What truly defines “dance songs”? It’s a compelling question. In a broad sense, any melody capable of inspiring movement can be considered a dance song, from the tunes of The Beatles to the intensity of Slayer. Hip-hop and reggae, in their vastness, are undeniably great dance music genres. However, for a track to be celebrated within the realm of “dance music culture,” it needs to resonate with a more specific, yet expansive world – a world that has been evolving for nearly half a century and continues to push boundaries today and into the future.
Our exploration of Good Dance Music, much like the original story, pays tribute to the architect of extended grooves, James Brown, before embarking on a chronological journey. We begin in the mid-1970s with the shimmering era of disco, transitioning into the early 1980s with the emergence of club sounds like electro and Latin freestyle. The narrative takes a transformative turn as disco reinvents itself into house music in Chicago and techno in Detroit. This rebirth ignites the explosive rave scene of the 1990s, birthing a diverse range of genres from jungle to trance, gabba, and garage. Ultimately, this evolution culminates in the EDM and dubstep phenomena of the 2000s. While these sounds have experienced moments of mainstream prominence, they never truly vanish. Drum ‘n’ bass, for instance, is currently enjoying a resurgence, and contemporary house tracks continue to emerge.
This compilation doesn’t aim to encompass every nuance within this vast ocean of subgenres. Instead, we’ve focused on tracks that possess a timeless quality, feeling universally significant. We’ve particularly considered those pivotal moments where dance music has intersected with the wider musical landscape – weaving in elements of synth-pop, hip-hop, funk, Miami bass, R&B, indie-rock, Latin music, and pop. This is why you’ll find artists like Prince, Robyn, Britney Spears, and Justin Bieber alongside pioneers such as 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 embracing house music, this article offers our perspective on that story – a curated exploration of good dance music that has shaped contemporary sounds.
Video Editor, Brian Lynch for Rolling Stone
Visual Credits (in order of appearance): Kylie Minogue – Can’t Get You Out of My Head, Crystal Waters – Gypsy Woman, Beyonce – Blow, Corona – The Rhythm of the Night, Madonna – Sorry, Britney – Till the World Ends, Madonna – Vogue, Daft Punk – Get Lucky, Robyn – Dancing on my Own, Joey Beltram – Energy Flash, Azealia Banks – 212, Rihanna & Calvin Harris – We Found Love, DJ Snake & Lil Jon – Turn Down for What, Sylvester – You Make Me Feel, Piri – Soft Spot, Chic – Le Freak, Dee-Lite – Groove is in the Heart, Donna Summer – I Feel Love, Prince – When Doves Cry, Erik B & Rakim – Paid in Full, First Choice – Let No Man Asunder, Michael Jackson – Don’t Stop ’Til you get Enough, A Guy Called Gerald – Voodoo Ray, Grace Jones – Bumper, Marshall – Move Your Body, Internet sensation kid 1997 in Berlin, Whitney Houston – It’s Not Right. Licensed Tracks/SFX (in order): Biodynamic modulated stutter riser, Dance like crazy – Ikoliks, Our Vibe – Superlative, Dance Out There – Alejandro Molinari, Pineapple Disco – Audiopanther, Bring It – Naems, Blurry Stars – Nbdy Nprtnt, Dark Future – Skygaze, Taika Promo (Rolling Stone VO). Song Samples (in order): Erik B & Rakim – Paid in Full, Dee-Lite – Groove is in the Heart, Madonna – Vogue, Azealia Banks – 212, Sylvester – You Make Me Feel, Michael Jackson – Don’t Stop ’Til you get Enough, Marshall Jefferson – Move Your Body, DJ Snake ft. Lil Jon – Turn Down for What, Dee-Lite – Groove is in the Heart, Whitney Houston – It’s Not Right
Donna Summer, ‘Last Dance’ (1979)
Image Credit: Redferns
Though the film Thank God It’s Friday may have seemed like a promotional vehicle for Casablanca Records, signaling a potential overreach for both the label and disco, “Last Dance” stands as a deserving Oscar winner for Best Original Song. This track masterfully transitions from a tempo so languid it makes “Three Times a Lady” sound frantic, into a tight, exhilarating disco anthem. Bob Esty, Casablanca’s in-house producer, is the unsung hero, brilliantly conceiving the song’s transformative tempo shift. —M.M.
