What exactly defines a “dance song”? It’s a valid question. In a broad sense, any piece of music that inspires movement could be considered a dance song. The Beatles created fantastic dance songs, and so did Slayer. A vast amount of hip-hop and reggae is undeniably great dance music. However, when curating a list of the greatest club dance songs, we need to focus on something more specific: songs that are integral to “dance music culture.” This is a distinct and expansive world, evolving for nearly fifty years, and continuing to shape music today and in the future.
Our exploration of dance music, after acknowledging James Brown, the progenitor of extended grooves, begins in the mid-1970s with the rise of disco. It then progresses through the early 1980s club sounds like electro and Latin freestyle. Dance music experienced a rebirth when disco was reimagined as house music in Chicago and techno in Detroit. This evolution accelerated rapidly into the 1990s rave scene, spawning genres from jungle to trance, gabba, and garage, eventually leading to the EDM and dubstep explosions of the 2000s. While these genres have had moments of mainstream prominence, they never truly disappear. Drum ‘n’ bass, for instance, is currently experiencing a resurgence, and contemporary house tracks continue to emerge.
This list isn’t an exhaustive catalog of every nuance within this vast ocean of subgenres. We aimed to identify tracks that felt transcendent, universally recognized, and particularly significant for their intersections with the wider musical landscape. Dance music’s influence stretches across 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 Justin Bieber alongside pioneers like Adonis, Frankie Knuckles, Moodymann, Goldie, and SOPHIE.
If you’re curious about how we arrived at a point where artists like Drake and Beyoncé are releasing house records, this list tells that story—or at least, our version of 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)
Donna Summer performing Last Dance, highlighting her iconic status in disco music and the song's Oscar win.
While the film Thank God It’s Friday might be seen as a lengthy advertisement for Casablanca Records, the dominant disco label of the time, and perhaps a sign of disco’s impending overexposure, “Last Dance” stands as a truly deserving Oscar winner for Best Original Song. The track begins at a tempo so slow it makes “Three Times a Lady” sound fast-paced, before evolving into a tight, electrifying disco anthem. The unsung hero here is Casablanca’s producer Bob Esty, who conceived the song’s ingenious tempo shift, making it a dynamic and unforgettable club experience and one of the greatest club dance songs. —M.M.
Fatboy Slim, ‘The Rockafeller Skank’ (1998)
Fatboy Slim performing live in Brazil, capturing the energy of his iconic track 'The Rockafeller Skank' as a global dance anthem.
“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?’” It was undeniably Cook’s signature sound. His formula of breakbeats combined with catchy guitar riffs reached peak effectiveness with “Skank.” Featuring a surf-rock guitar riff and a Lord Finesse vocal sample (“Right about now, the funk soul brother/Check it out now, the funk soul brother”), the track quickly became ubiquitous in clubs and beyond. Cook noted the jokes about “Frat-Boy Slim,” acknowledging that “Rockafeller Skank” became an anthem for a certain kind of boisterous, beer-loving crowd, solidifying its place among great club dance songs of the era. —M.M.
Mescalinum United, ‘We Have Arrived’ (1991)
Mescalinum United's 'We Have Arrived', an early gabber track representing the harder edge of techno music and its impact on rave culture.
Gabber, often considered techno’s heavy metal equivalent, translates to “buddy” in Dutch, reflecting the Netherlands’ strong embrace of this hardcore sound. However, the genre’s defining figure is Marc Acardipane, who operates under approximately 90 different aliases. His initial and still potent creation, “We Have Arrived,” credited to Mescalinum United, relies on powerful, crushing drums and a series of piercing air-raid siren-like noises. This track became foundational for gabber music. In Brooklyn raves, where DJ Lenny Dee frequently played – and whose label released the track in America – crowds would enthusiastically mosh to its intense energy, establishing it as a key track in the harder styles of great club dance songs. —M.M.
Oliver Heldens, ‘Melody’ (2016)
Oliver Heldens performing, showcasing his influence in shifting EDM towards a more melodic and classic sound.
By the mid-2010s, even DJs headlining major festivals began to tire of the predictable brute-force build-and-drop approach that had saturated the dance music market. Oliver Heldens’ “Melody” signaled a significant shift. The Dutch producer was only 18 when he released this track, but its dramatic string swells and uplifting piano melody evoked a lighter, more classical dance music sensibility. While the bass still retained a powerful stomp, “Melody” introduced a refreshing airiness and sophistication, marking a turning point in EDM and becoming one of the more melodic great club dance songs in recent years. —M.M.
