What exactly constitutes “dance songs”? It’s a thought-provoking question. In a broad sense, almost any piece of music capable of moving someone, even subtly, could be considered a dance song. The Beatles created fantastic dance songs, and so did Slayer, in their own respective contexts. Much of hip-hop and reggae is inherently danceable. However, when we delve into the realm of “dance music culture,” we’re entering a more defined yet expansive world. This culture, with roots stretching back nearly half a century, is in perpetual motion, evolving continuously into the present and beyond.
Our exploration of dance music, after acknowledging the foundational contributions of James Brown, the architect of extended grooves, begins in the mid-1970s with the rise of disco. From there, we trace its progression into the early 1980s with club sounds like electro and Latin freestyle. A significant rebirth occurred as disco was reimagined into house music in Chicago and techno in Detroit. This evolution accelerated dramatically during the 1990s rave explosion, giving rise to a diverse spectrum of genres from jungle and trance to gabba and garage, ultimately leading to the EDM and dubstep phenomena of the 2000s. While each of these sounds has experienced periods of mainstream prominence, they never truly disappear. Drum ‘n’ bass, for example, is currently experiencing a resurgence, and contemporary house tracks continue to emerge.
This exploration doesn’t aim to encompass every nuance within this vast and interconnected web of subgenres. Instead, we focus on tracks that possess a timeless quality and resonate universally. We are particularly interested in moments where dance music has intersected with broader musical landscapes – including synth-pop, hip-hop, funk, Miami bass, R&B, indie-rock, Latin music, and mainstream pop. This is why you’ll find artists like Prince, Robyn, Britney Spears, and Shakira alongside pioneers such as Adonis, Frankie Knuckles, Moodymann, Goldie, and SOPHIE.
If you’re curious about the path that led to a cultural moment where artists like Drake and Beyoncé are releasing house-influenced records, this narrative attempts to provide that context – or at least, our perspective on it.
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
The film Thank God It’s Friday, while essentially an extended advertisement for Casablanca Records, a prominent disco label, ironically signaled a potential overexposure of disco itself. However, “Last Dance” stands as a deserving Oscar winner for Best Original Song. Beginning with a slow tempo that makes “Three Times a Lady” seem fast-paced, it evolves into a compelling and exhilarating disco track. The unsung hero is Casablanca’s producer Bob Esty, who conceived the song’s transformative tempo shift. —M.M.
Fatboy Slim, ‘The Rockafeller Skank’ (1998)
British DJ Fatboy Slim performing in Brazil, capturing the energy of great dancing music.
Image Credit: AP
Norman Cook, known as Fatboy Slim, humorously described his biggest hit, “The Rockafeller Skank,” noting, “The first time it ever got played was at the Boutique in Brighton. I put it on and everybody just looked up, mouthing, ‘This is you, isn’t it?’” Cook’s signature blend of breakbeats and guitar riffs reached peak effectiveness with “Skank.” Its 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”) quickly became ubiquitous. Cook himself jokingly referred to the phenomenon as “Frat-Boy Slim,” suggesting “Rockafeller Skank” became an anthem for a beer-drinking, party-centric mentality. —M.M.
Mescalinum United, ‘We Have Arrived’ (1991)
Techno’s hard and intense counterpart is “gabber,” a Dutch word for “buddy,” and the Netherlands is indeed a stronghold for this genre. However, gabber’s leading figure is Marc Acardipane, who operates under approximately 90 different aliases. His initial impactful release, “We Have Arrived,” under the name Mescalinum United, remains powerful. Built upon relentless drums and piercing air-raid siren-like sounds, it became a foundational track for gabber music. At Brooklyn raves hosted by Lenny Dee, whose label released the track in the US, audiences would enthusiastically mosh to its aggressive energy. —M.M.
Oliver Heldens, ‘Melody’ (2016)
Dutch DJ Oliver Heldens, known for creating great dancing music with melodic depth.
By the mid-2010s, even DJs headlining major festivals were growing tired of the predictable build-and-drop structures that had become commonplace in dance music. Oliver Heldens’ “Melody” represented a significant shift. At just 18, the Dutch producer crafted a track with dramatic string arrangements and an uplifting piano melody, showcasing a more refined and classic approach to dance music. Yet, it still retained a powerful bassline, ensuring its impact on the dance floor. —M.M.