Fatboy Slim, ‘The Rockafeller Skank’ (1998)
British DJ Fatboy Slim delivering an energetic performance at the Pop Music Festival in Porto Alegre, Brazil, 2011, capturing the vibrant atmosphere of good dance music events.
Image Credit: AP
Producer-DJ Norman Cook humorously remarked about his breakout hit as Fatboy Slim, “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 fused with guitar riffs was in full force, and “Skank,” punctuated by its surf-rock guitar 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. “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.” Despite the playful association, its infectious energy is a hallmark of good dance music. —M.M.
Mescalinum United, ‘We Have Arrived’ (1991)
Techno’s hard-hitting equivalent, “gabber,” meaning “buddy” in Dutch, finds its most fervent following in the Netherlands. However, gabber’s pioneering figure is Marc Acardipane, known by approximately 90 aliases. His initial foray, “We Have Arrived,” credited to Mescalinum United, remains intensely impactful. Built upon thunderous drums and piercing air-raid siren sounds, this track laid the foundation for the gabber genre. At Brooklyn raves hosted by Lenny Dee, whose label released the track in America, attendees would energetically mosh to its relentless rhythm, a testament to its raw power as good dance music. —M.M.
Oliver Heldens, ‘Melody’ (2016)
Dutch DJ Oliver Heldens, a young prodigy in dance music, showcasing his signature sound that blends classic elements with modern energy.
By the mid-2010s, a sense of fatigue had set in among even the most prominent festival DJs regarding the predictable build-and-drop formula dominating the dance music scene. “Melody” emerged as a pivotal track signaling a shift. Dutch producer Oliver Heldens, only 18 at the time of its release, crafted a song with dramatic string arrangements and an uplifting piano melody, evoking a refined sense of dance music classicism. Yet, the bass retained a powerful stomp, demonstrating that good dance music could evolve beyond brute force. —M.M.
Kerri Chandler, ‘Rain’ (1998)
New Jersey house producer Kerri Chandler’s deeply soulful and buoyant tracks are a primary reason for his influential status among contemporary 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 fitting term. Chandler’s heartfelt plea in “Rain,” where each line is punctuated by the title word, touches on melancholy (“Never knew you could be this way — rain”), but the music itself is more playful than somber, particularly highlighted by the whimsical xylophone solo. This blend of emotion and rhythm epitomizes the nuanced depth found in good dance music. —M.M.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
Mack Goudy Jr., also known as Paris the Black Fu of Detroit Grand Pubahs, performing live in London, 2002, embodying the raw energy of Detroit's electronic music scene.
Image Credit: Jim Dyson/Getty Images
Andy Toth and Mack Goudy — known as Dr. Toefinger and Paris the Black Fu — first connected while working at a Michigan restaurant. “We both liked whiskey and working on music,” Toth recalled. One evening, Toth programmed a vibrant, flexible electro track, prompting Paris to request the microphone be turned on: “I said ‘What you got?’ He said, ‘Don’t worry about it. Just turn the mic on.’” Within moments, Paris improvised suggestive lyrics about a dance-floor encounter, resulting in “Sandwiches.” This track became a defining moment in Detroit’s electro renaissance at the turn of the century, achieving global club acclaim as a prime example of provocative and good dance music. —M.M.
Black Box, ‘Everybody Everybody’ (1990)
Sometimes, exceptional records emerge from less-than-ideal circumstances, as with “Everybody Everybody.” Martha Wash of the Weather Girls was hired in 1989 to record demos for Italian house producers Groove Groove Melody, under the pretense that the songs would be presented to other vocalists. Instead, the tracks were released with her (uncredited) vocals under the moniker Black Box. Adding insult to injury, a model was hired to lip-sync Wash’s vocals in music videos. Wash pursued legal action and won. (She also took 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” remains a powerful and iconic example of good dance music from the early 90s house era. —M.M.
Big Freedia, ‘Azz Everywhere’ (2010)
Big Freedia delivering a high-energy performance at the 2019 Essence Festival in New Orleans, showcasing the vibrant bounce music culture.
Image Credit: Amy Harris/Invision/AP
“I’ve traveled across the globe now, spreading the goodness of bounce and trying to get people everywhere onto what’s been around for two decades,” Big Freedia shared in 2011, speaking about New Orleans’ high-tempo, energetic, and boisterous club sound – the very music for which twerking originated. “Azz Everywhere” became the track that propelled this sound into the mainstream, a vibrant mix 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!” Its raw energy and infectious rhythm solidify its place as good dance music. —M.M.