Kerri Chandler, ‘Rain’ (1998)
Kerri Chandler DJing, representing his soulful house music style and his influence on contemporary DJs and producers.
Kerri Chandler, a house producer from New Jersey, is revered by younger producers and DJs not just for his deeply soulful tracks. “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. On “Rain,” Chandler’s heartfelt plea, with each line punctuated by the title word, teeters on the verge of tears. Yet, the music itself is more playful than melancholic, especially highlighted by the whimsical xylophone solo. This emotional depth combined with danceable rhythms makes “Rain” a standout example of soulful house and a great club dance song for introspective moments on the dance floor. —M.M.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
Detroit Grand Pubahs performing live, capturing their raw and humorous electro style that defined Detroit's turn-of-the-century electro scene.
Andy Toth and Mack Goudy—also known as Dr. Toefinger Paris the Black Fu—of Detroit Grand Pubahs, first connected while working at a restaurant in Royal Oak, Michigan. “We both liked whiskey and working on music,” Toth recalled. One evening, Toth programmed a bouncy, incredibly flexible electro track, and Paris 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 spontaneously improvised some risqué lyrics about a dance-floor threesome. This impromptu recording became the biggest pop moment of Detroit’s electro renaissance at the turn of the century and an instant club hit worldwide. “Sandwiches” stands out for its audacious lyrics and infectious electro groove, a truly unique and great club dance song. —M.M.
Black Box, ‘Everybody Everybody’ (1990)
Black Box performing in the 90s, representing the Eurohouse sound and the controversy surrounding the use of uncredited vocals.
Sometimes, even a great record can emerge from questionable circumstances. Consider “Everybody Everybody.” Martha Wash of the Weather Girls was hired in 1989 to record demos for an Italian house production trio calling themselves Groove Groove Melody. She was told these songs were intended 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. Wash took legal action and won. (She later sued C+C Music Factory for a similar situation.) 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.” Despite the controversy, “Everybody Everybody” became a massive hit, embodying the energy of early 90s Eurohouse and remaining a fondly remembered, if complex, great club dance song. —M.M.
Big Freedia, ‘Azz Everywhere’ (2010)
Big Freedia performing at Essence Festival, showcasing the high-energy bounce music and its New Orleans roots.
“I’ve traveled across half the globe now, spreading the goodness of bounce and trying to get people everywhere onto what’s been around for two decades,” Big Freedia said in 2011, speaking about New Orleans’ fast-paced, chaotic, and exuberant homegrown club sound—the music for which twerking was practically invented. “Azz Everywhere” was the track that propelled bounce music to a wider audience. It’s a whirlwind of snares, samples, and the repeated, shouted 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!” “Azz Everywhere” is a quintessential bounce track, full of raw energy and making it a great club dance song for those seeking intense rhythms. —M.M.
Joy Orbison, ‘Hyph Mngo’ (2009)
In the late 2000s, dubstep producers were pushing boundaries, leading to a surge of experimental tracks. Joy Orbison’s debut, “Hyph Mngo,” became the biggest dubstep track of 2009 and perfectly captured the scene at its peak. The bassline and plastic-sounding synths create a smooth, gliding texture, but the ricocheting snare drum and fragmented vocal samples—a woman’s voice alternating between “Ooh!” and “I do”—gave it an unexpectedly emotional quality, rare for dubstep. This emotional depth contributed to its mainstream crossover success. “Hyph Mngo” is remembered for its innovative sound and emotional resonance, a great club dance song that transcended genre boundaries. —M.M.
ESG, ‘Moody’ (1981)
ESG performing live, capturing their unique sound blending funk, disco, and post-punk influences in the New York dance scene.
The Scroggins sisters from the South Bronx left an enduring mark on New York dance music when they formed ESG in the late 1970s. While their grooves were rooted in funk and disco, their minimalist sound and focus on percussion resonated with post-punk and no-wave clubs. This appeal was amplified after they collaborated with Joy Division producer Martin Hannett for their debut EP. “Moody,” the EP’s centerpiece, still sounds futuristic. It’s a slinky, rumbling track built on bass, bongo drums, and Renee Scroggins’ distant vocals echoing through the mix. “Moody” remains a testament to ESG’s unique sound, a great club dance song that bridged genres and continues to inspire. —C.S.
