From the moment rhythm was discovered, humans have instinctively moved to music. The simple act of tapping your foot to a beat can be considered dancing, making nearly any song a “dance song” in some capacity. Think about it – The Beatles can get you swaying, and even Slayer can fuel a headbang that’s a form of dance in its own right. Hip-hop and reggae are practically synonymous with movement, their grooves deeply embedded in dance culture. But when we talk about the ultimate Great Music To Dance To, we’re often referring to something more specific, something that resonates within what we call “dance music culture.” This is a vast and evolving world, nearly half a century in the making, constantly reinventing itself from its origins to the sounds of today and beyond.
To understand this vibrant world and truly appreciate great music to dance to, we need to embark on a journey. Our story begins in the mid-1970s, paying homage to the architect of the groove himself, Mr. James Brown, and then diving headfirst into the shimmering era of disco. From there, we’ll trace the evolution through the early Eighties club scenes, where electro and Latin freestyle emerged. We’ll witness the rebirth of disco as house music in Chicago and techno in Detroit, pivotal moments that reshaped the sonic landscape. Then, we’ll explore the explosive Nineties rave scene, a period of rapid mutation that birthed genres from jungle to trance, gabba to garage, eventually paving the way for the EDM and dubstep phenomena of the 2000s. While these genres have had their moments in the mainstream spotlight, they never truly disappear. Drum ‘n’ bass is currently experiencing a resurgence, and even now, fresh house tracks continue to emerge, adding to the ever-growing tapestry of great music to dance to.
This exploration isn’t about cataloging every minor ripple in this vast ocean of subgenres. Instead, we’re focusing on tracks that feel timeless and universally resonant, songs that have become cornerstones of dance music culture. We’re particularly interested in those moments where dance music intersected and cross-pollinated with the broader musical world – blending seamlessly with synth-pop, hip-hop, funk, Miami bass, R&B, indie-rock, Latin music, and mainstream pop. This is why you’ll find artists as diverse as Prince, Robyn, Britney Spears, and Shakira sharing space with pioneers like Frankie Knuckles, Moodymann, Goldie, and the innovative SOPHIE.
If you’ve ever wondered how we arrived at a point where artists like Drake and Beyoncé are releasing house records, this is that story – or at least, our curated version of it, highlighting some truly great music to dance to along the way.
Donna Summer, ‘Last Dance’ (1979)
Image Credit: Redferns
The film Thank God It’s Friday might be seen as a promotional vehicle for Casablanca Records, a sign of disco’s impending overexposure. Yet, “Last Dance” stands apart, rightfully earning an Oscar for Best Original Song. It’s a masterclass in dynamics, beginning at a ballad tempo that makes even “Three Times a Lady” seem fast-paced before blossoming into a compelling, energetic disco anthem. The unsung hero is Casablanca’s producer Bob Esty, who conceived the song’s transformative tempo shift, proving that sometimes the greatest music to dance to is about the journey as much as the destination. —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
“It’s funny,” Norman Cook, the producer-DJ behind Fatboy Slim, remarked about 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?’” Indeed, it was unmistakably Cook. His signature formula of breakbeats fused with irresistible guitar riffs was in peak form. “Skank,” with its iconic surf-rock guitar and the unforgettable Lord Finesse vocal sample (“Right about now, the funk soul brother/Check it out now, the funk soul brother”), rapidly became ubiquitous. “There were lots of jokes about ‘Frat-Boy Slim,’” Cook recalled. “I suppose ‘Rockafeller Skank’ became an anthem for that sort of beer-boyish mentality.” But beyond the jokes, it cemented itself as a piece of great music to dance to, instantly recognizable and undeniably infectious. —M.M.
Mescalinum United, ‘We Have Arrived’ (1991)
Techno’s heavy metal equivalent is “gabber,” a Dutch word for “buddy” – fitting, as the Netherlands is the heartland of this intense genre. However, gabber’s pioneering figure is Marc Acardipane, who operates under approximately 90 different aliases. His initial and most potent offering remains “We Have Arrived,” credited to Mescalinum United. Constructed from relentless, crushing drums and piercing air-raid siren sounds, this track became the foundation upon which gabber was built. At Brooklyn raves, where DJ Lenny Dee, whose label released the track in America, played it, crowds would enthusiastically mosh to its aggressive energy. This is great music to dance to in its most extreme form, a sonic assault designed for pure physical release. —M.M.
Oliver Heldens, ‘Melody’ (2016)
Oliver Heldens performing at a music festival, bathed in stage lights, engaging with the audience in a dynamic DJ set.