Joy Orbison, ‘Hyph Mngo’ (2009)
In the late 2000s, dubstep producers were pushing creative boundaries, resulting in a surge of innovative tracks. Joy Orbison’s debut, “Hyph Mngo,” became the quintessential dubstep track of 2009, capturing the scene at its peak. The bassline and synthetic textures flow smoothly, while the echoing snare and fragmented vocal samples – a woman’s voice alternating between “Ooh!” and “I do” – inject a surprisingly emotive quality, unusual for dubstep. This emotional depth contributed to its mainstream appeal and cemented its status as good dance music that transcended genre expectations. —M.M.
ESG, ‘Moody’ (1981)
ESG performing live, capturing the essence of their minimalist sound that blends funk, disco and post-punk influences in New York's dance music scene.
The Scroggins sisters from the South Bronx left an enduring mark on New York dance music with their band ESG, formed in the late 1970s. While their rhythms were rooted in funk and disco, their stripped-down sound and focus on percussion resonated with post-punk and no-wave club scenes. This was especially true after they collaborated with Joy Division producer Martin Hannett for their debut EP. “Moody,” the EP’s centerpiece, remains strikingly contemporary. It features a subtle, pulsing bass, bongo drums, and Renee Scroggins’ ethereal vocals cutting through the sonic texture, defining a unique and timeless form of good dance music. —C.S.
La Roux, ‘In for the Kill (Skream’s Let’s Get Ravey Remix)’ (2009)
Image Credit: Jim Ross/Invision/AP
Artists sometimes have mixed feelings about remixes of their work. However, La Roux’s Elly Jackson praised Skream for not only capturing the essence of her synth-pop single “In for the Kill” in his remix but also for “regav[ing] birth to the real meaning and atmosphere of the song as we wrote it.” Skream’s remix discards the original’s upbeat tempo and Kanye West’s rap verse, creating an intensely atmospheric soundscape with flattened synths. He then shatters this tension with dynamic drum-and-bass breaks. “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.” This bold reinterpretation showcases how remixes can elevate good dance music to new dimensions. —M.M.
Double 99, ‘RIP Groove’ (1997)
Double 99, pioneers of UK garage music, pictured in a promotional shot highlighting their impact on the late 90s dance music scene.
After collaborating as RIP in the mid-1990s, London producers Tim Deluxe and DJ Omar rebranded as Double 99 to commemorate “a double-pack vinyl EP,” according to Omar. Due to time constraints, he explained, “we decided to make up track names and get the artwork done before the tracks had actually been made.” “RIP Groove,” a tribute to their former moniker, ingeniously sampled Armand Van Helden’s remix of CJ Bolland’s “Sugar Is Sweeter,” along with elements from Kenny Dope and singer Tina Moore. It took only three hours to produce and became a defining track of 1997, propelling UK garage (then termed “speed garage”) onto pop charts and announcing a fresh, energetic sound in good dance music. —M.M.
Snap!, ‘The Power’ (1990)
A quintessential dance music story: two German producers sample an American rapper (Chill Rob G of Flavor Unit) and an American R&B vocalist (Jocelyn Brown) to create a club hit. A major label (Arista) picks it up, and it’s re-recorded with a new vocalist (Turbo B, an American G.I. stationed in Germany). Subsequently, the originally sampled rapper re-records that version as Power Jam feat. Chill Rob G. Both versions become club hits, but “The Power” transcends this, becoming 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.” This track’s formulaic yet impactful structure made it a cornerstone of good dance music in the 90s. —M.M.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ Frosty, a key figure in Jersey club music, known for his energetic tracks and contributions to the genre's global recognition.
Originating in Newark, New Jersey (initially called Brick City club), Jersey club is characterized by its sharp, syncopated rhythms, clipped vocal samples, and a vibe that’s energetic yet non-aggressive, reminiscent of hip-house in a blender. DJ Frosty’s “Ride That Wave” perfectly embodies these elements, a relentlessly catchy, chant-driven track that emerged as the sound began to gain international traction among EDM producers. This momentum eventually led Jersey club’s influence to artists like Drake on Honestly, Nevermind. The remix notably features Fatman Scoop, whose 90s hip-hop cut-ups on AV8 Records were favored by DJs like Armand Van Helden and Fatboy Slim, bridging different eras of good dance music. —J.D.
