedly emotional depth, propelling it into mainstream recognition and making it one of the most recognizable dance songs of the era. —M.M.
ESG, ‘Moody’ (1981)
ESG Moody
The Scroggins sisters from the South Bronx, performing as ESG, left a lasting impact on New York dance music in the late 1970s. While their sound drew from funk and disco, their minimalist approach and focus on percussion resonated with post-punk and no-wave scenes, particularly after collaborating with Joy Division producer Martin Hannett for their debut EP. “Moody,” the EP’s centerpiece, remains futuristic, a mesmerizing combination of a deep bassline, bongo rhythms, and Renee Scroggins’ ethereal vocals cutting through the mix. —C.S.
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, a fellow Londoner, for his remix of her synth-pop single “In for the Kill.” Jackson felt Skream not only captured the song’s essence but also “regave birth to the real meaning and atmosphere of the song as we wrote it.” Skream’s remix stripped away the original’s upbeat tempo (and Kanye West’s guest verse), building intense tension with flattened synths before unleashing explosive drum-and-bass breaks. Jackson remarked, “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.” This remix became a defining example of how a remix can transform a song and give it new life within dance music culture. —M.M.
Double 99, ‘RIP Groove’ (1997)
Double 99
London producers Tim Deluxe and DJ Omar, previously known as RIP in the mid-1990s, rebranded as Double 99 to commemorate a “double-pack vinyl EP,” as Omar explained. Due to time constraints in completing the EP, they decided to create track names and artwork before the music was even produced. “RIP Groove,” named in tribute to their earlier moniker and cleverly constructed from samples of Armand Van Helden’s remix of CJ Bolland’s “Sugar Is Sweeter,” Kenny Dope, and singer Tina Moore, was created in just three hours. It became one of 1997’s biggest hits, introducing UK garage (then called “speed garage”) to the pop charts and signaling a new sound in dance music. —M.M.
Snap!, ‘The Power’ (1990)
“The Power” exemplifies a classic dance music origin story. Two German producers sampled American rapper Chill Rob G (from Queen Latifah’s Flavor Unit crew) and R&B vocalist Jocelyn Brown to create a club hit. Major label Arista picked it up and rerecorded it with Turbo B, an American G.I. stationed in Germany. Subsequently, the original rapper, Chill Rob G, rerecorded his own version as Power Jam feat. Chill Rob G. Both versions became club hits. More significantly, “The Power” established a Europop template, as Snap!’s Michael Muenzing noted in 1994: “Now you have 50 or 60 groups singing this way — rapping, singing the chorus, and going back to the rap.” The track’s infectious energy and innovative structure cemented its place as a dance music classic. —M.M.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ Frosty
Jersey club, originating in Newark, New Jersey (initially known as Brick City club), is characterized by its sharp, syncopated rhythms, clipped vocal samples, and an energetic yet non-violent feel, reminiscent of hip-house in its raw energy. DJ Frosty’s “Ride That Wave” perfectly embodies these elements. This undeniably catchy, chant-driven track emerged just as Jersey club began gaining traction among EDM producers globally. This wider exposure eventually led Jersey club influences to permeate mainstream music, reaching as far as Drake’s Honestly, Nevermind. The remix features Fatman Scoop, known for his influential 1990s hip-hop cut-up 12-inches on AV8 Records, popular among DJs like Armand Van Helden and Fatboy Slim. —J.D.
Todd Terje, “Inspector Norse” (2012)
Image Credit: Future via Getty Images
Norwegian nu-disco producer Todd Terje created “Inspector Norse” – and his entire 2012 It’s the Arps EP – using only sounds from a vintage ARP synthesizer. He didn’t anticipate the laid-back, meandering track to become popular. Terje explained, “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.” However, the track’s catchy melody proved irresistible, significantly boosting his popularity as a DJ. “It really helped me as a DJ in terms of popularity,” he noted. This track highlights how unexpected songs can become dance anthems. —M.M.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture – UNITED STATES – DECEMBER 14: Photo of RAPTURE; The Rapture on The Bowery New York City, December 14 2002 (Photo by David Corio/Redferns)
Image Credit: Redferns
DFA founder James Murphy, co-producer of “House of Jealous Lovers,” recalled to Spin, “Most people now have no memory of how absolutely sacrilegious it was at the time. 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 powerful beat and deep bass, intentionally engineered to appeal to dance DJs. It succeeded, becoming the defining track of the early 2000s “dance-punk” movement. Suddenly, New York bands adopted a sound reminiscent of 1979 Manchester or Leeds, and indie bars across the city installed DJ booths, solidifying the fusion of rock and dance music. —J.D.