By the mid-2010s, even DJs headlining massive festivals were growing weary of the predictable build-and-drop formula that had saturated the dance music market. “Melody” signaled a significant shift. Dutch producer Oliver Heldens was only 18 when he released this track, yet its sweeping string arrangements and uplifting piano melody possessed a sophisticated, almost classical dance music sensibility. While the bass still retained a powerful stomp, “Melody” introduced a lighter, more nuanced approach, proving that great music to dance to could be both energetic and elegant. —M.M.
Kerri Chandler, ‘Rain’ (1998)
New Jersey house producer Kerri Chandler’s deeply soulful and uplifting tracks have made him a touchstone for countless 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 accurate term. Chandler’s heartfelt plea on “Rain,” with each line punctuated by the title, which somehow encapsulates the emotion (“Never knew you could be this way — rain”), teeters on the verge of tears. Yet, the music itself is more playful than melancholic, particularly the distinctive xylophone solo. This track demonstrates how great music to dance to can also be emotionally resonant and deeply personal. —M.M.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
Mack Goudy Jr. aka Paris the Black Fu of Detroit Grand Pubahs performing live in London, captured in a dynamic stage shot.
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Andy Toth and Mack Goudy — also known as Dr. Toefinger and Paris the Black Fu — first connected while working together at a restaurant in Royal Oak, Michigan. “We both liked whiskey and working on music,” Toth explained. One night, Toth programmed a buzzing, incredibly flexible electro track, and Paris spontaneously grabbed the microphone. “I said ‘What you got?’ He said, ‘Don’t worry about it. Just turn the mic on.’” Within minutes, Paris had improvised some suggestive lyrics about a dance-floor encounter – resulting in the biggest pop moment of Detroit’s turn-of-the-century electro revival, and an instant global club hit. “Sandwiches” proves that sometimes great music to dance to can be born from pure improvisation and a touch of playful audacity. —M.M.
Black Box, ‘Everybody Everybody’ (1990)
Sometimes, exceptional records emerge from questionable circumstances. Consider “Everybody Everybody.” Martha Wash of the Weather Girls was hired in 1989 to record demos for a trio of Italian house producers calling themselves Groove Groove Melody. She was assured the songs were for other singers. Instead, the tracks were released under the name Black Box, featuring her (uncredited) vocals. Adding insult to injury, a model was hired to lip-sync Wash’s vocals in music videos. She rightfully sued and won. (She also took similar action against C+C Music Factory for the same practice.) Daniele Davoli of Black Box later expressed remorse: “We didn’t know any better at the time. I guess we had to learn from our mistakes,” he admitted in 2013. Despite the controversy, “Everybody Everybody” remains a high-energy example of great music to dance to, showcasing the powerful vocals that, though initially uncredited, became iconic. —M.M.
Big Freedia, ‘Azz Everywhere’ (2010)
Big Freedia performing at the Essence Festival, radiating energy and embodying the spirit of New Orleans bounce music.
Image Credit: Amy Harris/Invision/AP
“I’ve traveled across the globe now, spreading the gospel of bounce and trying to get people everywhere onto what’s been around for two decades,” Big Freedia said in 2011, referring to New Orleans’ fast-paced, chaotic, and exuberant homegrown club sound – the very music for which twerking was invented. “Azz Everywhere” was the track that propelled this sound into wider recognition. It’s a sonic explosion of snares, samples, and the chanted title phrase. “We hold classes on the road sometimes at performing venues and different colleges to teach about the history of bounce music,” Big Freedia added. “We describe it as an uptempo, heavy bass, holler-response music. And it definitely has a lot to do with azz shaking!” This track is pure, unadulterated great music to dance to, specifically designed to get bodies moving and shaking. —M.M.
Joy Orbison, ‘Hyph Mngo’ (2009)
In the late 2000s, dubstep producers were pushing boundaries, resulting in a wave of experimental tracks – and Joy Orbison’s debut, “Hyph Mngo,” became the defining dubstep track of 2009, capturing the scene at its peak. The bass line and plastic-sounding synths create a smooth, gliding feel, but the ricocheting snare drum and fragmented vocal samples – a woman’s voice alternately calling out “Ooh!” and “I do” – inject a surprisingly emotional element, rare for dubstep, which helped propel it into the mainstream. “Hyph Mngo” demonstrated how great music to dance to could be both innovative and emotionally engaging, bridging the gap between underground sounds and wider appeal. —M.M.
ESG, ‘Moody’ (1981)
ESG performing live, the Scroggins sisters delivering their signature minimalist sound and captivating stage presence.
The Scroggins sisters from the South Bronx left an enduring mark on New York dance music when they started performing as ESG in the late 1970s. While their grooves were rooted in funk and disco, their stripped-down sound and emphasis on percussion made them popular in post-punk and no-wave clubs as well, particularly after they enlisted Joy Division producer Martin Hannett to produce their debut EP. “Moody,” the EP’s centerpiece, still sounds futuristic today: a seductive bassline rumble, bongo drums, and Renee Scroggins’ ethereal voice echoing through the sonic space. “Moody” is a testament to how great music to dance to can be created with minimalist elements, focusing on rhythm and atmosphere. —C.S.