La Roux, ‘In for the Kill (Skream’s Let’s Get Ravey Remix)’ (2009)
La Roux performing, highlighting the impact of Skream's remix in transforming 'In for the Kill' into a dance floor anthem.
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 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 remix discards the original’s bouncy beat (and Kanye West’s guest rap), creating an intensely tense atmosphere with flattened synths. This tension then breaks into hurtling drum-and-bass rhythms. “What he did with the song is what we would have done if we’d been brave enough,” Jackson admitted. “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” transformed a pop song into a high-energy dance track, showcasing the power of remixing and becoming a great club dance song in its own right. —M.M.
Double 99, ‘RIP Groove’ (1997)
Double 99 in a promotional shot, representing the UK garage scene and the unexpected success of 'RIP Groove'.
London producers Tim Deluxe and DJ Omar, who had previously worked together as RIP, rebranded as Double 99 to commemorate “a double-pack vinyl EP,” Omar explained. Due to time constraints in completing the package, “we decided to make up track names and get the artwork done before the tracks had actually been made.” “RIP Groove,” titled as a nod to their earlier moniker, was cleverly constructed from samples of Armand Van Helden’s remix of CJ Bolland’s “Sugar Is Sweeter,” Kenny Dope, and singer Tina Moore. It took just three hours to create and became one of the biggest tunes of 1997. It propelled UK garage (then called “speed garage”) into the pop charts and announced a new sound. “RIP Groove” is a landmark UK garage track, exemplifying the sample-heavy, energetic sound that defined the era and making it a great club dance song that crossed into the mainstream. —M.M.
Snap!, ‘The Power’ (1990)
Snap! performing 'The Power', representing the Eurodance phenomenon and the song's influential structure.
“The Power” is a quintessential dance-music archetype. Two German producers sampled an American rapper (Chill Rob G from Queen Latifah’s Flavor Unit crew in New Jersey) and an American R&B diva (Jocelyn Brown) to create a club hit. It was then 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 originally sampled rapper re-recorded that version under the name Power Jam feat. Chill Rob G. Both versions became club hits, but “The Power” had a wider impact, establishing the Europop blueprint. As Snap!’s Michael Muenzing explained in 1994: “Now you have 50 or 60 groups singing this way—rapping, singing the chorus, and going back to the rap.” “The Power” is a foundational Eurodance track, showcasing a formula that would be widely imitated and remaining a great club dance song for its sheer energy and impact. —M.M.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ Frosty in a promotional image, representing Jersey club music and its rise to global recognition.
Jersey club, originating in Newark, New Jersey (initially called Brick City club), is characterized by its sharp, syncopated rhythms, clipped vocal samples, and a visceral yet non-violent energy, reminiscent of classic hip-house but with a unique twist. DJ Frosty’s “Ride That Wave” perfectly exemplifies this style. It’s an incredibly catchy, chant-along banger that emerged just as Jersey club began to gain traction with EDM producers globally. This track played a role in Jersey club’s eventual influence, even reaching Drake’s Honestly, Nevermind album. The remix features Fatman Scoop, whose 90s hip-hop cut-ups on AV8 Records were favorites of DJs like Armand Van Helden and Fatboy Slim. “Ride That Wave (Remix)” is a prime example of Jersey club’s infectious energy and rhythmic complexity, making it a great club dance song that helped push the genre forward. —J.D.
Todd Terje, “Inspector Norse” (2012)
Todd Terje performing live, representing nu-disco and the unexpected popularity of 'Inspector Norse'.
When Norwegian nu-disco producer Todd Terje created “Inspector Norse”—which, like his entire 2012 It’s the Arps EP, was made using only sounds from a vintage ARP synthesizer—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” became an unexpected anthem, its playful melody and danceable groove making it a great club dance song that resonated beyond DJ circles. —M.M.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture performing live in NYC, capturing the energy of dance-punk and the impact of 'House of Jealous Lovers'.
“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 combined aggressive Gang of Four-esque guitar riffs and a frenzied, shout-along vocal with a powerful beat and deep bass, specifically engineered for dance floor impact. It worked perfectly. The song became the defining track of the early 2000s “dance-punk” movement. Suddenly, every new band in New York seemed to emulate 1979 Manchester or Leeds, and every indie bar in the city installed a DJ booth and turntables. “House of Jealous Lovers” is a landmark dance-punk track, bridging the gap between rock and dance music and becoming a great club dance song that defined an era. —J.D.
