What exactly defines a “dance song”? It’s a question that opens up a world of musical possibilities. In a broad sense, any song that inspires movement can be considered a dance song. From The Beatles to Slayer, countless artists across genres have created music that makes people move. Hip-hop and reggae, in their essence, are inherently danceable genres. However, curating a list of the Best Dance Songs Of All Time requires a more focused lens, one that delves into the realm of “dance music culture.” This is a vast and specific world, spanning nearly half a century and constantly evolving.
Our exploration of dance music begins in the mid-1970s with the disco revolution, a movement ignited by the godfather of extended grooves, James Brown. From there, we journey into the early 1980s club scene, encountering electro and Latin freestyle. Disco’s spirit is reborn in the form of Chicago house and Detroit techno, genres that then rapidly morph during the 1990s rave explosion, giving rise to jungle, trance, gabba, and garage. The 2000s witness the ascent of EDM and dubstep, further expanding the dance music landscape. While these genres have experienced moments of mainstream prominence, they never truly disappear. Drum ‘n’ bass, for example, is currently enjoying a resurgence, and contemporary house tracks continue to emerge.
This list of the best dance songs of all time doesn’t aim to encompass every nuance within this ocean of subgenres. Instead, we’ve sought out tracks that possess a timeless quality, songs that resonate universally and stand as canonical examples of dance music. We’ve particularly focused on moments where dance music intersects with broader musical trends – synth-pop, hip-hop, funk, Miami bass, R&B, indie-rock, Latin music, and pop. This is why you’ll find artists as diverse as Prince, Robyn, Britney Spears, and Justin Bieber alongside pioneers like Adonis, Frankie Knuckles, Moodymann, Goldie, and SOPHIE.
If you’re curious about the path that led to a summer where artists like Drake and Beyoncé are releasing house-inspired records, this list attempts to tell that story – or at least, our version of the best dance songs of all time that have shaped this evolution.
Donna Summer, ‘Last Dance’ (1979)
Donna Summer Last Dance Image Credit: Redferns
Image Credit: Redferns
The film Thank God It’s Friday, while essentially an extended advertisement for Casablanca Records, Donna Summer’s powerhouse disco label, ironically signaled disco’s peak and perhaps its impending decline. Yet, “Last Dance” stands as a testament to disco’s enduring power, rightfully earning an Oscar for Best Original Song. The track masterfully builds from a glacial pace, making even “Three Times a Lady” seem fast-paced by comparison, before exploding into a taut and exhilarating disco anthem. The unsung hero is Casablanca’s in-house producer Bob Esty, who conceived the song’s brilliant tempo shift. This song is undeniably one of the best disco dance songs ever created. —M.M.
Fatboy Slim, ‘The Rockafeller Skank’ (1998)
Fatboy Slim Concert Performance at Pop Music Festival in Brazil Image Credit: AP
Image Credit: AP
Producer-DJ Norman Cook, known as Fatboy Slim, humorously recalled the debut of his biggest hit, “The Rockafeller Skank”: “It’s funny, 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 formula of breakbeats and guitar riffs reached peak effectiveness with “Skank.” Its infectious 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 jokingly referred to the track’s association with a “Frat-Boy Slim” image: “I suppose ‘Rockafeller Skank’ became an anthem for that sort of beer-boyish mentality.” Despite its playful nature, “The Rockafeller Skank” remains one of the best big beat dance songs of the 90s. —M.M.
Mescalinum United, ‘We Have Arrived’ (1991)
Techno’s aggressive counterpart, “gabber,” meaning “buddy” in Dutch, finds its most devoted fanbase in the Netherlands. However, gabber’s pioneering figure is Marc Acardipane, who operates under approximately 90 aliases. His seminal track, “We Have Arrived,” credited to Mescalinum United, remains a powerful statement. Built upon relentless drums and piercing air-raid siren sounds, it served as the foundation upon which gabber was constructed. At Brooklyn raves hosted by Lenny Dee, whose label released the track in America, crowds would enthusiastically mosh to its intense energy. “We Have Arrived” is a foundational track in the history of hardcore techno and a contender for best gabber dance song. —M.M.