La Roux, ‘In for the Kill (Skream’s Let’s Get Ravey Remix)’ (2009)
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Artists sometimes have mixed feelings about remixes of their songs. But La Roux’s Elly Jackson credited fellow Londoner Skream for not only capturing the essence of her mid-tempo synth-pop single “In for the Kill” in his remix, but also for “regiving birth to the real meaning and atmosphere of the song as we wrote it.” Skream’s rework discards the original’s bouncing beat (and Kanye West’s guest rap), creating an intensely tense atmosphere with flattened synths, then unleashing the tension with fast-paced drum-and-bass breaks. “What he did with the song is what we would have done if we’d been brave enough,” Jackson elaborated. “We wanted to make a pop record and that just isn’t a pop thing, what he did to it.” Skream’s remix transformed a pop song into a raw, energetic piece of great music to dance to, revealing hidden depths in the original. —M.M.
Double 99, ‘RIP Groove’ (1997)
Double 99 in a promotional shot, representing the UK garage sound that took over dance floors in the late 90s..
After collaborating as RIP in the mid-Nineties, London producers Tim Deluxe and DJ Omar rebranded as Double 99 to mark “a double-pack vinyl EP,” Omar explained. Due to time constraints, he added, “we decided to make up track names and get the artwork done before the tracks had actually been made.” “RIP Groove,” titled in homage to their previous moniker and cleverly built from samples of Armand Van Helden’s remix of CJ Bolland’s “Sugar Is Sweeter,” plus Kenny Dope and singer Tina Moore, was crafted in just three hours. It became one of the defining tracks of 1997, propelling UK garage (then known as “speed garage”) into the pop charts and announcing a fresh, exciting sound. “RIP Groove” is a prime example of great music to dance to born from sampling ingenuity and a tight deadline. —M.M.
Snap!, ‘The Power’ (1990)
“The Power” is a quintessential dance-music archetype. Two German producers sampled an American rapper (Chill Rob G of Queen Latifah’s Flavor Unit crew) and an American R&B diva (Jocelyn Brown), creating a club hit. It was then picked up by a major label (Arista) and rerecorded with a new vocalist (Turbo B, an American G.I. stationed in Germany). Subsequently, the originally sampled American rapper rerecorded that version under the name Power Jam feat. Chill Rob G. Both versions became club hits, but “The Power” transcended that, becoming the blueprint for Europop. As Snap!’s Michael Muenzing explained in 1994: “Now you have 50 or 60 groups singing this way — rapping, singing the chorus, and going back to the rap.” “The Power” showcases how great music to dance to can emerge from transatlantic collaborations and sampling innovation, shaping the sound of a decade. —M.M.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ Frosty in a studio setting, representing the energy and innovation of Jersey club music..
Originating in Newark, New Jersey (initially called Brick City club), Jersey club is characterized by sharp, syncopated rhythms, clipped vocal samples, and a vibe that’s energetic yet never aggressive, reminiscent of classic hip-house in a blender. DJ Frosty’s “Ride That Wave” perfectly encapsulates this style – a relentlessly catchy, chant-driven banger that arrived just as the sound was gaining traction with EDM producers worldwide. This trend ultimately led to Jersey club influencing mainstream artists like Drake on Honestly, Nevermind. The remix featured artists like Fatman Scoop, whose 90s hip-hop cut-ups were influential for DJs like Armand Van Helden and Fatboy Slim. “Ride That Wave (Remix)” is a high-octane example of great music to dance to, highlighting the infectious energy of Jersey club. —J.D.
Todd Terje, “Inspector Norse” (2012)
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When Norwegian nu-disco producer Todd Terje created “Inspector Norse” – entirely from sounds generated by a vintage ARP synthesizer, like the rest of his 2012 It’s the Arps EP – he didn’t anticipate its widespread appeal. “I thought it was going to go well with the DJs, as I’d tried it out and it had a danceable beat, but I never thought I’d hear people singing along to the melodies,” Terje admitted. However, the track’s quirky, catchy melody proved irresistible. “It really helped me as a DJ in terms of popularity,” he said. “Inspector Norse” demonstrates that great music to dance to can be both sophisticated and fun, with a melody that sticks in your head long after the beat stops. —M.M.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture performing live at Bowery Ballroom in New York City, capturing the energy of the early 2000s dance-punk scene..