TNGHT, ‘Higher Ground’ (2012)
Image Credit: Getty Images
Hudson Mohawke described TNGHT’s 2012 EP, created with Lunice, as “our take on big American rap beats, with a little bit of cheekiness to it.” The five-song EP propelled both artists into the EDM spotlight with its playful, dance-floor-oriented trap sound. “Higher Ground,” a track characterized by its grand, almost regal stomp, is both expansive and intricately detailed. Within a year, Kanye West enlisted TNGHT to produce “Blood on the Leaves” for his album Yeezus, demonstrating the duo’s significant impact on contemporary music. —M.M.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size Reprazent Brown Paper Bag
In the late 1990s, drum and bass was becoming increasingly fragmented and distanced from its roots in dancehall and hip-hop. Roni Size and Reprazent, a Bristol, England collective, managed to create drum and bass that was both innovative and rooted in its Black origins. They achieved this by blending fast-paced beats with warm, organic jazz-funk influences. Roni Size reflected in a 2018 interview, “It’s funny how ‘Brown Paper Bag’ split people,” referring to their most famous track from the 1997 album New Forms. “They heard the jazz, how it sounded different from everything else, and they saw this other audience that loved it.” This track’s unique fusion demonstrated the genre’s capacity for evolution and cross-genre appeal. —J.D.
Soul II Soul, ‘Back to Life (However Do You Want Me)’ (1989)
Soul II Soul, led by DJ-producer Jazzie B and co-producer Nellee Hooper for their first two albums, originated as a London sound system specializing in reggae and soul. When they began recording in the late 1980s, their smooth grooves seamlessly blended these genres. Initially, their tracks were intended solely for Soul II Soul’s parties. Jazzie B stated, “It was literally for our sound [system] at the beginning. We weren’t really interested in what anybody else was doing.” However, their music resonated widely. “Back to Life” reached Number One on the Billboard R&B chart and the Top Five on the Hot 100, showcasing the sound system’s transition to mainstream success. —M.M.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix Da Housecat
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 global acclaim with the 2001 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, both satirical and captivating, seemed to define the electroclash era. Jacques Lu Cont’s “Thin White Duke Remix” further amplified the track’s popularity among DJs. –M.M.
Dntel feat. Ben Gibbard, “(This Is) The Dream of Evan and Chan (Superpitcher Kompakt Remix)” (2001)
In 2000, Ben Gibbard, frontman of Death Cab for Cutie, had “a weird dream… involving [Lemonheads frontman] Evan Dando and Chan Marshall,” also known as Cat Power. He described it as “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 synths. However, the remix by Superpitcher, from the influential German label Kompakt, elevated the track to a dreamlike state with hazy synth layers and echoing bell sounds, fully realizing the dreamscape hinted at in the lyrics. —M.M.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Portrait of Sylvester James (1947 – 1988), American disco singer better known as Sylvester, circa 1980. (Photo by Anthony Barboza/Getty Images)
Image Credit: Getty Images
Patrick Cowley was a synth pioneer, instrumental in developing Hi-NRG, a defining sound of gay club culture. His work with Sylvester and his extended, electrifying 16-minute remix of Donna Summer’s “I Feel Love” are testaments to his innovation. Cowley fell ill in November 1981, and passed away a year later at 32, shortly after the term “AIDS” was officially recognized. Despite his illness in his final months, Cowley continued creating music, propped up by pillows in the studio to finish his vibrant tracks. “Do Ya Wanna Funk” remains a landmark of his career – characterized by soaring synth riffs and Sylvester’s unparalleled falsetto. It also gained further recognition when featured in the party scene of the film Trading Places, solidifying its status as a classic dance song. —M.M.
Funkadelic, ‘One Nation Under a Groove’ (1978)
Image Credit: Redferns
“One Nation Under a Groove,” arguably the greatest funk track ever to feature banjo prominently, possesses an instantly captivating groove that topped the R&B singles chart for six weeks in 1978. George Clinton strategically assigned the song to Funkadelic, known for their guitar-driven rock sound, rather than Parliament, known for their horn-heavy R&B, to give it more impact. Clinton explained, “Parliament is smashing. But Funkadelic is the movement.” This distinction highlights the song’s powerful, movement-inducing quality. —M.M.