Oliver Heldens, ‘Melody’ (2016)
Oliver Heldens DJ Portrait Image Credit: Getty Images
By the mid-2010s, even DJs headlining major festivals were growing weary of the predictable build-and-drop formula that dominated the dance music scene. Oliver Heldens’ “Melody” marked a significant shift. Dutch producer Oliver Heldens, only 18 at the time of release, crafted a track with dramatic string swells and an uplifting piano melody, imbuing it with a sense of airy classicism within a still powerfully stomping bassline. “Melody” signaled a move towards more nuanced and melodic sounds in mainstream EDM, making it one of the best future house dance songs and an influential track in contemporary dance music. —M.M.
Kerri Chandler, ‘Rain’ (1998)
New Jersey house producer Kerri Chandler’s deeply soulful and buoyant tracks have made him a touchstone for a generation of 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 apt description. On “Rain,” Chandler’s emotionally charged plea, with each line punctuated by the titular word that encapsulates the feeling, verges on tears. Yet, the music, particularly the playful xylophone solo, is more teasing than melancholic. “Rain” showcases Chandler’s signature soulful house sound, solidifying its place as one of the best soulful house dance songs. —M.M.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
Detroit Grand Pubahs Paris the Black Fu Live Performance Image Credit: Jim Dyson/Getty Images
Image Credit: Jim Dyson/Getty Images
Andy Toth and Mack Goudy, known as Dr. Toefinger and Paris the Black Fu of Detroit Grand Pubahs, first connected while working at a Michigan restaurant. Toth recalled, “We both liked whiskey and working on music.” One night, Toth programmed a dynamic and quirky electro track, prompting Paris to grab the microphone. “I said ‘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. The result was “Sandwiches,” a track that became a defining pop moment in Detroit’s turn-of-the-century electro revival and an instant global club hit. “Sandwiches” is a testament to the playful and provocative side of electro, earning its spot as one of the best electro dance songs of the 2000s. —M.M.
Black Box, ‘Everybody Everybody’ (1990)
Sometimes, iconic records emerge from controversial circumstances. “Everybody Everybody” is one such example. Martha Wash of the Weather Girls was hired in 1989 to record demos for Italian house producers Groove Groove Melody, with the understanding that the songs were for other singers. However, the tracks were released under the name Black Box, featuring Wash’s uncredited vocals. To add insult to injury, a model was hired to lip-sync Wash’s vocals in music videos. Wash rightfully sued and won, later taking similar action against C+C Music Factory for similar practices. Daniele Davoli of Black Box later expressed regret, stating in 2013, “We didn’t know any better at the time. I guess we had to learn from our mistakes.” Despite the controversy, “Everybody Everybody” became a massive hit and a defining track of early 90s house music, recognized as one of the best vocal house dance songs. —M.M.
Big Freedia, ‘Azz Everywhere’ (2010)
Big Freedia Essence Festival Performance Image Credit: Amy Harris/Invision/AP
Image Credit: Amy Harris/Invision/AP
Big Freedia, a champion of New Orleans bounce music, declared 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, a fast-paced, high-energy New Orleans club sound, is the music for which twerking was born. “Azz Everywhere” became the breakout track for the genre, a chaotic explosion of snares, samples, and the chanted title phrase. Big Freedia explained, “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!” “Azz Everywhere” is a pivotal track in bringing bounce music to a wider audience, establishing itself as one of the best bounce dance songs. —M.M.
Joy Orbison, ‘Hyph Mngo’ (2009)
In the late 2000s, dubstep producers pushed 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. The track’s smooth bassline and plastic-sounding synths create a gliding sensation, while the ricocheting snare drum and fragmented vocal samples – a woman’s voice calling out “Ooh!” and “I do” – inject an unexpected emotional depth rarely found in dubstep. This emotional resonance contributed to its mainstream appeal. “Hyph Mngo” is celebrated as one of the best dubstep dance songs for its innovative sound and emotional depth. —M.M.