Kerri Chandler, ‘Rain’ (1998)
New Jersey house producer Kerri Chandler’s deeply soulful tracks are a primary reason for his influential status among contemporary producers and DJs. Chandler himself 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 description. In “Rain,” Chandler’s vocal performance, punctuated by repetitions of the title word, expresses vulnerability (“Never knew you could be this way — rain”). Yet, the music, particularly the playful xylophone solo, is more suggestive of lightheartedness than sadness. —M.M.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
Paris the Black Fu of Detroit Grand Pubahs performing live, embodying the energy of great dancing music.
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Andy Toth and Mack Goudy – known as Dr. Toefinger and Paris the Black Fu respectively – of Detroit Grand Pubahs, first connected while working at a restaurant in Royal Oak, Michigan. Toth recounted, “We both liked whiskey and working on music.” One evening, Toth created a vibrant and flexible electro track. Paris, upon hearing it, instructed him to turn on the microphone. “I said ‘What you got?’ He said, ‘Don’t worry about it. Just turn the mic on.’” Within minutes, Paris improvised sexually suggestive lyrics about a dance floor encounter – resulting in a defining moment of Detroit’s early 2000s electro resurgence and an instant global club hit. —M.M.
Black Box, ‘Everybody Everybody’ (1990)
Sometimes, exceptional music emerges from ethically questionable situations, as is the case with “Everybody Everybody.” Martha Wash of the Weather Girls was hired in 1989 to record demos for Italian house producers Groove Groove Melody, under the pretense that the songs would be presented to other vocalists. 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 pursued legal action and won. (She faced a similar situation with C+C Music Factory). 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 performing at Essence Festival, a champion of bounce music and great dancing experiences.
Image Credit: Amy Harris/Invision/AP
Big Freedia, a prominent figure in New Orleans bounce music, stated in 2011, “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.” Bounce, New Orleans’ high-energy club sound, is intrinsically linked to twerking. “Azz Everywhere” became the track that propelled bounce into wider recognition. It’s a chaotic blend of snare drums, samples, and the chanted title phrase. “We hold classes on the road sometimes at performing venues and different colleges to teach about the history of bounce music,” Freedia added, describing 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 creative boundaries, resulting in a wave of innovative tracks. Joy Orbison’s debut, “Hyph Mngo,” became the defining dubstep track of 2009, capturing the scene at its peak. While the bassline and synth textures are smooth, the percussive snare and fragmented vocal samples – a woman’s voice uttering “Ooh!” and “I do” – gave it an unexpected emotional depth, contributing to its mainstream crossover success. —M.M.
ESG, ‘Moody’ (1981)
ESG's "Moody," a timeless example of great dancing music with post-punk influences.
The Scroggins sisters from the South Bronx significantly impacted New York dance music when they formed ESG in the late 1970s. While their rhythms were rooted in funk and disco, their minimalist sound and percussive focus resonated with post-punk and no-wave club scenes, particularly after collaborating with Joy Division producer Martin Hannett for their debut EP. “Moody,” the EP’s centerpiece, remains futuristic. It features a subtle bassline, bongo drums, and Renee Scroggins’ ethereal vocals echoing through the mix. —C.S.
La Roux, ‘In for the Kill (Skream’s Let’s Get Ravey Remix)’ (2009)
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Artists sometimes have mixed feelings about remixes of their work. However, La Roux’s Elly Jackson credited Skream, a fellow Londoner, for not only capturing the core essence of her synth-pop single “In for the Kill” in his remix, but also for “regav[ing] birth to the real meaning and atmosphere of the song as we wrote it.” Skream’s remix discards the original’s upbeat rhythm (and Kanye West’s guest verse), creating a tense atmosphere with flattened synths, before unleashing 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.” —M.M.
Double 99, ‘RIP Groove’ (1997)
Double 99, pioneers of UK garage and creators of great dancing music.
London producers Tim Deluxe and DJ Omar, who had previously worked as RIP, rebranded as Double 99 to commemorate a double-pack vinyl EP, as Omar explained. 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,” named in homage to their earlier project, cleverly incorporated samples from Armand Van Helden’s remix of CJ Bolland’s “Sugar Is Sweeter,” alongside Kenny Dope and Tina Moore vocals. Created in just three hours, it became a defining track of 1997, propelling UK garage (then known as “speed garage”) into mainstream pop charts and signaling the arrival of a fresh sound. —M.M.