Evelyn Thomas, ‘High Energy’ (1984)
NEW YORK CITY – SEPTEMBER 30: Evelyn Thomas sighted on September 30, 1984 at the Limelight Disco in New York City. (Photo by Ron Galella/Ron Galella Collection via Getty Images)
Image Credit: Ron Galella Collection via Getty
Released in April 1984, “High Energy” not only gave the Hi-NRG genre its name but also became a defining example of it. However, it wasn’t the first of its kind for its creators. Chicago singer Evelyn Thomas was signed to Pye Records by Manchester producer Ian Levine in the mid-1970s as a teenager. Levine, a DJ on the Northern Soul circuit who initially played rare 1960s American R&B, shifted towards disco, particularly as synthesizers became dominant. Smash Hits noted Levine “straddle[d] both gay disco and old Motown — the two main Hi-NRG ingredients.” “High Energy,” with its bold, upbeat, and undeniably cheesy charm, reached the UK Top Five and remains a dance floor staple, as demonstrated by The Blessed Madonna (formerly Black Madonna) in her Bunker Podcast. —M.M.
Daft Punk feat. Pharrell Williams and Nile Rodgers, ‘Get Lucky’ (2013)
When Pharrell Williams first met Daft Punk at a Madonna party, he expressed his desire to collaborate, even jokingly offering to “play a tambourine.” When they met in Paris, Williams suggested channeling Nile Rodgers. The robots then played him a track they had already created with Rodgers. Williams recorded his smooth vocals during that session. He enthusiastically described the song, “You don’t need MDMA for this music, because it’s so incredibly vivid.” This collaboration perfectly blended disco, funk, and modern electronic elements to create a global dance anthem. –M.M.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson – Matt Zo – Easy
Porter Robinson described “Easy,” his collaboration with Mat Zo, as “an homage to Daft Punk’s Discovery.” He explained in 2013, “It takes the disco chords of all of the early French stuff and gives it a louder, more trance-inspired feel.” The track skillfully updates classic disco elements with a modern, trance-influenced energy. The central synth melody evokes both a Theremin and a Moog, while the vocal sample (from Colourblind’s NYC garage classic “Nothing Better”) carries an emotional intensity that was often lacking in stadium EDM of that era. “Easy” stands out for its blend of nostalgic and contemporary dance sounds. —M.M.
Justice vs. Simian, “We Are Your Friends” (2006)
Image Credit: FilmMagic
In 2003, Parisian musicians Gaspard Augé and Xavier de Rosnay, who formed Justice, entered a remix contest for British rock band Simian’s “Never Be Alone.” De Rosnay told The New York Times, “You could download the separate tracks: guitar, drums, and other things. 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, energetic track that effectively bridged electroclash and EDM. Retitled “We Are Your Friends,” it became a hit in 2006, launching Justice’s career and inspiring Simian to transform into the dance act Simian Mobile Disco. This remix exemplifies how creative constraints can lead to groundbreaking dance music. —M.M.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix performs on day one of the Coachella Music and Arts Festival on Friday, April 11, 2014, in Indio, Calif. (Photo by Scott Roth/Invision/AP)
Image Credit: Scott Roth/Invision/AP
Dance music often thrives on youth, and the early 2010s EDM boom highlighted this. Martin Garrix’s “Animals,” built around a captivating synth riff so catchy it inspired crowd sing-alongs despite having no lyrics, was released when the Dutch producer was only 18. It became an instant global phenomenon. This immediate success led to skepticism. Garrix later recalled, “At first, people in the industry assumed I didn’t make my own shit. So I would do livestreams and production tutorials on the internet to get rid of that stigma.” “Animals” demonstrated the power of a simple, infectious melody in dance music. —M.M.