Image Credit: Redferns
“Most people now have no memory of how absolutely sacrilegious it was at the time,” DFA founder and “House of Jealous Lovers” co-producer James Murphy told Spin. “We wanted to make a rock track that could compete with dance music. We obsessed over it.” The Rapture’s debut single layered raw, Gang of Four-esque guitar riffs and a contagiously manic, shout-along vocal over a powerful beat and deep bass, meticulously engineered to be irresistible to dance DJs. It succeeded. The song became the pinnacle of the early-2000s “dance punk” movement, instantly influencing countless new bands in New York to emulate the sounds of 1979 Manchester or Leeds. Suddenly, every indie bar in town had a DJ booth and turntables. “House of Jealous Lovers” is a raw and energetic example of great music to dance to, blurring the lines between rock and dance music. —J.D.
TNGHT, ‘Higher Ground’ (2012)
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“The first time around was our take on big American rap beats, with a little bit of cheekiness to it,” Hudson Mohawke said of the 2012 EP he created with Lunice as TNGHT. The five-song EP propelled both artists to the forefront of EDM, thanks to its playful, dancefloor-focused take on trap music. “Higher Ground,” a track with a majestic, almost regal stomp, is both cavernous and intricately detailed. Within a year, Kanye West recruited TNGHT to produce “Blood on the Leaves” from Yeezus. “Higher Ground” exemplifies great music to dance to that blends trap sensibilities with innovative sound design, attracting attention from major artists. —M.M.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size Reprazent in a group shot, representing the fusion of jazz and drum and bass in their groundbreaking sound..
In the late Nineties, drum-and-bass was becoming increasingly fragmented and distancing itself from its roots in dancehall and hip-hop. Bristol, England’s Roni Size and Reprazent managed to create drum-and-bass that was both experimental and expansive while retaining its Black roots, by fusing frenetic beats with warm, organic jazz-funk influences. “It’s funny how ‘Brown Paper Bag’ split people,” Size told an interviewer in 2018, referring to their most famous track, the double-bass driven highlight from their 1997 album, New Forms. “They heard the jazz, how it sounded different from everything else, and they saw this other audience that loved it.” “Brown Paper Bag” is a sophisticated and innovative example of great music to dance to, demonstrating the genre-bending possibilities of drum and bass. —J.D.
Soul II Soul, ‘Back to Life (However Do You Want Me)’ (1989)
Led by the charismatic DJ-producer Jazzie B and, for two albums, co-producer Nellee Hooper, Soul II Soul began as a London sound system specializing in reggae and soul. When they started making records in the late Eighties, 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 said. “We weren’t really interested in what anybody else was doing.” However, everyone soon became interested in them. “Back to Life” reached Number One on the Billboard R&B chart and Top Five on the Hot 100. “Back to Life” is a soulful and elegant example of great music to dance to, born from sound system culture and achieving mainstream success. —M.M.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix Da Housecat in a DJ booth, representing the electroclash era and his influential album Kittenz and Thee Glitz..
Felix Stallings Jr. 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 went global, and for his 2000 album Kittenz and Thee Glitz, he assembled an international collective of collaborators, including Junior Sanchez, Tommie Sunshine, and Parisian vocalists Miss Kittin and Melistar, for a concept album about celebrity and artifice. “Silver Screen Shower Scene” became an instant anthem, its celebrity-mocking lyrics and music seemingly defining the entire electroclash movement. Jacques Lu Cont’s “Thin White Duke Remix” was even more popular with DJs. “Silver Screen Shower Scene” is a stylish and satirical example of great music to dance to, capturing the zeitgeist of the electroclash era. –M.M.
Dntel feat. Ben Gibbard, “(This Is) The Dream of Evan and Chan (Superpitcher Kompakt Remix)” (2001)
In 2000, Death Cab for Cutie’s frontman Ben Gibbard had “a weird dream … involving [Lemonheads frontman] Evan Dando and Chan Marshall,” 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 transformed it into a song, collaborating with Dntel (Jimmy Tamborello) before their Postal Service project. Dntel set Gibbard’s vocal to skittering beats and buzzing synths, but the remix by Superpitcher, from the influential German label Kompakt, featured hazy, layered synths and echoing bells that perfectly captured the dreamlike state hinted at in the lyrics. This remix of “(This Is) The Dream of Evan and Chan” is an atmospheric and evocative example of great music to dance to, transporting listeners to a surreal soundscape. —M.M.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Sylvester James, a disco icon, known for his flamboyant style and powerful vocals in the gay club scene..
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Patrick Cowley was a synth virtuoso who became the leading innovator of Hi-NRG, a staple of gay clubs, through his solo work, collaborations with Sylvester, and his epic 16-minute extension of Donna Summer’s “I Feel Love.” However, Cowley fell ill in November 1981, and tragically passed away a year later at 32, just four months after the term “AIDS” was officially coined. In his final months, Cowley 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 high-energy and iconic example of great music to dance to, deeply rooted in gay club culture and tragically created during a pivotal moment in history. —M.M.