Snap!, ‘The Power’ (1990)
A quintessential dance music story: German producers sample an American rapper (Chill Rob G of Flavor Unit) and an American R&B vocalist (Jocelyn Brown) to create a club hit. It then gets picked up by a major label (Arista) and re-recorded with a new vocalist (Turbo B, an American G.I. stationed in Germany). Subsequently, the original sampled rapper re-records it under the name Power Jam feat. Chill Rob G. Both versions become club hits. However, “The Power” became more than that, establishing a Europop blueprint, 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.” —M.M.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ Frosty, a key figure in Jersey club music, known for high-energy and great dancing tracks.
Originating in Newark, New Jersey (initially called Brick City club), Jersey club is characterized by its sharp, syncopated rhythms, clipped vocal samples, and an energetic yet non-violent feel, reminiscent of hip-house but with a distinct flavor. DJ Frosty’s “Ride That Wave” perfectly exemplifies this style. It’s an irresistibly catchy, chant-based track that emerged as the sound was gaining international recognition among EDM producers. This trend eventually led to Jersey club’s influence reaching mainstream artists like Drake on Honestly, Nevermind. The remix features Fatman Scoop, whose 90s hip-hop cut-ups on AV8 Records were favored by DJs like Armand Van Helden and Fatboy Slim. —J.D.
Todd Terje, “Inspector Norse” (2012)
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Norwegian nu-disco producer Todd Terje created “Inspector Norse”— and his 2012 EP It’s the Arps, entirely using sounds from a vintage ARP synthesizer — without expecting its widespread appeal. Terje admitted, “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 memorable melody proved captivating. “It really helped me as a DJ in terms of popularity,” he acknowledged. —M.M.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture performing live in 2002, embodying the energy of dance-punk and great live dance music.
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DFA Records founder James Murphy, co-producer of “House of Jealous Lovers,” told 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 catchy, frantic vocal over a powerful beat and deep bass, specifically designed for dance floor impact. It succeeded. The song became the pinnacle of the early 2000s “dance-punk” movement, influencing countless New York bands to adopt a sound reminiscent of 1979 Manchester or Leeds. Indie bars across the city soon featured DJ booths and turntables. —J.D.
TNGHT, ‘Higher Ground’ (2012)
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Hudson Mohawke described the 2012 EP he created with Lunice as TNGHT as “our take on big American rap beats, with a little bit of cheekiness to it.” The five-song EP propelled both artists to the forefront of EDM, thanks to its playful and dance-oriented approach to trap music. “Higher Ground,” a track characterized by its grand and detailed sound, became particularly influential. Within a year, Kanye West enlisted TNGHT to produce “Blood on the Leaves” for his album Yeezus. —M.M.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size & Reprazent, pioneers of drum and bass and creators of great innovative dance music.
In the late 1990s, drum and bass was becoming increasingly fragmented and distanced from its dancehall and hip-hop origins. Roni Size and Reprazent, a Bristol, England collective, managed to create drum and bass that was both experimental and grounded in its Black roots by fusing fast-paced beats with warm, organic jazz-funk elements. Size noted in a 2018 interview, “It’s funny how ‘Brown Paper Bag’ split people,” referring to their most popular 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.” —J.D.
Soul II Soul, ‘Back to Life (However Do You Want Me)’ (1989)
Led by DJ-producer Jazzie B and, for their first two albums, co-producer Nellee Hooper, Soul II Soul originated as a London sound system specializing in reggae and soul. When they began recording in the late 1980s, their smooth grooves seamlessly blended both genres. Initially, their tracks were intended solely for Soul II Soul’s own parties. Jazzie B explained, “It was literally for our sound [system] at the beginning. We weren’t really interested in what anybody else was doing.” However, their music captured widespread attention. “Back to Life” reached Number One on the Billboard R&B chart and the Top Five on the Hot 100. —M.M.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix Da Housecat, a Chicago house legend known for creating innovative and great dancing music.
Felix Stallings Jr., aka 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 gained global momentum with the 2000 album Kittenz and Thee Glitz. For this project, he collaborated with artists including 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 critical and celebratory of celebrity culture, seemed to define the electroclash era. Jacques Lu Cont’s “Thin White Duke Remix” further amplified its 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 of Death Cab for Cutie 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 synths. However, Superpitcher’s remix, from the German label Kompakt, added hazy synth layers and echoing bell sounds, perfectly capturing the dreamlike atmosphere hinted at in the lyrics. —M.M.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Sylvester James, captured in a portrait from circa 1980, a voice synonymous with great dancing music.