TNGHT, ‘Higher Ground’ (2012)
TNGHT performing, representing trap music's crossover into EDM and the impact of 'Higher Ground'.
“The first time around was our take on big American rap beats, with a little bit of cheekiness to it,” Hudson Mohawke explained about the 2012 EP he created with Lunice as TNGHT. This five-song EP propelled both artists to the forefront of EDM, thanks to its energetic, club-focused take on trap music. “Higher Ground,” a track with a majestic, almost elephantine stomp, is both cavernous and intricately detailed. Within a year, Kanye West enlisted TNGHT to produce “Blood on the Leaves” from Yeezus. “Higher Ground” is a pivotal trap track that bridged hip-hop and EDM, showcasing a powerful and innovative sound and becoming a great club dance song that influenced mainstream music. —M.M.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size and Reprazent performing, representing drum and bass and the jazz-funk fusion of 'Brown Paper Bag'.
In the late 1990s, drum and bass was becoming increasingly fragmented and distanced from its dancehall and hip-hop roots. Roni Size and Reprazent, a crew from Bristol, England, managed to create drum and bass that was both experimental and expansive while retaining its Black musical foundations. They fused frenetic beats with warm, organic jazz-funk influences. “It’s funny how ‘Brown Paper Bag’ split people,” Size noted in a 2018 interview, 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” stands out for its innovative fusion of jazz and drum and bass, demonstrating the genre’s versatility and becoming a great club dance song that appealed to diverse audiences. —J.D.
Soul II Soul, ‘Back to Life (However Do You Want Me)’ (1989)
Led by the charismatic DJ-producer Jazzie B and, for their first two albums, co-producer Nellee Hooper, Soul II Soul began as a London sound system specializing in reggae and soul. When they started recording in the late 1980s, their smooth grooves seamlessly blended both genres with unhurried elegance. Initially, their tracks were exclusively for Soul II Soul’s parties. “It was literally for our sound [system] at the beginning,” Jazzie B explained. “We weren’t really interested in what anybody else was doing.” But the world became very interested in them. “Back to Life” reached Number One on the Billboard R&B chart and the Top Five on the Hot 100. “Back to Life” is a landmark track that brought sophisticated soul and reggae influences into the mainstream, becoming a great club dance song that crossed genres and achieved widespread popularity. —M.M.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix Da Housecat DJing, representing electroclash and the celebrity-tweaking anthem 'Silver Screen Shower Scene'.
Felix Stallings Jr., known as Felix da Housecat, is a Chicago house veteran. He 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. For this project, he assembled an international group of collaborators, including Junior Sanchez, Tommie Sunshine, and Parisian vocalists Miss Kittin and Melistar, for a concept album exploring celebrity and artifice. “Silver Screen Shower Scene” became an instant anthem. Its lyrics and music, both subtly mocking celebrity culture, seemed to herald the entire electroclash era. Jacques Lu Cont’s “Thin White Duke Remix” was even more popular with DJs. “Silver Screen Shower Scene” is an iconic electroclash track, capturing the sound and attitude of the early 2000s and becoming a great club dance song that defined a genre. –M.M.
Dntel feat. Ben Gibbard, “(This Is) The Dream of Evan and Chan (Superpitcher Kompakt Remix)” (2001)
In 2000, Ben Gibbard, frontman for Death Cab for Cutie, 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 this dream into a song, collaborating with Dntel (Jimmy Tamborello) before their Postal Service album. Dntel set Gibbard’s vocals to skittering beats and buzzing synths. However, the remix by Superpitcher, from the influential German label/scene Kompakt, added hazy, layered synths and echoing bells, fully realizing the dreamlike quality hinted at in the lyrics. The “Superpitcher Kompakt Remix” of “(This Is) The Dream of Evan and Chan” is a standout remix, enhancing the original’s dreamlike quality and making it a great club dance song for introspective moments. —M.M.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Sylvester in a portrait, representing Hi-NRG disco and the legacy of 'Do Ya Wanna Funk?' amidst the early AIDS crisis.
Patrick Cowley was a synth prodigy, a primary innovator of Hi-NRG, a staple of gay clubs. His work with Sylvester and his extended 16-minute version of Donna Summer’s “I Feel Love” cemented this status. Cowley fell ill in November 1981, and when he passed away a year later at 32, the term “AIDS” was only four months old. In his final months, Cowley worked from his studio bed to complete his vibrant, synthetic grooves. “Do Ya Wanna Funk” remains a landmark track—with soaring synth riffs and Sylvester’s stratospheric falsetto. It also provided a memorable movie moment, soundtracking the party scene in Trading Places. “Do Ya Wanna Funk?” is a Hi-NRG classic, showcasing Cowley’s synth mastery and Sylvester’s vocal power, making it a great club dance song with historical significance. —M.M.