ESG, ‘Moody’ (1981)
ESG Moody Band Photo Image Credit: Rolling Stone
The Scroggins sisters from the South Bronx left an indelible mark on New York dance music as ESG, formed in the late 1970s. While their grooves drew from funk and disco, their minimalist sound and emphasis on percussion resonated with post-punk and no-wave clubs, particularly after collaborating with Joy Division producer Martin Hannett for their debut EP. “Moody,” the EP’s centerpiece, remains futuristic. It features a slinking bassline, bongo drums, and Renee Scroggins’ distant vocals echoing through the sparse instrumentation. “Moody” is a timeless example of post-punk dance music and is considered one of the best no wave dance songs. —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 lauded Skream’s remix of her synth-pop single “In for the Kill,” claiming it not only captured the essence but “regave birth to the real meaning and atmosphere of the song as we wrote it.” Skream’s rework strips away the original’s upbeat tempo and Kanye West’s guest rap, replacing it with a tense atmosphere built from flattened synths. This tension then explodes into hurtling drum-and-bass breaks. Jackson continued, “What he did with the song is what we would have done if we’d been brave enough. We wanted to make a pop record and that just isn’t a pop thing, what he did to it.” Skream’s “Let’s Get Ravey Remix” is a brilliant reinterpretation, transforming the song into one of the best drum and bass remixes and a standout track of the late 2000s. —M.M.
Double 99, ‘RIP Groove’ (1997)
Double 99 DJ Duo Image Credit: Rolling Stone
London producers Tim Deluxe and DJ Omar, initially working as RIP, rebranded as Double 99 to commemorate a “double-pack vinyl EP,” according to Omar. Due to time constraints, they created track names and artwork before the music was even finished. “RIP Groove,” titled in homage to their previous moniker, cleverly sampled Armand Van Helden’s remix of CJ Bolland’s “Sugar Is Sweeter,” alongside Kenny Dope and singer Tina Moore. Cut in just three hours, it became a massive hit in 1997, propelling UK garage (then known as “speed garage”) into the pop charts and announcing a new sound. “RIP Groove” is a seminal track in UK garage history and one of the best garage dance songs of the 90s. —M.M.
Snap!, ‘The Power’ (1990)
“The Power” embodies a classic dance-music archetype: German producers sampling an American rapper (Chill Rob G) and an American R&B vocalist (Jocelyn Brown) to create a club hit. Major label Arista picked it up, and it was re-recorded with a new vocalist (Turbo B, an American G.I. stationed in Germany). Chill Rob G then re-recorded his own version as Power Jam feat. Chill Rob G. Both versions became club hits, but “The Power” transcended genres, establishing a Europop blueprint. Snap!’s Michael Muenzing explained in 1994, “Now you have 50 or 60 groups singing this way — rapping, singing the chorus, and going back to the rap.” “The Power” is a foundational track in Europop and a contender for best crossover dance-pop song. —M.M.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ Frosty Portrait Image Credit: Rolling Stone
Jersey club, originating in Newark, New Jersey (initially called Brick City club), is characterized by its bristling, syncopated rhythms, clipped vocal samples, and a visceral yet non-violent energy, reminiscent of hip-house in a blender. DJ Frosty’s “Ride That Wave” perfectly encapsulates this sound. A relentlessly catchy chant-along track, it emerged as Jersey club began gaining traction with EDM producers worldwide. This trend eventually led to Jersey club influences reaching mainstream artists like Drake on Honestly, Nevermind. The remix features Fatman Scoop, known for his 90s hip-hop cut-up 12-inches on AV8 Records, favored by DJs like Armand Van Helden and Fatboy Slim. “Ride That Wave (Remix)” is a key track in bringing Jersey club to a global audience and one of the best Jersey club dance anthems. —J.D.
Todd Terje, “Inspector Norse” (2012)
Todd Terje DJ Performance Image Credit: Future via Getty Images
Image Credit: Future via Getty Images
Norwegian nu-disco producer Todd Terje created “Inspector Norse” using only sounds from a vintage ARP synthesizer for his It’s the Arps EP. He didn’t anticipate the track’s 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 catchy melody proved irresistible. “It really helped me as a DJ in terms of popularity,” he acknowledged. “Inspector Norse” became a defining track of the nu-disco revival and one of the best nu-disco dance tracks for its infectious melody and vintage synth sounds. —M.M.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture Band Photo in New York City Image Credit: David Corio/Redferns
Image Credit: Redferns
James Murphy, DFA founder and co-producer of “House of Jealous Lovers,” remarked 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 abrasive Gang of Four-esque guitar riffs and a manic shout-along vocal with a powerful beat and deep bass, engineered to appeal to dance DJs. It succeeded. The song became the pinnacle of the early 2000s “dance-punk” movement, influencing countless New York bands and transforming indie bars into dance music venues. “House of Jealous Lovers” is a defining track of the dance-punk era and one of the best dance-punk songs. —J.D.