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Patrick Cowley was a synth innovator who became a defining figure of Hi-NRG, a genre popular in gay clubs. His contributions include solo work, collaborations with Sylvester, and his extended 16-minute version of Donna Summer’s “I Feel Love.” Tragically, Cowley became ill in November 1981 and passed away a year later at 32, just months after the term “AIDS” was officially recognized. Despite his illness, Cowley continued working in the studio to complete his energetic tracks. “Do Ya Wanna Funk” remains a landmark of Hi-NRG. It features soaring synth riffs and Sylvester’s stratospheric falsetto. The track also achieved cinematic recognition when featured in the party scene of the film Trading Places. —M.M.
Funkadelic, ‘One Nation Under a Groove’ (1978)
Funkadelic, innovators of funk and great groove-based dancing music.
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“One Nation Under a Groove,” arguably the greatest funk track to feature a banjo, possesses an irresistible rhythm that propelled it to the top of the R&B singles chart for six weeks in 1978. George Clinton assigned the song to Funkadelic, his guitar-heavy rock-oriented project, rather than Parliament, his horn-driven R&B group, to give it more weight: “Parliament is smashing,” he explained. “But Funkadelic is the movement.” —M.M.
Evelyn Thomas, ‘High Energy’ (1984)
Evelyn Thomas at the Limelight Disco in 1984, a pivotal figure in Hi-NRG and great high-energy dance music.
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Released in April 1984, “High Energy” is credited with naming the Hi-NRG genre, a synth-driven style popular in gay clubs. 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-1970s as a teenager. Levine, a DJ on the Northern Soul circuit who later embraced disco, particularly with the increasing use of synths, reportedly “straddle[ed] both gay disco and old Motown — the two main Hi-NRG ingredients,” according to Smash Hits. “High Energy,” with its bold, upbeat, and intentionally cheesy style, reached the UK Top Five and remains a popular track, 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: “If you just want me to play a tambourine, I’ll do it.” During their Paris session, Williams expressed his intention to channel Nile Rodgers. The robots then 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. –M.M.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson and Mat Zo – "Easy," a modern classic of great melodic electronic dance music.
Porter Robinson described his collaboration with Mat Zo, “‘Easy,’ in my mind is an homage to Daft Punk’s Discovery,” in 2013. “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 brilliant 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 lacking in stadium EDM of that era. —M.M.
Justice vs. Simian, “We Are Your Friends” (2006)
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In 2003, Parisian musicians Gaspard Augé and Xavier de Rosnay (Justice) entered a remix contest for British rockers Simian’s “Never Be Alone.” 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 and impactful sound 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. —M.M.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix performing at Coachella, a young talent creating impactful and great dancing music.
Image Credit: Scott Roth/Invision/AP
Dance music often favors youth, and the early 2010s EDM boom exemplified this. Martin Garrix’s “Animals,” built around a catchy synth riff so memorable that audiences would chant along to it (despite lacking lyrics), was released when the Dutch producer was only 18. It quickly became a global sensation. This rapid success led to skepticism. Garrix later recounted, “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.” —M.M.
Debbie Deb, ‘Lookout Weekend’ (1984)
Miami production pioneer Pretty Tony claimed in 2015, “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.” His airy, energetic tracks bridged the gap between KC and the Sunshine Band and 2 Live Crew in the Miami music scene. “Lookout Weekend,” his second single with Debbie Weshoff Lopez, whom he recruited from a record shop, represents freestyle at its peak. Like its predecessor, “When I Hear Music,” “Weekend” achieved triple platinum status. Tony responded to this success by saying, “I bought me a Porsche. As a matter of fact, two Porsches.” —M.M.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang performing in Austin, Texas, representing Baltimore club music and great regional dance energy.
Image Credit: Redferns
Tate Kobang’s “Bank Rolls (Remix),” built on 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, Kobang pays homage to K-Swift, the influential DJ who helped popularize Baltimore club music before her untimely passing in 2008. Kobang has said of her, “She was just one of those bodies in our culture that was like, ‘She ain’t never going anywhere.’” Just like K-Swift’s work, “Bank Rolls (Remix)” introduced Baltimore’s underground sound to a wider audience. —C.S.
Soft Cell, ‘Tainted Love/Where Did Our Love Go?’ (1981)
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Marc Almond of Soft Cell explained in 1981 that he and partner David Ball “both like Northern soul, Sixties music, and the 12-inch record.” They combined these influences into a powerful track. The duo’s synth-pop version of Gloria Jones’ R&B song “Tainted Love” was a hit on its own. For the extended version, they seamlessly transitioned into another classic from the same era, The Supremes’ “Where Did Our Love Go?”. Almond stated, “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 New Wave disco encapsulation, has captivated dance floors ever since. —M.M.