Funkadelic, ‘One Nation Under a Groove’ (1978)
Funkadelic performing, representing funk music and the crossover success of 'One Nation Under a Groove'.
Undeniably the greatest funk track ever led by a banjo, “One Nation Under a Groove” possesses an instantly appealing 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 R&B of Parliament) was George Clinton’s way of emphasizing its power: “Parliament is smashing,” he explained. “But Funkadelic is the movement.” “One Nation Under a Groove” is a funk masterpiece, blending irresistible rhythm with social commentary and becoming a great club dance song that transcended genre. —M.M.
Evelyn Thomas, ‘High Energy’ (1984)
Evelyn Thomas at Limelight Disco, representing Hi-NRG and the track that named the genre 'High Energy'.
Released in April 1984, “High Energy” is the record that gave Hi-NRG, the synth-heavy gay club staple, 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 who played rare 1960s 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.” “High Energy,” brash, cheerful, and undeniably cheesy, reached the British Top Five and remains a dance floor smash, as demonstrated by The Blessed Madonna (formerly Black Madonna) on her Bunker Podcast. “High Energy” is the quintessential Hi-NRG track, embodying the genre’s over-the-top energy and becoming a great club dance song that defined a sound. —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 aim to channel Nile Rodgers—and the robots played him a track they had already created with Rodgers. Williams recorded his smooth vocals during that visit. “You don’t need MDMA for this music, because it’s so incredibly vivid,” he enthused. “Get Lucky” is a modern disco masterpiece, bringing together Daft Punk’s robotic sound, Pharrell’s smooth vocals, and Nile Rodgers’ iconic guitar, making it a great club dance song that dominated dance floors worldwide. –M.M.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson and Mat Zo performing together, representing the stadium EDM era and the Daft Punk homage in 'Easy'.
“‘Easy’ in my mind is an homage to Daft Punk’s Discovery,” Porter Robinson said in 2013 about his powerful 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 masterful update, both glittering and classic. The central synth line evokes a Theremin as much as a Moog, and the vocal line (sampled from Colourblind’s NYC garage classic “Nothing Better”) has a raw, emotional quality that was often missing in the stadium EDM of that era. “Easy” is a standout EDM track, combining classic disco elements with modern trance energy and emotional depth, making it a great club dance song that resonated with a wide audience. —M.M.
Justice vs. Simian, “We Are Your Friends” (2006)
In 2003, Parisian musicians Gaspard Augé and Xavier de Rosnay entered a contest to remix 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 jagged, powerful sound that perfectly bridged electroclash and EDM. Retitled “We Are Your Friends,” it became a hit in 2006 and launched Augé and de Rosnay’s career as Justice. It also prompted Simian to transform themselves into the dance act Simian Mobile Disco. “We Are Your Friends” is a landmark remix, showcasing Justice’s raw, energetic style and becoming a great club dance song that launched a major act and influenced remix culture. —M.M.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix performing at Coachella, representing the big room EDM era and the global smash 'Animals'.
Dance music often favors youth, and the early 2010s EDM boom exemplified this. Built around a catchy synth riff so infectious that people chanted along to it (despite having no lyrics), Martin Garrix’s “Animals” was released when the Dutch producer was only 18. It became an instant global smash. This success naturally led to 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 defining big room EDM track, its simple yet powerful synth hook and driving beat making it a great club dance song that propelled a young artist to global stardom. —M.M.
Debbie Deb, ‘Lookout Weekend’ (1984)
Debbie Deb performing, representing Miami freestyle music and the early 80s club scene.
“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 light, energetic tracks bridged the gap between Miami’s musical eras of KC and the Sunshine Band and 2 Live Crew. “Lookout Weekend,” his second single with Debbie Weshoff Lopez—whom he recruited while she worked 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 quintessential freestyle track, embodying the genre’s upbeat energy and catchy melodies, making it a great club dance song that defined the Miami sound of the 80s. —M.M.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang performing, representing Baltimore club music and the modern remix of 'Bank Rolls'.