TNGHT, ‘Higher Ground’ (2012)
TNGHT Live Performance Image Credit: Getty Images
Image Credit: Getty Images
Hudson Mohawke described TNGHT’s 2012 EP, a collaboration 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 to the forefront of EDM with its playful, floor-focused take on trap music. “Higher Ground,” a track characterized by its powerful, jeweled-elephantine stomp, is both cavernous and intricate. Within a year, Kanye West enlisted TNGHT to produce “Blood on the Leaves” from Yeezus. “Higher Ground” is a landmark track in trap music’s crossover into EDM and one of the best trap dance songs. —M.M.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size Reprazent Band Photo Image Credit: Rolling Stone
In the late 1990s, drum and bass became increasingly fragmented and distanced from its dancehall and hip-hop roots. Bristol-based Roni Size and Reprazent managed to create drum and bass that was both experimental and expansive while retaining its Black roots, fusing frenetic beats with warm, organic jazz-funk influences. Roni Size noted in 2018, “It’s funny how ‘Brown Paper Bag’ split people,” referring to their biggest track, the double-bass driven highlight from their 1997 album, New Forms. “They heard the jazz, how it sounded different from everything else, and they saw this other audience that loved it.” “Brown Paper Bag” is a groundbreaking track in drum and bass, blending genres and solidifying its place as one of the best drum and bass songs with jazz influences. —J.D.
Soul II Soul, ‘Back to Life (However Do You Want Me)’ (1989)
Led by DJ-producer Jazzie B and co-producer Nellee Hooper, Soul II Soul began as a London sound system specializing in reggae and soul. When they started recording in the late 1980s, their smooth grooves seamlessly blended both genres. Initially, their tracks were intended solely for Soul II Soul’s 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 sound resonated widely. “Back to Life” reached Number One on the Billboard R&B chart and Top Five on the Hot 100. “Back to Life” is a seminal track in the fusion of soul and dance music, and one of the best R&B dance songs of the late 80s. —M.M.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix Da Housecat DJ Portrait Image Credit: Rolling Stone
Felix Stallings Jr., aka Felix da Housecat, is a Chicago house veteran, having 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 with the 2000 album Kittenz and Thee Glitz, a quasi-conceptual work about celebrity and artifice, featuring collaborations with Junior Sanchez, Tommie Sunshine, and Parisian vocalists Miss Kittin and Melistar. “Silver Screen Shower Scene” became an instant anthem, its lyrics and music both seemingly embodying the electroclash era. Jacques Lu Cont’s “Thin White Duke Remix” further amplified its popularity among DJs. “Silver Screen Shower Scene” is a defining track of the electroclash movement and one of the best electroclash dance songs. –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 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 vocals to skittering beats and buzzing synths. However, the Superpitcher remix, from the German Kompakt label, elevated the track, featuring hazy synth layers and ricocheting bells that truly captured the dreamlike quality hinted at in the lyrics. The Superpitcher remix of “(This Is) The Dream of Evan and Chan” is a standout remix and one of the best electronica dance tracks with a dreamy atmosphere. —M.M.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Sylvester Portrait Disco Singer Image Credit: Anthony Barboza/Getty Images
Image Credit: Getty Images
Patrick Cowley, a synth pioneer, became the leading innovator of Hi-NRG, a staple of gay clubs, through his solo work, collaborations with Sylvester, and his extended remix of Donna Summer’s “I Feel Love.” Tragically, Cowley fell ill in November 1981 and passed away a year later at 32, just months after the term “AIDS” was officially defined. In his final months, Cowley continued to create music, finishing plastic-fantastic grooves while propped up on pillows in the studio. “Do Ya Wanna Funk” remains a landmark, featuring soaring synth riffs and Sylvester’s stratospheric falsetto. It also famously soundtracked the party scene in the film Trading Places. “Do Ya Wanna Funk?” is a Hi-NRG classic and one of the best Hi-NRG dance songs of the 80s. —M.M.