Debbie Deb, ‘Lookout Weekend’ (1984)
“As far as I know, I coined the phrase. I hadn’t heard anybody call it freestyle music prior to me coming up with the name of the group Freestyle,” Miami production pioneer Pretty Tony stated in 2015. His airy, high-energy tracks bridged the musical gap between KC and the Sunshine Band and 2 Live Crew in Miami. “Lookout Weekend,” his second single with Debbie Weshoff Lopez, whom he discovered working at a record store, represented freestyle at its most vibrant. Like its predecessor, “When I Hear Music,” “Lookout Weekend” achieved triple platinum status. Tony recounted, “I bought me a Porsche. As a matter of fact, two Porsches,” illustrating the commercial success of freestyle dance songs in the 1980s. —M.M.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang – AUSTIN, TX – MARCH 17: Tate Kobang performs onstage at the Youtube Music Showcase on March 17, 2016 in Austin, Texas. (Photo by Thomas M Jackson/Redferns)
Image Credit: Redferns
Tate Kobang’s remix of “Bank Rolls,” built around a sample of Tim Trees’ Baltimore club track “Bank Roll,” is a modern tribute to Baltimore, its culture, resilience, and energy. In his final verse, he pays homage to K-Swift, a legendary DJ who helped popularize Baltimore club music before her untimely passing in 2008. Kobang stated, “She was just one of those bodies in our culture that was like, ‘She ain’t never going anywhere.’” Like K-Swift’s pioneering work, “Bank Rolls (Remix)” introduced Baltimore’s unique underground sound to a wider audience. —C.S.
Soft Cell, ‘Tainted Love/Where Did Our Love Go?’ (1981)
Image Credit: Redferns
Marc Almond of Soft Cell explained their approach in 1981, “We both like Northern soul, Sixties music, and the 12-inch record.” They combined these influences into a singular hit. Their synth-pop rendition of Gloria Jones’ R&B track “Tainted Love” was successful on its own. However, for the extended version, they seamlessly merged it with The Supremes’ classic “Where Did Our Love Go?” Almond noted, “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.” This nine-minute medley, a quintessential example of New Wave disco, has captivated dance floors ever since, demonstrating the power of blending different musical eras. —M.M.
The Orb, ‘Little Fluffy Clouds’ (1990)
The Orb – Alex Paterson of The Orb, portrait, London, United Kingdom, 1991. (Photo by Martyn Goodacre/Getty Images)
Image Credit: Getty Images
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 night skies: “The most beautiful skies, as a matter of fact … purple and yellow and red and on fire.” Side B contained Steve Reich’s Electric Counterpoint. Paterson combined them to create “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.” This unexpected fusion of spoken word and minimalist composition became a landmark ambient house track. —M.M.
Polygon Window, ‘Quoth’ (1993)
Richard D. James, known as Aphex Twin, is often associated with less dance-oriented electronic music. However, in the early 1990s, he produced rave tracks of exceptional quality. “Quoth,” released under his Polygon Window alias, is a prime example. This percussion-heavy track became a rave anthem, particularly popular in the American Midwest during that period. It demonstrates Aphex Twin’s versatility and his contributions to high-energy dance music. —M.M.
Skream, ‘Midnight Request Line’ (2005)
Skream. Fabric Nightclub, Farringdon, London. (Photo by: PYMCA/Universal Images Group via Getty Images)
Image Credit: Universal Images Group via Getty
Shortly after London dubstep producer-DJ Skream released “Midnight Request Line,” he recalled, “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 delicate synth melody, smooth bassline, and prominent claps, propelled Skream and dubstep into the mainstream spotlight. It remains a foundational track of the genre and a testament to Skream’s early talent. –M.M.
Paul Johnson, ‘Feel My M.F. Bass’ (1994)
“Ghetto house” emerged as house music’s parallel to gangsta rap. This self-described style, pioneered by Chicago producers in the 1990s (notably on the Dance Mania label), was characterized by raw, sample-based, and street-oriented sounds. Paul Johnson, who used a wheelchair, was a leading figure in ghetto house, creating unconventional tracks with a distinct flair. His DJ mixtapes, often featuring his dreamy voice-overs, were equally distinctive. Johnson’s defining track, “Feel My M.F. Bass,” is a powerful, minimalist piece featuring a cavernous kick drum over which Johnson, who tragically passed away from Covid in August 2021, playfully chants, “Feel my motherfuckin’ bass in your face,” as if serenading a lover. The track’s raw energy and playful provocativeness made it a ghetto house classic. —M.M.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City, group portrait, London, United Kingdom, 1990. Line up includes: Byron Stingily, Herb Lawson and Byron Burke (Photo by Martyn Goodacre/Getty Images)
Image Credit: Getty Images
Marshall Jefferson, who produced the Chicago house vocal trio Ten City, stated, “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.” “That’s the Way Love Is,” Ten City’s third single, perfectly captured their style – blending Philly-soul strings with romantic lyrics, all topped by Byron Stingily’s soaring falsetto. It reached the UK Top 10 and topped the Billboard dance chart. Jefferson added, “People in South Africa have told us stories of how that song represents liberation for them,” highlighting the song’s powerful emotional resonance and global impact. —M.M.