Funkadelic, ‘One Nation Under a Groove’ (1978)
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“One Nation Under a Groove,” arguably the greatest funk track ever to feature a banjo, possesses an instantly captivating groove 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 (as opposed to the horn-driven Parliament) was George Clinton’s way of adding weight: “Parliament is smashing,” he explained. “But Funkadelic is the movement.” “One Nation Under a Groove” is a funk masterpiece and a prime example of great music to dance to, showcasing the unique sound and social commentary of Funkadelic. —M.M.
Evelyn Thomas, ‘High Energy’ (1984)
Evelyn Thomas sighted at the Limelight Disco in New York City, representing the Hi-NRG era and her signature track "High Energy"..
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Released in April 1984, this track gave Hi-NRG, the synth-heavy gay club staple, its name, though 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 her teens in the mid-Seventies. Levine, a DJ on the Northern Soul circuit who played rare Sixties American R&B, transitioned towards disco, especially as synths became dominant. Smash Hits noted that Levine “straddle[ed] both gay disco and old Motown — the two main Hi-NRG ingredients.” Bold, cheerful, and irresistibly cheesy, “High Energy” reached the British Top Five and remains a dancefloor anthem, as demonstrated by DJ-producer Black Madonna (now the Blessed Madonna) on her Bunker Podcast. “High Energy” is a quintessential Hi-NRG track and an upbeat example of great music to dance to, epitomizing the sound of an era. —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.” When they met in Paris, Williams stated his intention to channel Nile Rodgers – and the robots played him the track they’d already created with Rodgers. Williams recorded his smooth vocals on that visit. “You don’t need MDMA for this music, because it’s so incredibly vivid,” he enthused. “Get Lucky” is a modern disco masterpiece and an undeniably catchy example of great music to dance to, bringing together iconic artists and timeless grooves. –M.M.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson and Mat Zo performing together, representing their collaboration on the popular EDM track "Easy"..
“‘Easy’ in my mind is an homage to Daft Punk’s Discovery,” Porter Robinson said in 2013 of his collaboration with Mat Zo. “It takes the disco chords of all of the early French stuff and gives it a louder, more trance-inspired feel.” It’s a skillful update, both dazzling and classic: the central synth line evokes both a Theremin and a Moog, and the vocal sample (from Colourblind’s NYC garage classic “Nothing Better”) has a heart-wrenching quality absent from much of the stadium EDM of that era. “Easy” is a sophisticated and emotionally resonant example of great music to dance to, paying homage to disco while forging a modern EDM sound. —M.M.
Justice vs. Simian, “We Are Your Friends” (2006)
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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 jarring, energetic track that perfectly bridged 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 transform into the dance act Simian Mobile Disco. “We Are Your Friends” is an electrifying example of great music to dance to, born from remix ingenuity and bridging genres. —M.M.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix performing at Coachella Music and Arts Festival, representing the young generation of EDM producers and his global hit "Animals"..
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Dance music is often a young person’s domain, and the early-2010s EDM boom exemplified this. Built around a surging synth riff so catchy it was common to hear crowds chanting along (despite the absence of lyrics), Martin Garrix’s “Animals” was released when the Dutch producer was only 18, becoming an instant global phenomenon. Naturally, this sparked skepticism. “At first, people in the industry assumed I didn’t make my own shit,” Garrix later said. “So I would do livestreams and production tutorials on the internet to get rid of that stigma.” “Animals” is a high-energy and instrumental example of great music to dance to, proving that age is no barrier to creating global dance anthems. —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 said in 2015. His airy, high-energy tracks bridged the gap between the Miami sound of KC and the Sunshine Band and 2 Live Crew. “Lookout Weekend,” his second single with Debbie Weshoff Lopez – whom he recruited while she was working at a record shop – was freestyle at its most effervescent. 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 classic freestyle track and a fun example of great music to dance to, embodying the Miami sound of the 80s. —M.M.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang performing at Youtube Music Showcase, representing the Baltimore club sound and his tribute track "Bank Rolls Remix"..
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Built upon a sample of Tim Trees’ Baltimore club track “Bank Roll,” then-23-year-old rapper Tate Kobang’s remix is a modern homage to Baltimore, its people, its resilience, and its vibrant 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 death in 2008. “She was just one of those bodies in our culture that was like, ‘She ain’t never going anywhere,’” Kobang has said. And like K-Swift’s groundbreaking work, “Bank Rolls (Remix)” introduced a new audience to the underground Baltimore sound. “Bank Rolls (Remix)” is a modern and energetic example of great music to dance to, paying tribute to Baltimore club culture and its pioneers. —C.S.