Funkadelic, ‘One Nation Under a Groove’ (1978)
Funkadelic Band Performance Image Credit: Redferns
Image Credit: Redferns
“One Nation Under a Groove,” arguably the greatest funk track featuring a banjo, possesses an instantly compelling groove that topped the R&B singles chart for six weeks in 1978. George Clinton assigned the song to the guitar-heavy Funkadelic (as opposed to the horn-driven Parliament) to give it more weight. He explained, “Parliament is smashing. But Funkadelic is the movement.” “One Nation Under a Groove” is a funk masterpiece and one of the best funk dance songs of all time. —M.M.
Evelyn Thomas, ‘High Energy’ (1984)
Evelyn Thomas at Limelight Disco in NYC Image Credit: Ron Galella Collection via Getty
Image Credit: Ron Galella Collection via Getty
Released in April 1984, “High Energy” gave the synth-heavy gay club genre, Hi-NRG, its name. 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 playing rare 60s American R&B, transitioned towards disco, particularly as synths became dominant. Smash Hits noted that Levine “straddle[ed] both gay disco and old Motown — the two main Hi-NRG ingredients.” “High Energy,” brash, cheerful, and irresistibly cheesy, reached the British Top Five and remains a dance floor staple, as demonstrated by The Blessed Madonna (formerly Black Madonna) on her Bunker Podcast. “High Energy” is the quintessential Hi-NRG anthem and one of the best Hi-NRG dance tracks. —M.M.
Daft Punk feat. Pharrell Williams and Nile Rodgers, ‘Get Lucky’ (2013)
When Pharrell Williams 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.” In Paris, Williams expressed his desire to channel Nile Rodgers. The robots then played him a track they had created with Rodgers, and Williams recorded his smooth vocals during that visit. He enthused, “You don’t need MDMA for this music, because it’s so incredibly vivid.” “Get Lucky” is a modern disco masterpiece and one of the best disco revival dance songs of the 2010s. –M.M.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson – Matt Zo – Easy Album Art Image Credit: Rolling Stone
“‘Easy’ in my mind is an homage to Daft Punk’s Discovery,” Porter Robinson explained in 2013 about 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.” “Easy” is a masterful update, both glittering and classicist. The central synth line evokes both a Theremin and a Moog, and the vocal sample (from Colourblind’s NYC garage classic “Nothing Better”) has an emotional depth often lacking in stadium EDM of that era. “Easy” is a standout track in EDM, blending disco and trance influences to become one of the best progressive house dance songs. —M.M.
Justice vs. Simian, “We Are Your Friends” (2006)
Image Credit: FilmMagic
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 jagged, powerful track that 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. “We Are Your Friends” is a defining track of the crossover between electroclash and EDM, and one of the best electro house dance songs. —M.M.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix Coachella Performance Image Credit: Scott Roth/Invision/AP
Image Credit: Scott Roth/Invision/AP
Dance music is often a young person’s domain, and the early 2010s EDM boom exemplified this. Built around a catchy synth vamp, Martin Garrix’s instrumental track “Animals” became a global smash when the Dutch producer was only 18. Its infectiousness led to crowds chanting along with the synth melody. 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.” “Animals” is a landmark track in the EDM boom and one of the best big room house dance songs. —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, energetic tracks bridged the gap between KC and the Sunshine Band and 2 Live Crew in Miami’s music scene. “Lookout Weekend,” his second single with Debbie Weshoff Lopez (recruited from a record shop), was freestyle at its peak. Like its predecessor, “When I Hear Music,” “Weekend” went triple platinum. Tony responded by saying, “I bought me a Porsche. As a matter of fact, two Porsches.” “Lookout Weekend” is a freestyle anthem and one of the best freestyle dance songs of the 80s. —M.M.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang Youtube Music Showcase Image Credit: Thomas M Jackson/Redferns
Image Credit: Redferns
Built around a sample of Tim Trees’ Baltimore club track “Bank Roll,” then-23-year-old rapper Tate Kobang’s remix is a modern tribute to Baltimore, its people, resilience, and energy. In his final verse, he shouts out K-Swift, the legendary DJ who popularized Baltimore club music before her passing in 2008. Kobang said of her, “She was just one of those bodies in our culture that was like, ‘She ain’t never going anywhere.’” Like K-Swift’s work, “Bank Rolls (Remix)” introduced a new audience to the underground Baltimore sound. “Bank Rolls (Remix)” is a modern Baltimore club anthem and one of the best Baltimore club dance songs. —C.S.