Nitzer Ebb, ‘Join in the Chant’ (1987)
Image Credit: Getty Images
Industrial groove band Nitzer Ebb, from England’s Midlands, developed their danceable sound organically. Frontman Douglas McCarthy explained to The Guardian, “The clubs we knew were disco and funk. It’s in the DNA of the area.” Nitzer Ebb’s most energetic anthem, “Join in the Chant,” became a techno crossover hit, particularly in Detroit, where techno pioneers like Carl Craig and Jeff Mills had previously embraced 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.’” This track demonstrates the unexpected intersections between industrial and dance music. —M.M.
Bronski Beat, ‘Smalltown Boy’ (1984)
Bronski Beat
Bronski Beat’s Jimi Somerville jokingly said 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 emotional intensity into “Smalltown Boy,” a poignant portrayal of alienation and escape. With its memorable vocal hook (“Run away, run away, run away”) and smooth synth arrangement, it became an immediate gay club anthem, topping the Billboard club chart and reaching the UK Top Three. “Smalltown Boy” remains a powerful song about personal struggle and finding freedom on the dance floor. —M.M.
LFO, ‘LFO (Leeds Warehouse Mix)’ (1990)
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LFO were central to Sheffield, England’s “bleep” scene – Warp Records’ original signature sound. As Warp’s Steve Beckett described it, “it had nothing to do with the bleeps for the people making it — for them it was all about the bass.” LFO’s self-titled track, which secured their Warp contract, features icy synth chords and bleeping sounds that set the stage for layers of deep bass. The bassline is designed to move bodies, while the sub-bass can literally shake buildings, making it a quintessential bass-driven dance track. —M.M.
Drake, ‘Sticky’ (2022)
Drake Sticky
Drake’s foray into dance music with Honestly, Nevermind, as the title suggests, feels intentionally understated. It casually incorporates Jersey and Baltimore club music alongside various deep-house influences. The standout track, “Sticky,” produced by Gordo and Ry X, sees Drake deviate from the album’s prevalent low-key vocals. He raps about personal topics, including the release of Young Thug and the passing of Virgil Abloh. “Sticky” is a compelling example of a major artist exploring a subculture and emerging with a revitalized sound, creating a fresh take on contemporary dance music. —J.D.
Roland Clark, ‘I Get Deep (Shelter Mix)’ (2000)
Roland Clark recounted, “The love of house music started when I went to Club Zanzibar in lieu of my prom,” referring to the Newark, New Jersey club where Tony Humphries held a legendary DJ residency. “I Get Deep” expresses the depth of this passion. Over vibrant beats and a swirling keyboard line, Clark delivers a monologue capturing the transformative experience of the dance floor: “All the sweat just goes down my face/And I pretend that there’s nobody there but me in this place.” The 12-inch also included the a cappella version, which was later sampled by Fatboy Slim on his album Halfway Between the Gutter and the Stars, highlighting the track’s lasting impact and versatility. —M.M.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us Follow Me
Early house music often had a raw, imperfect quality, which was a significant part of its appeal. This is particularly true of “Follow Me,” an uplifting anthem, gospel-inspired in its form and message (“We must stop fighting/To achieve the peace”), created by a New Jersey vocal trio who recorded it in a basement using a four-track recorder. Its lo-fi production and occasional vocal imperfections only enhance the song’s sense of urgency and genuine emotion, making it a powerful and authentic expression of early house music. —M.M.
George McCrae, ‘Rock Your Baby’ (1974)
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In the summer of 1974, two songs that initially gained popularity in clubs reached Number One on the Billboard Hot 100. One was Hues Corporation’s “Rock the Boat,” and the other was George McCrae’s smooth “Rock Your Baby.” These tracks are considered the first disco hits to achieve mainstream success. 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 brought in because he was at the TK Records offices. He recalled, “I think they gave me ‘Rock Your Baby’ to get me out of their hair.” After the record became a hit, Casey, Finch, and Smith formed the core of KC and the Sunshine Band, marking a pivotal moment in the development of disco and dance music history. —M.M.
El General, ‘Perezosa’ (1995)
El General
Panamanian artist El General is a reggaeton pioneer. He created international hits using reggae rhythms in the 1980s and 1990s, establishing the foundation for the genre. His experimental approach and broader impact on club music are often overlooked. “Perezosa,” from his album Club 555, is a prime example of his range. This empowering dance anthem featured high-voltage electronic sounds that captured the vibrant energy of Latin American parties, showcasing El General’s innovative sound and influence beyond reggaeton. —J.L.