Soft Cell, ‘Tainted Love/Where Did Our Love Go?’ (1981)
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“We both like Northern soul, Sixties music, and the 12-inch record,” Marc Almond explained in 1981 about himself and Soft Cell partner David Ball – so they combined all three into one powerful track. The duo’s synth-pop rendition of Gloria Jones’ R&B stomper “Tainted Love” was a hit on its own, but for the extended version, they seamlessly blended it into another classic from the same era by the Supremes. “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. The complete nine-minute medley – New Wave disco in a nutshell – has captivated dance floors ever since. “Tainted Love/Where Did Our Love Go?” is a New Wave disco classic and a hypnotic example of great music to dance to, blending genres and eras. —M.M.
The Orb, ‘Little Fluffy Clouds’ (1990)
Alex Paterson of The Orb, representing the ambient house sound and their iconic track "Little Fluffy Clouds"..
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One day, the Orb’s Alex Paterson received a tape from a friend, with a note: “This might be a good idea for a new Orb single.” Side A was an interview with Rickie Lee Jones, who described the starry Arizona skies of her youth: “The most beautiful skies, as a matter of fact … purple and yellow and red and on fire.” Side B was Steve Reich’s Electric Counterpoint. When Paterson combined them, he created “Little Fluffy Clouds,” the most comforting track of the acid-house era. Reich “was very happy when he heard it,” Paterson said. “Suddenly, it was being played to the masses, and they were loving it.” “Little Fluffy Clouds” is an ambient house classic and a dreamy example of great music to dance to, proving that dance music can also be deeply relaxing and evocative. —M.M.
Polygon Window, ‘Quoth’ (1993)
Richard D. James, a.k.a. Aphex Twin, might be better known for dance music best enjoyed while seated, but in the early Nineties, he produced rave bangers of the highest caliber. Exhibit A: “Quoth,” a percussion symphony released under the alias Polygon Window, a true barn burner – especially for American Midwesterners of the time, who literally danced to this track in barns. “Quoth” is a rave anthem and an energetic example of great music to dance to, showcasing Aphex Twin’s early foray into dancefloor-oriented music. —M.M.
Skream, ‘Midnight Request Line’ (2005)
Skream DJing at Fabric Nightclub in London, representing the dubstep genre and his breakthrough track "Midnight Request Line"..
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Shortly after London dubstep producer-DJ Skream released his playfully brooding 12-inch “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 fluttering synth melody, smooth bass glide, and clap-heavy beat, catapulted Skream, and dubstep, into the spotlight. “Midnight Request Line” is a seminal dubstep track and a moody yet compelling example of great music to dance to, marking a turning point for the genre. –M.M.
Paul Johnson, ‘Feel My M.F. Bass’ (1994)
“Ghetto house” was house music’s equivalent to gangsta rap – a self-described style from a group of Nineties Chicago producers (notably, those on the Dance Mania label) who created a raw, sample-based, and street-oriented style. Paul Johnson, who used a wheelchair, was the style’s most prominent artist, producing outlandish genre pieces with a unique flair. (His DJ mixtapes, often featuring his dreamy voice-overs, were also notable.) Johnson’s pinnacle was this blunt, powerful track, a cavernous kick drum over which the producer, who tragically died from Covid in August 2021, gleefully purrs, “Feel my motherfuckin’ bass in your face,” as if serenading a lover. When the kick drum returns, his intention is clear. “Feel My M.F. Bass” is a raw and unapologetic example of great music to dance to, representing the energy of ghetto house and the unique personality of Paul Johnson. —M.M.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City, a Chicago house vocal trio, representing the soulful and vocal-driven side of house music..
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“When Ten City started, I think we were both at a point where we wanted to expand the genre by writing proper songs while at the same time doing more abstract things,” said Marshall Jefferson, who produced the Chicago house vocal trio. “That’s the Way Love Is,” Ten City’s third single, solidified their style – Philly-soul strings over lush love songs, topped by Byron Stingily’s stratospheric falsetto. It reached the UK Top 10 and Number One on the Billboard dance chart. Moreover, Jefferson said, “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 and uplifting example of great music to dance to, demonstrating the power of house music to convey emotion and inspire beyond the dancefloor. —M.M.
Nitzer Ebb, ‘Join in the Chant’ (1987)
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Hailing from England’s Midlands, industrial groove group 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 – particularly in Detroit, where techno artists like Carl Craig and Jeff Mills had once created industrial music. Richie Hawtin included “Chant” in his seminal 1999 mix CD Decks, EFX & 909, while Andrew Weatherall once declared, “The closest I felt to God was listening to ‘Join in the Chant.’” “Join in the Chant” is an industrial dance anthem and a powerful example of great music to dance to, blending industrial sounds with club energy. —M.M.