Soft Cell, ‘Tainted Love/Where Did Our Love Go?’ (1981)
Soft Cell Band Photo Image Credit: Redferns
Image Credit: Redferns
Marc Almond of Soft Cell explained their influences in 1981: “We both like Northern soul, Sixties music, and the 12-inch record.” They combined these into their iconic medley. Their synth-pop version of Gloria Jones’ R&B stomper “Tainted Love” was a hit on its own. For the extended version, they seamlessly incorporated The Supremes’ classic “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.” The nine-minute medley, a New Wave disco encapsulation, has captivated dance floors ever since. “Tainted Love/Where Did Our Love Go?” is a New Wave classic and one of the best synth-pop dance songs of the 80s. —M.M.
The Orb, ‘Little Fluffy Clouds’ (1990)
The Orb Alex Paterson Portrait Image Credit: 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 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 was Steve Reich’s Electric Counterpoint. Paterson combined them, creating “Little Fluffy Clouds,” the most comforting track of the acid-house era. Paterson recounted that Reich “was very happy when he heard it. Suddenly, it was being played to the masses, and they were loving it.” “Little Fluffy Clouds” is an ambient house classic and one of the best ambient dance songs of the early 90s. —M.M.
Polygon Window, ‘Quoth’ (1993)
Richard D. James, aka Aphex Twin, is often known for less dance-oriented electronic music. However, in the early 90s, he produced rave anthems. “Quoth,” released under the Polygon Window moniker, is a prime example, a percussion symphony and a true barn burner. It was particularly popular in the American Midwest during that era, where it was enjoyed at actual barn parties. “Quoth” is an early Aphex Twin rave track and one of the best IDM dance songs from his early period. —M.M.
Skream, ‘Midnight Request Line’ (2005)
Skream DJ Performance at Fabric Nightclub Image Credit: PYMCA/Universal Images Group via Getty
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, featuring a fluttering synth line, smooth bass glide, and clap-heavy beat, catapulted Skream and dubstep into prominence. “Midnight Request Line” is a seminal dubstep track and one of the best early dubstep dance songs. –M.M.
Paul Johnson, ‘Feel My M.F. Bass’ (1994)
“Ghetto house” emerged as house music’s equivalent to gangsta rap, a style self-defined by 90s Chicago producers (notably on Dance Mania Records) who created a raw, sample-based, street-oriented sound. Paul Johnson, who used a wheelchair, was a leading figure in this style, creating unconventional tracks with a unique flair. (His DJ mixtapes, featuring his dreamy voice-overs, were also notable.) Johnson’s pinnacle was “Feel My M.F. Bass,” a blunt-force track with a cavernous kick drum over which Johnson gleefully vocalizes, “Feel my motherfuckin’ bass in your face,” in a lover-like tone. When the kick drum returns, the intention becomes clear. “Feel My M.F. Bass” is a ghetto house classic and one of the best ghetto house dance tracks. —M.M.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City Band Portrait in London Image Credit: Martyn Goodacre/Getty Images
Image Credit: Getty Images
Marshall Jefferson, producer of Chicago house vocal trio Ten City, explained, “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, crystallized their style – Philly-soul strings over lush love songs, topped by Byron Stingily’s soaring falsetto. It reached the UK Top 10 and Number One on the Billboard dance chart. Jefferson added, “People in South Africa have told us stories of how that song represents liberation for them.” “That’s the Way Love Is” is a soulful house anthem and one of the best vocal house dance songs. —M.M.