Todd Terje, “Inspector Norse” (2012)
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When Norwegian nu-disco producer Todd Terje created “Inspector Norse” – crafted entirely from sounds of a vintage ARP synthesizer, like 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. Yet, the track’s quirky melody proved irresistible. “It really helped me as a DJ in terms of popularity,” he acknowledged. Its blend of retro sounds with modern sensibilities makes it a distinctive piece of good dance music. —M.M.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture performing in New York City, 2002, capturing the raw energy of the dance-punk movement they spearheaded.
Image Credit: Redferns
“Most people now have no memory of how absolutely sacrilegious it was at the time,” DFA founder James Murphy, co-producer of “House of Jealous Lovers,” 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 abrasive Gang of Four-esque guitar riffs and an infectiously frantic vocal with a powerful beat and deep bass, specifically engineered for dance floor impact. It succeeded. The song became the pinnacle of the early 2000s “dance punk” movement, influencing countless New York bands to adopt a sound reminiscent of 1979 Manchester or Leeds. Suddenly, indie bars across the city featured DJ booths, marking a significant crossover in good dance music and indie rock. —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 explained about the 2012 EP he created with Lunice as TNGHT. This five-track EP propelled both artists to the forefront of EDM with its playful, club-focused take on trap music. “Higher Ground,” a track characterized by its majestic, almost regal stomp, is both spacious and intricate. Within a year, Kanye West enlisted TNGHT to produce “Blood on the Leaves” from Yeezus, recognizing their innovative approach to good dance music production. —M.M.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size & Reprazent, pioneers of drum and bass, pictured in a promotional shot for 'Brown Paper Bag', highlighting their fusion of jazz and jungle.
In the late 1990s, drum and bass was diversifying and distancing itself from its dancehall and hip-hop roots. Bristol’s Roni Size and Reprazent managed to create drum and bass that felt both experimental and grounded, fusing rapid beats with warm, organic jazz-funk influences. “It’s funny how ‘Brown Paper Bag’ split people,” Size mentioned in a 2018 interview, referring to their most recognized track from the 1997 album, New Forms. “They heard the jazz, how it sounded different from everything else, and they saw this other audience that loved it.” This fusion of genres cemented “Brown Paper Bag” as a groundbreaking piece of good dance music. —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 80s, their smooth grooves seamlessly blended both genres. Initially, their tracks were intended solely for Soul II Soul’s own events. “It was literally for our sound [system] at the beginning,” Jazzie B explained. “We weren’t really interested in what anybody else was doing.” However, everyone became interested in them. “Back to Life” topped the Billboard R&B chart and reached the Top Five on the Hot 100, becoming a crossover hit that exemplifies good dance music with soul. —M.M.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix Da Housecat, a Chicago house music legend, pictured in a vibrant shot reflecting his electroclash era and influence.
Felix Stallings Jr. is a Chicago house music 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 reached global heights with the 2000 album Kittenz and Thee Glitz. This project involved international collaborators like Junior Sanchez, Tommie Sunshine, and Parisian vocalists Miss Kittin and Melistar, creating a concept album about celebrity and artifice. “Silver Screen Shower Scene” became an instant anthem, its lyrics and music critiquing celebrity culture and seemingly launching the electroclash movement single-handedly. Jacques Lu Cont’s “Thin White Duke Remix” became even more popular among DJs, further solidifying its status as good dance music. –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 this dream 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 Germany’s Kompakt label, layered foggy synths and echoing bells, achieving a dreamlike state that the lyrics only hinted at, creating a uniquely ethereal piece of good dance music. —M.M.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Portrait of Sylvester James, the iconic disco singer, with Patrick Cowley, innovator of Hi-NRG, capturing their groundbreaking musical partnership.
Image Credit: Getty Images
Patrick Cowley was a synth innovator who became a leading figure in Hi-NRG, a genre central to gay club culture. His contributions included solo work, collaborations with Sylvester, and a remarkable 16-minute extended version of Donna Summer’s “I Feel Love.” Cowley fell ill in November 1981 and passed away a year later at 32, shortly after “AIDS” was officially recognized. In his final months, Cowley persevered in the studio to complete his vibrant tracks. “Do Ya Wanna Funk” stands as a landmark – with soaring synth riffs and Sylvester’s stratospheric falsetto. It also featured in the film Trading Places, soundtracking a memorable party scene, and remains a testament to Cowley’s enduring impact on good dance music. —M.M.