The Orb, ‘Little Fluffy Clouds’ (1990)
Alex Paterson of The Orb, a pioneer of ambient house and creator of atmospheric great dancing music.
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Alex Paterson of The Orb 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 Arizona skies: “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. Paterson combined them to create “Little Fluffy Clouds,” a defining 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.” —M.M.
Polygon Window, ‘Quoth’ (1993)
Richard D. James, known as Aphex Twin, is often associated with introspective electronic music. However, in the early 1990s, he produced rave anthems. “Quoth,” released under the alias Polygon Window, is a prime example. It’s a percussive tour-de-force, particularly popular in the American Midwest during that period, where it was enthusiastically danced to, sometimes even in barns. —M.M.
Skream, ‘Midnight Request Line’ (2005)
Skream DJing at Fabric Nightclub, a key figure in dubstep and creator of influential great dancing music.
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Shortly after releasing his 12-inch “Midnight Request Line,” London dubstep producer Skream 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 wavering synth melody, smooth bassline, and prominent claps, propelled Skream and dubstep into the spotlight. –M.M.
Paul Johnson, ‘Feel My M.F. Bass’ (1994)
“Ghetto house” was house music’s equivalent to gangsta rap, a style pioneered by Chicago producers (notably Dance Mania label artists) in the 1990s. It featured a raw, sample-heavy, and street-oriented sound. Paul Johnson, who used a wheelchair, was a leading figure in this style, creating unconventional genre pieces with unique flair. (His DJ mixtapes, often featuring his spoken interludes, were also distinctive.) Johnson’s defining track is “Feel My M.F. Bass,” a hard-hitting track with a cavernous kick drum. Over this, Johnson, who sadly passed away from Covid in August 2021, playfully repeats, “Feel my motherfuckin’ bass in your face,” as if serenading a lover. When the bass drum hits again, it’s clear that’s precisely what he’s doing. —M.M.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City, a Chicago house vocal group known for soulful and great dancing music.
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Marshall Jefferson, producer of 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, epitomized their style—Philly-soul strings over lush love songs, topped with Byron Stingily’s high 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.” —M.M.
Nitzer Ebb, ‘Join in the Chant’ (1987)
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Industrial groove group Nitzer Ebb, from England’s Midlands, had a genuine connection to dance music. 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,” was a perfect techno crossover, particularly in Detroit, where techno artists like Carl Craig and Jeff Mills had once been involved in industrial music. Richie Hawtin included “Chant” in his influential 1999 mix CD Decks, EFX & 909, while Andrew Weatherall famously said, “The closest I felt to God was listening to ‘Join in the Chant.’”—M.M.
Bronski Beat, ‘Smalltown Boy’ (1984)
Bronski Beat, creating anthems of alienation and great dancing music with a message.
Jimi Somerville of Bronski Beat 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 portrayal of alienation and escape. With its memorable vocal hook (“Run away, run away, run away”) and smooth synth backdrop, it became a gay club anthem, reaching Number One on the Billboard club chart and the UK Top Three. —M.M.
LFO, ‘LFO (Leeds Warehouse Mix)’ (1990)
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LFO were pioneers of Sheffield, England’s “bleep” scene—Warp Records’ original signature sound. 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.” Their self-titled track, “LFO,” got them signed. It features icy synth chords and bleeping sounds, but the focus is on the deep bass—the bassline makes you move, while the sub-bass can shake the ground. —M.M.
Drake, ‘Sticky’ (2022)
Drake – "Sticky," a contemporary example of a megastar embracing and innovating within great dance music.
As the title of Drake’s dance music-influenced album Honestly, Nevermind suggests, his foray into the genre feels intentionally understated, drawing from Jersey and Baltimore club music and deep-house styles. The standout track, “Sticky,” produced by Gordo and Ry X, features Drake rapping about personal topics, like the release of Young Thug and the passing of Virgil Abloh, departing from the low-key vocals prevalent on the rest of the album. It’s a prime example of a mainstream artist exploring a subculture and emerging with a fresh and enhanced sound. —J.D.
Roland Clark, ‘I Get Deep (Shelter Mix)’ (2000)
Roland Clark’s introduction to house music began at Club Zanzibar in Newark, New Jersey, Tony Humphries’ influential DJ residency. This track embodies his deep passion for the genre. Over lively beats and a keyboard melody, Clark delivers a spoken-word piece capturing the euphoric dance floor experience — “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, which was later sampled by Fatboy Slim on his album Halfway Between the Gutter and the Stars. —M.M.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us – "Follow Me," an early house anthem with raw emotion and great uplifting energy.