Bronski Beat, ‘Smalltown Boy’ (1984)
Bronski Beat in a promotional shot, representing the synth-pop era and their iconic and poignant track "Smalltown Boy"..
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 that angst into “Smalltown Boy,” a searing portrayal of alienation and escape. With its poignant vocal hook (“Run away, run away, run away”) and smooth synth backdrop, it instantly became a gay club anthem, reaching Number One on the Billboard club chart and the UK Top Three. “Smalltown Boy” is a synth-pop classic and a deeply emotional example of great music to dance to, resonating with personal struggles and finding release on the dancefloor. —M.M.
LFO, ‘LFO (Leeds Warehouse Mix)’ (1990)
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LFO were the kings of Sheffield, England’s “bleep” scene – Warp Records’ original signature sound, which sounds exactly as the name suggests. However, as Warp’s Steve Beckett put it, “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, where icy synth chords and squiggly bleeps set the stage for layers of low end – the bass line compels movement, while the sub-bass can shake city blocks. “LFO (Leeds Warehouse Mix)” is a bleep techno classic and a bass-heavy example of great music to dance to, showcasing the raw power of low frequencies in dance music. —M.M.
Drake, ‘Sticky’ (2022)
Drake in a promotional shot for "Honestly, Nevermind", representing his foray into dance music and the track "Sticky"..
As its title implies, Drake’s venture into dance music – Honestly, Nevermind – feels intentionally understated, casually incorporating Jersey and Baltimore club music alongside deep-house influences. The standout track is “Sticky,” produced by Gordo and Ry X, where Drake departs from the low-key vocals prevalent on the rest of the album and raps about personal topics, such as the release of Young Thug and the passing of Virgil Abloh. It’s a compelling example of a megastar venturing into a subculture and emerging with a refined version of their own sound. “Sticky” is a modern and genre-bending example of great music to dance to, demonstrating the ongoing evolution of dance music and its influence on mainstream artists. —J.D.
Roland Clark, ‘I Get Deep (Shelter Mix)’ (2000)
“The love of house music started when I went to Club Zanzibar in lieu of my prom,” Roland Clark said – referring to the Newark, New Jersey, venue where Tony Humphries had a legendary DJ residency. This anthem clearly demonstrates the depth of his passion. Over lively kicks and hats and a swirling electric-keyboard melody, Clark delivers a monologue that captures a transcendent dancefloor moment – “All the sweat just goes down my face/And I pretend that there’s nobody there but me in this place.” Clark also included the a cappella version on the 12-inch, which was later sampled by Fatboy Slim on his third album, Halfway Between the Gutter and the Stars. “I Get Deep (Shelter Mix)” is a soulful house anthem and a deeply personal example of great music to dance to, capturing the transformative experience of being lost in the music. —M.M.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us in a group shot, representing the early house music era and their uplifting anthem "Follow Me"..
Early house music often had a raw, unpolished quality – and that DIY aesthetic was a significant part of its charm. This is particularly true of this uplifting anthem, a gospel-inspired song in form and feeling (“We must stop fighting/To achieve the peace”) from a New Jersey vocal trio who recorded it in a basement on a four-track recorder. Its lo-fi roughness, along with the occasional sharpness in the vocal harmonies, only enhances the song’s sense of urgency. “Follow Me” is an early house classic and an uplifting example of great music to dance to, demonstrating the raw energy and soulful roots of the genre. —M.M.
George McCrae, ‘Rock Your Baby’ (1974)
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In the summer of 1974, two songs that first gained popularity in clubs reached Number One on the Billboard Hot 100. One was Hues Corporation’s “Rock the Boat,” and the other was this smooth classic. These were the 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 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 smooth example of great music to dance to, marking the beginning of disco’s mainstream dominance. —M.M.
El General, ‘Perezosa’ (1995)
El General performing live, a pioneer of reggaeton and Latin dance music, known for his experimental sound..
Panamanian pioneer El General established the blueprint for reggaeton when he began creating massive international hits using reggae riddims in the Eighties and Nineties. However, his experimental nature and broader influence on club music are often overlooked. One undeniable example of his range is “Perezosa,” the booming – and empowering – dance anthem from his album Club 555, which was filled with high-voltage electronic sounds that captured the energy of the most vibrant parties across Latin America. “Perezosa” is a reggaeton classic and an energetic example of great music to dance to, showcasing El General’s innovative approach to Latin dance music. —J.L.