Nitzer Ebb, ‘Join in the Chant’ (1987)
Image Credit: Getty Images
Industrial groove unit Nitzer Ebb, from England’s Midlands, developed their danceability organically. Frontman Douglas McCarthy told The Guardian, “The clubs we knew were disco and funk. It’s in the DNA of the area.” Nitzer Ebb’s most rousing anthem, “Join in the Chant,” became a techno crossover hit, particularly in Detroit, where techno artists like Carl Craig and Jeff Mills had previously created industrial music. Richie Hawtin included “Chant” in his influential 1999 mix CD Decks, EFX & 909, and Andrew Weatherall famously declared, “The closest I felt to God was listening to ‘Join in the Chant.’” “Join in the Chant” is an industrial dance classic and one of the best industrial dance tracks. —M.M.
Bronski Beat, ‘Smalltown Boy’ (1984)
Soft Cell Band Photo Image Credit: Redferns
Image Credit: Rolling Stone
Bronski Beat’s Jimi Somerville joked that his vocal training involved singing along to Donna Summer and Sylvester records. “I wanted a lot more out of life than working in a paint factory and having to accept that being gay was a nighttime occupation only,” he explained. “I just had had enough of the abuse and the heartache.” He channeled this angst into “Smalltown Boy,” a poignant portrayal of alienation and escape. With its haunting vocal hook (“Run away, run away, run away”) and smooth synth backdrop, it became an instant gay club anthem, reaching Number One on the Billboard club chart and the UK Top Three. “Smalltown Boy” is an iconic gay anthem and one of the best synth-pop dance songs with emotional depth. —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 clarified, “it had nothing to do with the bleeps for the people making it — for them it was all about the bass.” The track that got LFO signed was their self-titled “LFO.” Icy synth chords and squiggly bleeps create a foundation for layers of low end. The bassline compels movement, while the sub-bass can shake city blocks. “LFO (Leeds Warehouse Mix)” is a bleep techno classic and one of the best bleep techno dance tracks. —M.M.
Drake, ‘Sticky’ (2022)
Drake Sticky Album Art Image Credit: Rolling Stone
Drake’s dance music foray, Honestly, Nevermind, intentionally feels understated, drawing from Jersey and Baltimore club music and deep-house influences. The highlight is “Sticky,” produced by Gordo and Ry X. Drake shifts from the album’s prevalent low-key vocals to rapping about personal topics, including Young Thug’s release from jail and Virgil Abloh’s passing. It exemplifies a megastar embracing a subculture and emerging with a refined sound. “Sticky” is a notable example of a mainstream artist exploring dance music and one of the best contemporary hip-house dance songs. —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 recalled, referring to the Newark, New Jersey club where Tony Humphries was a resident DJ. “I Get Deep” expresses this deep love. Over playful kicks and hats and a swirling keyboard melody, Clark delivers a monologue capturing a transcendent dance floor moment: “All the sweat just goes down my face/And I pretend that there’s nobody there but me in this place.” The 12-inch also included the a cappella, later sampled by Fatboy Slim on Halfway Between the Gutter and the Stars. “I Get Deep (Shelter Mix)” is a spoken-word house anthem and one of the best deep house dance songs with profound lyrics. —M.M.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us Follow Me Album Art Image Credit: Rolling Stone
Early house music often had a raw, imperfect quality, which was part of its charm. This is particularly true of the uplifting anthem “Follow Me,” a gospel-infused track (“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 aesthetic and occasional vocal imperfections enhance the song’s urgency. “Follow Me” is a lo-fi house classic and one of the best raw house dance songs with a gospel message. —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 George McCrae’s smooth classic, “Rock Your Baby.” These were among the first disco hits. The glistening 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 present at TK Records offices. He recalled, “I think they gave me ‘Rock Your Baby’ to get me out of their hair.” After its success, Casey, Finch, and Smith formed the core of KC and the Sunshine Band. “Rock Your Baby” is a foundational disco track and one of the best early disco dance songs. —M.M.