Built around a sample of Tim Trees’ Baltimore club track “Bank Roll,” then-23-year-old rapper Tate Kobang’s remix is a contemporary tribute to Baltimore, its people, its resilience, and especially 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 passing in 2008. “She was just one of those bodies in our culture that was like, ‘She ain’t never going anywhere,’” Kobang has said. Like K-Swift’s work, “Bank Rolls (Remix)” helped introduce a new audience to the underground Baltimore sound. “Bank Rolls (Remix)” is a modern Baltimore club anthem, capturing the genre’s fast-paced energy and paying tribute to its legacy, making it a great club dance song that brought the sound to a wider audience. —C.S.
Soft Cell, ‘Tainted Love/Where Did Our Love Go?’ (1981)
“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. They combined these influences into one powerful track. The duo’s synth-pop version of Gloria Jones’ R&B stomper “Tainted Love” was a hit on its own. However, for the extended version, they seamlessly merged it with another classic from the same era, The Supremes’ “Where Did Our Love Go?” “It was originally just going to include a few bars of ‘Where Did Our Love Go?’ but we like the way it turned out and included the whole song,” Almond said. This nine-minute medley—New Wave disco in a nutshell—has captivated dance floors ever since. “Tainted Love/Where Did Our Love Go?” is a synth-pop classic, blending Northern Soul energy with New Wave sensibility, making it a great club dance song that has endured for decades. —M.M.
The Orb, ‘Little Fluffy Clouds’ (1990)
The Orb's Alex Paterson in portrait, representing ambient house and the sample-based innovation of 'Little Fluffy Clouds'.
One day, 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 the 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 soothing 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 masterpiece, blending spoken word samples with electronic textures, making it a great club dance song for chill-out moments and sunrise sets. —M.M.
Polygon Window, ‘Quoth’ (1993)
Aphex Twin performing live, representing IDM and the rave energy of Polygon Window's 'Quoth'.
Richard D. James, known as Aphex Twin, is often associated with more cerebral, seated dance music. However, in the early 1990s, he produced rave anthems of the highest caliber. Exhibit A: “Quoth,” released under his Polygon Window alias. It’s a percussion-driven symphony, a true barn burner—especially for American Midwesterners of that period who danced to it in actual barns. “Quoth” is a high-energy rave track, showcasing Aphex Twin’s mastery of rhythm and sound design, making it a great club dance song for peak-time intensity. —M.M.
Skream, ‘Midnight Request Line’ (2005)
Skream DJing at Fabric, representing early dubstep and the breakthrough track 'Midnight Request Line'.
Shortly after London dubstep producer-DJ Skream released his playfully melancholic 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 foundational dubstep track, characterized by its moody atmosphere and innovative sound design, making it a great club dance song that helped define 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 1990s Chicago producers (particularly those on the Dance Mania label) who created a raw, sample-based, and street-oriented sound. Paul Johnson, who used a wheelchair, was the style’s most distinctive artist, creating unconventional genre pieces with unique flair (and dreamy voice-overs on his DJ mixtapes). Johnson’s pinnacle was “Feel My M.F. Bass,” a blunt-force track. It features a cavernous kick drum over which Johnson, who tragically passed away from Covid in August 2021, gleefully purrs, “Feel my motherfuckin’ bass in your face,” as if serenading a lover. When the kick drum returns, it’s clear that’s exactly what he’s doing. “Feel My M.F. Bass” is a ghetto house anthem, known for its raw energy and explicit lyrics, making it a great club dance song that embodies the genre’s rebellious spirit. —M.M.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City in a group portrait, representing vocal house and the soulful sound of 'That's the Way Love Is'.
“When Ten City started, I think we were both at a point where we wanted to expand the genre by writing proper songs while at the same time doing more abstract things,” said Marshall Jefferson, who produced the Chicago house vocal trio. “That’s the Way Love Is,” Ten City’s third single, perfectly captured their style—Philly-soul strings over lush love songs, topped with Byron Stingily’s soaring falsetto. It reached the UK Top 10 and Number One on the Billboard dance chart. Moreover, Jefferson noted, “people in South Africa have told us stories of how that song represents liberation for them.” “That’s the Way Love Is” is a vocal house classic, blending soulful melodies with danceable rhythms, making it a great club dance song with both emotional depth and global resonance. —M.M.
Nitzer Ebb, ‘Join in the Chant’ (1987)
Nitzer Ebb performing live, representing industrial dance music and the crossover anthem 'Join in the Chant'.