Tom and Jerry, ‘Maximum Style’ (1994)
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4Hero – Marc Mac and Dego MacFarlane – are drum-and-bass stalwarts, consistently creating hits throughout the genre’s evolution, from early-Nineties UK hardcore to late-Nineties neo-fusion, sometimes under different aliases. Tom and Jerry was one of these aliases, responsible for this gem, released as jungle’s popularity was surging in the UK. This smooth, gliding track, with its enchanting, needling guitar melody and occasional cartoon sound effects, maintained a playful vibe while delivering a seriously infectious groove. “Maximum Style” is a jungle classic and a playful yet groove-heavy example of great music to dance to, showcasing 4Hero’s versatility and innovation within drum and bass. —M.M.
LCD Soundsystem, ‘Losing My Edge’ (2002)
James Murphy of LCD Soundsystem performing live, representing the dance-punk scene and their iconic track "Losing My Edge"..
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The debut single by James Murphy’s LCD Soundsystem is both a killer groove and a brilliant stand-up comedy routine. It’s a witty and ironic track that ignited the New York dance-punk scene of the early 2000s. Murphy portrays an aging hipster watching his relevance fade as a new generation of cool kids emerges, making him feel obsolete, even if he “was there, at the first Can show in Cologne,” or was the first “to play Daft Punk to the rock kids.” “Losing My Edge” makes you laugh and dance simultaneously, and even if you’ve never been part of any scene, its feeling of FOMO remains universally relatable. “Losing My Edge” is a dance-punk anthem and a witty example of great music to dance to, blending satire and dancefloor energy. —J.D.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
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Pablo Flores is considered a secret architect of Latin pop. The Puerto Rican DJ spent years collaborating 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 Nineties, he and his music partner, Javier Garza, helped her create “Ojos Asi,” a forward-thinking song that honored her Lebanese heritage while foreshadowing boundary-pushing, globally-influenced Latin music. His extended remix took these ideas even further, with masterful production that appealed to dance floors worldwide. “Ojos Asi (Thunder Mix)” is a Latin pop remix and a global example of great music to dance to, blending Arabic influences with Latin rhythms and dancefloor sensibilities. —J.L.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher performing live, representing the experimental side of drum and bass and his complex track "My Red Hot Car"..
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Recording as Squarepusher in the mid-Nineties, Tom Jenkinson twisted drum-and-bass’s frenetic energy into complex sonic puzzles, making it intentionally undanceable and infusing it with 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 glitch-heavy production of “My Red Hot Car” are not mere abstraction – the flickering complexity alternates with clever negative space, all outlining a groove that moves crowds, particularly adventurous DJs. “My Red Hot Car” is an experimental drum and bass track and a challenging yet rewarding example of great music to dance to, pushing the boundaries of the genre. —M.M.
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. Initially, it was unsuccessful. Then, Belgian house producer Boris Dlugosch sent them his remix – a crisp house groove reminiscent of Chic, with a beguiling rhythm guitar and playful bassline. This remix reached the UK Top Five and launched Murphy’s adventurous and often danceable solo career. “Sing It Back (Boris Musical Mix)” is a house remix and a transformative example of great music to dance to, showcasing the power of remixing to elevate a track and launch an artist’s career. —M.M.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League in a promotional shot, representing the synth-pop era and their iconic hit "Don't You Want Me"..
“Phil [Oakey] had this lyrical idea 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 Callis co-wrote. The group initially didn’t think much of the song – despite its he-said-she-said structure and catchy riff, as well as the massive chorus. The song became the group’s first Number One in both the UK and US, and a Top Three hit on the Billboard Dance Club chart, marking a key moment in the fusion of UK synth-pop, club music, and Top 40 pop. “Don’t You Want Me” is a synth-pop anthem and a globally successful example of great music to dance to, bridging genres and achieving mainstream crossover success. —M.M.
Conclusion
From the early days of disco to the cutting edge of modern EDM and beyond, the story of dance music culture is one of constant reinvention and evolution. We’ve journeyed through genres, explored iconic tracks, and highlighted artists who have pushed boundaries and shaped the sounds that move us. What becomes clear is that “dance music culture” is not just about a specific genre, but rather a spirit of innovation, a drive to create rhythms and melodies that resonate with bodies and souls alike.
The tracks highlighted here, from Donna Summer’s disco grandeur to Skream’s dubstep innovations, represent just a fraction of the great music to dance to that has emerged over the decades. These songs, and countless others, have soundtracked nights out, fueled movements, and provided a sense of collective euphoria on dance floors across the globe.
Even today, as artists like Drake and Beyoncé explore house music, the evolution continues. The desire to create great music to dance to remains a powerful force, constantly pushing artists to experiment, blend genres, and connect with audiences on a primal, rhythmic level. Whether it’s the classic sounds of disco, the raw energy of jungle, or the polished sheen of modern EDM, the core element remains the same: music that makes you want to move, to feel, and to lose yourself in the rhythm. And that, ultimately, is the enduring power of great music to dance to.