El General, ‘Perezosa’ (1995)
El General Portrait Image Credit: Rolling Stone
Panamanian pioneer El General established the blueprint for reggaeton by creating international hits using reggae riddims in the 80s and 90s. His experimental approach and influence on club music are often overlooked. “Perezosa,” a powerful and empowering dance anthem from his album Club 555, exemplifies his range. The album was filled with high-energy electronic sounds that captured the kinetic spirit of Latin American parties. “Perezosa” is a reggaeton precursor and one of the best Latin dance songs that blended reggae and electronic elements. —J.L.
Tom and Jerry, ‘Maximum Style’ (1994)
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4Hero (Marc Mac and Dego MacFarlane) are drum and bass stalwarts, creating hits throughout the genre’s evolution, from early 90s UK hardcore to late 90s neo-fusion, often under aliases. Tom and Jerry is one such alias, credited with “Maximum Style,” released as jungle’s UK popularity surged. This smooth, gliding track with a captivating guitar melody and cartoon sound effects maintains a playful vibe while delivering a serious groove. “Maximum Style” is a jungle gem and one of the best jungle dance songs known for its playful yet serious groove. —M.M.
LCD Soundsystem, ‘Losing My Edge’ (2002)
LCD Soundsystem Live Performance in NYC Image Credit: David Corio/Redferns
Image Credit: Redferns
James Murphy’s LCD Soundsystem debut single, “Losing My Edge,” is both a compelling groove and a brilliant comedic monologue. It’s a witty, ironic track that also helped ignite the New York dance-punk scene of the early 2000s. Murphy portrays an aging hipster watching his cultural relevance fade as a new generation emerges, even if he “was there, at the first Can show in Cologne” or was the first to play Daft Punk to rock fans. “Losing My Edge” is both hilarious and danceable, and its FOMO theme resonates universally. “Losing My Edge” is a dance-punk anthem and one of the best indie dance songs with comedic and ironic lyrics. —J.D.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
Shakira Portrait Image Credit: ASSOCIATED PRESS
Pablo Flores is considered 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 90s, he and his partner Javier Garza helped a relatively unknown Colombian singer, Shakira, create “Ojos Asi.” This prescient song honored her Lebanese heritage and foreshadowed boundary-pushing, global Latin music. Flores’ extended “Thunder Mix” amplified these ideas, creating a masterful production that resonated on dance floors worldwide. “Ojos Asi (Thunder Mix)” is a groundbreaking Latin pop remix and one of the best Latin pop dance songs with global influences. —J.L.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher Live Performance in Nottingham Image Credit: Ollie Millington/Redferns via Getty Images
Image Credit: Redferns via Getty Images
As Squarepusher in the mid-90s, Tom Jenkinson twisted drum and bass’s frenetic energy into complex, often undanceable, soundscapes, infused with intellectual pretension. Jenkinson later admitted, “Basically, I was beginning to stare up my own ass. 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 just abstract. The flickering trickery alternates with strategic negative space, creating a crowd-moving groove built around Jenkinson’s playful bassline, appealing to adventurous DJs. “My Red Hot Car” is an experimental drum and bass track and one of the best experimental electronic dance songs. —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 distinctive vocals (described by partner Mark Brydon as “Peggy Lee on mescaline”), was moody, downtempo, and expansive. It initially underperformed. However, Belgian house producer Boris Dlugosch’s remix, a crisp house groove based on the Chic model with beguiling rhythm guitar and playful bass, transformed the track. The remix reached the UK Top Five and launched Murphy’s adventurous and often danceable solo career. “Sing It Back (Boris Musical Mix)” is a remix that surpassed the original and one of the best house remixes that propelled an artist’s career. —M.M.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League Band Photo Image Credit: Rolling Stone
Human League keyboardist Jo Callis described the lyrical concept for “Don’t You Want Me,” co-written with Phil Oakey and 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.” The group initially underestimated the song, despite its he-said-she-said structure and catchy riff. “Don’t You Want Me” became the group’s first Number One in both the UK and US, and a Top Three hit on the Billboard Dance Club chart. It marked a pivotal moment in the convergence of UK synth-pop, club music, and Top 40. “Don’t You Want Me” is a synth-pop classic and one of the best synth-pop dance songs that crossed over into mainstream pop. —M.M.