Hailing from England’s Midlands, industrial groove act Nitzer Ebb’s danceability was organically developed. “The clubs we knew were disco and funk,” frontman Douglas McCarthy told The Guardian. “It’s in the DNA of the area.” Nitzer Ebb’s most rousing anthem, “Join in the Chant,” was a perfect techno crossover—especially in Detroit, where techno pioneers like Carl Craig and Jeff Mills had once made industrial music. Richie Hawtin included “Chant” in his seminal 1999 mix CD Decks, EFX & 909, while Andrew Weatherall once said, “The closest I felt to God was listening to ‘Join in the Chant.’” “Join in the Chant” is an industrial dance anthem, bridging the gap between industrial and techno, making it a great club dance song with raw energy and crossover appeal. —M.M.
Bronski Beat, ‘Smalltown Boy’ (1984)
Bronski Beat in a promotional shot, representing synth-pop and the poignant gay anthem 'Smalltown Boy'.
Bronski Beat’s Jimmy Somerville once joked that his vocal training consisted of singing along to Donna Summer and Sylvester records. “I wanted a lot more out of life than working in a paint factory and having to accept that being gay was a nighttime occupation only,” he said. “I just had had enough of the abuse and the heartache.” He channeled this 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 arrangement, it quickly 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 powerful anthem of alienation and escape, making it a great club dance song with emotional resonance and social impact. —M.M.
LFO, ‘LFO (Leeds Warehouse Mix)’ (1990)
LFO in a promotional shot, representing bleep techno and the bass-heavy sound of 'LFO'.
LFO were the leaders of Sheffield, England’s “bleep” scene—Warp Records’ original signature sound, which sounds exactly as the name suggests. However, as Warp’s Steve Beckett explained, “it had nothing to do with the bleeps for the people making it—for them it was all about the bass.” The track that got LFO signed was their self-titled number. Icy synth chords and squiggly bleeps set the stage for layers of low end—the bassline makes you move, while the sub-bass can shake a city block. “LFO (Leeds Warehouse Mix)” is a bleep techno classic, known for its innovative use of bass and minimalist sound design, making it a great club dance song for those who love deep, physical rhythms. —M.M.
Drake, ‘Sticky’ (2022)
Drake performing live, representing his foray into dance music and the Jersey/Baltimore club influences in 'Sticky'.
As the title suggests, Drake’s exploration of dance music—Honestly, Nevermind—is intentionally understated, casually incorporating Jersey and Baltimore club music and various deep house influences. The standout track is “Sticky,” produced by Gordo and Ry X. On it, Drake departs from the low-key vocals that dominate the rest of the album and raps about personal topics, including the release of Young Thug and the passing of Virgil Abloh. It’s a prime example of a superstar diving into a subculture and emerging with a refined version of his own sound. “Sticky” is a contemporary dance track, showcasing Drake’s versatility and incorporating current club sounds, making it a great club dance song that bridges hip-hop and house. —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 had a legendary DJ residency. This anthem clearly expresses the depth of his passion. Over playful kicks and hi-hats and a swirling keyboard melody, Clark delivers a spoken word piece that captures 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.” 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, blending spoken word with a driving beat, making it a great club dance song for moments of dance floor transcendence and spiritual connection. —M.M.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us in a promotional shot, representing early house music and the uplifting gospel feel of 'Follow Me'.
Early house music was often raw and lo-fi—and this handmade quality was a significant part of its charm. This is especially true of “Follow Me,” an uplifting anthem, gospel in form and spirit (“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 occasional vocal imperfections, only enhances the song’s urgency. “Follow Me” is an early house classic, known for its raw energy and uplifting message, making it a great club dance song with a gospel-infused spirit. —M.M.
George McCrae, ‘Rock Your Baby’ (1974)
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 “Rock Your Baby.” These were among the very first disco hits. The shimmering instrumental track for “Rock Your Baby” was created by keyboardist Henry Wayne Casey, drummer/bassist Richard Finch, and guitarist Jerome Smith. McCrae was added to the project simply because he was 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 an early disco classic, marking a pivotal moment in the genre’s rise and becoming a great club dance song that crossed over to mainstream success. —M.M.
El General, ‘Perezosa’ (1995)
El General performing, representing reggaeton's origins and the experimental dancehall sound of 'Perezosa'.