Tom and Jerry, ‘Maximum Style’ (1994)
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4Hero, consisting of Marc Mac and Dego MacFarlane, are drum and bass stalwarts. They have consistently produced influential tracks throughout the genre’s evolution, from early 1990s UK hardcore to late 1990s neo-fusion, often under various aliases. Tom and Jerry is one such alias, credited with the gem “Maximum Style,” released as jungle’s popularity surged in the UK. This smoothly flowing track, featuring a captivating guitar melody and playful cartoon sound effects, balanced playfulness with a serious groove, demonstrating the versatility of jungle and drum and bass. —M.M.
LCD Soundsystem, ‘Losing My Edge’ (2002)
LCD Sound System – UNITED STATES – DECEMBER 14: BOWERY BALLROOM Photo of LCD SOUNDSYSTEM, LCD Soundsystem performing at Bowery Ballroom NYC on December 14 2002 (Photo by David Corio/Redferns)
Image Credit: Redferns
“Losing My Edge,” the debut single by James Murphy’s LCD Soundsystem, is both a compelling dance track and a brilliant piece of social commentary. It’s a witty and ironic exploration of aging hipsterdom and cultural relevance, which also ignited the New York dance-punk scene of the early 2000s. Murphy portrays a character grappling with feeling out of touch as younger generations emerge, despite his own history and “being there, at the first Can show in Cologne” or “being the first to play Daft Punk to the rock kids.” “Losing My Edge” is both humorous and danceable, and its themes of FOMO and cultural shifts resonate universally, making it a defining track of its era. —J.D.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
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Pablo Flores is recognized as a key figure in shaping Latin pop. This Puerto Rican DJ worked extensively with major artists associated with Emilio Estefan, including Gloria Estefan and Ricky Martin. In the 1990s, he collaborated with a then-lesser-known Colombian singer named Shakira. Together with his music partner Javier Garza, they created “Ojos Asi,” a forward-thinking song that celebrated Shakira’s Lebanese heritage and foreshadowed the global sound of Latin music. His extended remix, “Thunder Mix,” further amplified these elements with masterful production that appealed to dance floors worldwide, showcasing the global appeal of Latin-infused dance songs. —J.L.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher – NOTTINGHAM, UNITED KINGDOM – MARCH 29: (EXCLUSIVE ACCESS) Squarepusher performs a one off show on stage at Rescue Rooms on March 29, 2013 in Nottingham, England. (Photo by Ollie Millington/Redferns via Getty Images)
Image Credit: Redferns via Getty Images
As Squarepusher in the mid-1990s, Tom Jenkinson transformed drum and bass’s fast-paced energy into complex, almost undanceable structures, infused with intellectual undertones. Jenkinson later admitted, “Basically, I was beginning to stare up my own ass.” As a result, he aimed to “shake things up and make music in a more spontaneous, almost flippant way.” However, the fragmented vocals and glitch-heavy production of “My Red Hot Car” are not purely abstract. The intricate sonic trickery is balanced with moments of negative space, creating a compelling groove driven by Jenkinson’s playful bassline. This track, while experimental, remains captivating for adventurous DJs and dance music enthusiasts. —M.M.
Moloko, ‘Sing It Back (Boris Musical Mix)’ (1997)
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Moloko’s 1998 single “Sing It Back,” featuring Róisín Murphy’s vocals described by her partner Mark Brydon as “Peggy Lee on mescaline,” was originally moody, downtempo, and expansive. It was not initially successful. However, Belgian house producer Boris Dlugosch’s remix transformed the song. His version incorporated a crisp house groove reminiscent of Chic, with a captivating rhythm guitar and playful bassline. This remix reached the UK Top Five, revitalizing Moloko’s career and launching Murphy’s successful and often dance-oriented solo career. The remix underscores the transformative power of reinterpretation in dance music. —M.M.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League Don
Human League keyboardist Jo Callis described the lyrical concept behind “Don’t You Want Me,” co-written with Phil Oakey and Jo Callis: “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.” Initially, the group had reservations about the song, despite its catchy he-said-she-said structure and insistent riff. However, its massive chorus proved undeniable. The song became the group’s first Number One hit in both the UK and US, and a Top Three hit on the Billboard Dance Club chart. “Don’t You Want Me” marked a key moment in the convergence of UK synth-pop, club music, and mainstream pop charts, making it a landmark dance-pop song of the 1980s. —M.M.