Early house music often had a raw, unpolished quality that was part of its appeal. This is evident in “Follow Me,” an uplifting anthem with gospel influences (“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 production and occasional vocal imperfections only enhance its sense of urgency and emotional impact. —M.M.
George McCrae, ‘Rock Your Baby’ (1974)
Image Credit: Redferns
In the summer of 1974, two songs that originated 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 disco hits. The instrumental track for “Rock Your Baby” was created by Henry Wayne Casey, Richard Finch, and Jerome Smith. George McCrae was added as the vocalist as he was present at the TK Records offices: “I think they gave me ‘Rock Your Baby’ to get me out of their hair,” he joked. After the song’s success, Casey, Finch, and Smith formed the core of KC and the Sunshine Band. —M.M.
El General, ‘Perezosa’ (1995)
El General, a Panamanian pioneer shaping reggaeton and great Latin-infused dance music.
Panamanian artist El General is considered a reggaeton pioneer, creating international hits using reggae rhythms in the 1980s and 1990s. His experimental approach and broader influence on club music are often overlooked. “Perezosa,” from his album Club 555, showcases his range. It’s a powerful dance anthem with high-energy electronic sounds capturing the vibrant atmosphere of Latin American parties. —J.L.
Tom and Jerry, ‘Maximum Style’ (1994)
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4Hero—Marc Mac and Dego MacFarlane—are drum and bass mainstays, creating hits throughout the genre’s evolution from early 1990s UK hardcore to late 1990s neo-fusion, sometimes under different aliases. Tom and Jerry is one such alias, credited with “Maximum Style,” released as jungle music was gaining popularity in the UK. This smooth track, with its captivating guitar melody and cartoon sound effects, maintains a playful tone while delivering a serious groove. —M.M.
LCD Soundsystem, ‘Losing My Edge’ (2002)
LCD Soundsystem performing in 2002, pioneers of dance-punk and creators of witty great dancing music.
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James Murphy’s LCD Soundsystem debut single, “Losing My Edge,” is both a compelling dance track and a comedic performance. It’s a witty and ironic commentary that also ignited New York’s early 2000s dance-punk scene. Murphy plays an aging hipster observing his fading relevance as a younger generation emerges, making him feel outdated, 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 is universally relatable. —J.D.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
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Pablo Flores is a key figure in Latin pop. The Puerto Rican DJ worked with major artists associated with Emilio Estefan, including Gloria Estefan and Ricky Martin. In the 1990s, he and his partner Javier Garza collaborated with a then-lesser-known Colombian singer named Shakira on “Ojos Asi.” This groundbreaking song honored her Lebanese heritage and foreshadowed the global sound of Latin music. Flores’ extended remix amplified these elements with masterful production that resonated on dance floors worldwide. —J.L.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher performing live, pushing boundaries of electronic music and creating complex great dancing music.
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Tom Jenkinson, as Squarepusher, twisted drum and bass into intricate sonic structures in the mid-1990s, making it intentionally less danceable and adding an intellectual element. He later said, “Basically, I was beginning to stare up my own ass,” leading him to “shake things up and make music in a more spontaneous, almost flippant way.” However, the fragmented vocals and glitchy production of “My Red Hot Car” are not just abstract. The track alternates between sonic complexity and strategic negative space, outlining a groove appealing to adventurous DJs. —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 Mark Brydon as “Peggy Lee on mescaline,” was atmospheric and downtempo. It initially underperformed. However, Belgian house producer Boris Dlugosch’s remix transformed it. His version, a crisp house groove in the style of Chic, with a captivating rhythm guitar and playful bassline, reached the UK Top Five and launched Murphy’s successful and often danceable solo career. —M.M.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League, pioneers of synth-pop and creators of iconic great dancing music.
Human League keyboardist Jo Callis described the lyrical concept of “Don’t You Want Me,” co-written by Callis and Phil Oakey, as “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.” Despite initial reservations, the song’s he-said-she-said structure and catchy riff, along with its strong chorus, proved highly appealing. It became the group’s first Number One in both the UK and US, and a Top Three hit on the Billboard Dance Club chart, marking a crucial moment in the fusion of UK synth-pop, club music, and mainstream Top 40. —M.M.