Panamanian pioneer El General set the foundation for reggaeton when he began creating massive international hits using reggae rhythms in the 1980s and 1990s. Often overlooked is his experimental approach and his broader influence on club music. “Perezosa,” a booming and empowering dance anthem from his album Club 555, exemplifies this range. The album was filled with high-voltage electronic sounds that captured the energy of the most vibrant parties across Latin America. “Perezosa” is a reggaeton pioneer track, showcasing El General’s innovative blend of reggae rhythms and electronic sounds, making it a great club dance song that influenced Latin American dance music. —J.L.
Tom and Jerry, ‘Maximum Style’ (1994)
4Hero—Marc Mac and Dego MacFarlane—are drum and bass stalwarts, consistently creating hits throughout the genre’s evolution, from early 1990s UK hardcore to late 1990s neo-fusion, sometimes under different aliases. Tom and Jerry was one of these aliases, credited with “Maximum Style,” released as jungle’s popularity surged 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 powerful groove. “Maximum Style” is a jungle gem, blending playful elements with a driving beat, making it a great club dance song that captured the energy of the burgeoning jungle scene. —M.M.
LCD Soundsystem, ‘Losing My Edge’ (2002)
LCD Soundsystem performing live in NYC, representing dance-punk and the ironic anthem 'Losing My Edge'.
The debut single by James Murphy’s LCD Soundsystem is both a killer groove and a brilliant stand-up comedy routine. It’s a burst of wry irony that also helped ignite the New York dance-punk scene of the early 2000s. Murphy plays an aging hipster watching his relevance fade as a younger generation rises, making him feel obsolete, even though he “was there, at the first Can show in Cologne” and was the first “to play Daft Punk to the rock kids.” “Losing My Edge” made you laugh and dance, and even if you’ve never been to those specific scenes, its fear of missing out (FOMO) remains universal. “Losing My Edge” is a dance-punk anthem, blending humor and social commentary with a danceable beat, making it a great club dance song that resonated with the anxieties of a generation. —J.D.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
Shakira performing, representing Latin pop crossover and the dance remix of 'Ojos Asi'.
Pablo Flores is considered a behind-the-scenes architect of Latin pop. The Puerto Rican DJ spent years working with major artists associated with Emilio Estefan, including Gloria Estefan and Ricky Martin. When he met a relatively unknown Colombian singer named Shakira in the 1990s, he and his music partner, Javier Garza, helped her create “Ojos Asi.” This prescient song honored her Lebanese heritage while foreshadowing boundary-pushing, globally-influenced Latin music. His extended remix, the “Thunder Mix,” took these ideas further with masterful production that appealed to dance floors worldwide. “Ojos Asi (Thunder Mix)” is a Latin pop crossover track, showcasing Shakira’s global sound and Pablo Flores’ remixing skills, making it a great club dance song that bridged cultures and genres. —J.L.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher performing live, representing drill 'n' bass and the experimental groove of 'My Red Hot Car'.
Recording as Squarepusher in the mid-1990s, Tom Jenkinson twisted drum and bass’s frenetic energy into complex, almost undanceable structures, imbuing it with a sense of intellectual superiority. “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 purely abstract. The flickering complexity alternates with clever negative space, all outlining a crowd-moving groove featuring Jenkinson’s playful bassline—irresistible to adventurous DJs. “My Red Hot Car” is a drill ‘n’ bass track, blending complexity and groove in a way that challenges and rewards listeners, making it a great club dance song for adventurous DJs and dance floors. —M.M.
Moloko, ‘Sing It Back (Boris Musical Mix)’ (1997)
With Róisín Murphy’s vocals, which her partner Mark Brydon famously described as “Peggy Lee on mescaline,” Moloko’s 1998 single “Sing It Back” was moody, downtempo, and expansive. It initially underperformed. Then, Belgian house producer Boris Dlugosch sent them his remix—a crisp house groove based on the Chic sound, with a captivating rhythm guitar and playfully quirky 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 remix masterpiece, transforming a downtempo track into a house anthem and launching Róisín Murphy’s solo career, making it a great club dance song that demonstrates the power of remixing. —M.M.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League in a promotional shot, representing synth-pop and the iconic he-said-she-said structure of 'Don't You Want Me'.
“Phil [Oakey] had this lyrical idea for this song: a story within the song that’s very much A Star Is Born [and] My Fair Lady—the impresario who takes an everyday person and transforms her into a superstar who outshines him,” 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 nagging riff being as catchy 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 radio. “Don’t You Want Me” is a synth-pop classic, blending a compelling narrative with a catchy melody and danceable rhythm, making it a great club dance song that bridged genres and achieved mainstream success. —M.M.