Funkadelic, ‘One Nation Under a Groove’ (1978)
Funkadelic performing live, capturing the psychedelic funk energy that defined their iconic hit 'One Nation Under a Groove'.
Image Credit: Redferns
Remarkably led by a banjo, “One Nation Under a Groove” is arguably the greatest funk track ever created. Its instantly captivating rhythm propelled it to the top of the R&B charts 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 a robust sound. “Parliament is smashing,” he explained. “But Funkadelic is the movement.” This track’s infectious groove and powerful message cemented its place as good dance music with lasting cultural significance. —M.M.
Evelyn Thomas, ‘High Energy’ (1984)
Evelyn Thomas at the Limelight Disco in New York City, 1984, the year her hit 'High Energy' defined a genre of good dance music.
Image Credit: Ron Galella Collection via Getty
Released in April 1984, “High Energy” not only gave the Hi-NRG genre its name but also became a defining example of the synth-driven gay club sound. 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-70s as a teenager. Levine, originally a Northern Soul DJ focused on rare 60s American R&B, transitioned towards disco, particularly with the rise of synths. Smash Hits noted Levine “straddle[d] both gay disco and old Motown — the two main Hi-NRG ingredients.” Brash, upbeat, and irresistibly catchy, “High Energy” reached the UK Top Five and remains a classic, as demonstrated by The Blessed Madonna in her Bunker Podcast, showcasing its enduring appeal as good dance music. —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.” In Paris, Williams shared his aspiration to channel Nile Rodgers, and the robots played him a track they had created with Rodgers. Williams recorded his smooth vocals during that visit. “You don’t need MDMA for this music, because it’s so incredibly vivid,” he enthusiastically stated. “Get Lucky” became a global phenomenon, celebrated for its seamless blend of disco, funk, and modern production, making it a prime example of feel-good, good dance music. –M.M.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson and Mat Zo, collaborators on 'Easy', pictured in a promotional shot highlighting their synergy in creating modern trance-inspired dance music.
“‘Easy’ in my mind is an homage to Daft Punk’s Discovery,” Porter Robinson said 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.” It’s a masterful update, both radiant and classic: the central synth line evokes a Theremin as much as a Moog, and the sampled vocal (from Colourblind’s garage classic “Nothing Better”) has an emotional depth that many stadium EDM tracks of that era lacked. “Easy” successfully bridged classic influences with contemporary energy, defining good dance music in the EDM age. —M.M.
Justice vs. Simian, “We Are Your Friends” (2006)
Image Credit: FilmMagic
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 jagged, electrifying track that effectively bridged electroclash and EDM. Retitled “We Are Your Friends,” it became a hit in 2006, launching Augé and de Rosnay’s career as Justice. It also inspired Simian to reinvent themselves as the dance act Simian Mobile Disco, demonstrating the transformative power of good dance music remixes. —M.M.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix performing at Coachella, 2014, shortly after 'Animals' catapulted him to global fame as a young EDM prodigy.
Image Credit: Scott Roth/Invision/AP
Dance music often favors youth, and the early 2010s EDM boom exemplified this. Built around a captivating synth riff so catchy it inspired audience sing-alongs despite lacking lyrics, Martin Garrix’s “Animals” was released when the Dutch producer was only 18. It became an instant global phenomenon. This rapid success bred skepticism. “At first, people in the industry assumed I didn’t make my own shit,” Garrix later recalled. “So I would do livestreams and production tutorials on the internet to get rid of that stigma.” “Animals” remains a defining track of the EDM era, showcasing the raw energy and impact of good dance music. —M.M.
Debbie Deb, ‘Lookout Weekend’ (1984)
“As far as I know, I coined the phrase. I hadn’t heard anybody call it freestyle music prior to me coming up with the name of the group Freestyle,” Miami production pioneer Pretty Tony stated in 2015. His airy, 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 most vibrant. Like its predecessor, “When I Hear Music,” “Weekend” achieved triple platinum status. Tony responded to this success by saying, “I bought me a Porsche. As a matter of fact, two Porsches.” “Lookout Weekend” remains a classic example of early freestyle and good dance music from the 80s. —M.M.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang performing at the Youtube Music Showcase in Austin, Texas, 2016, representing the modern Baltimore club sound with 'Bank Rolls'.
Image Credit: Redferns
Built around a sample of Tim Trees’ Baltimore club track “Bank Roll,” Tate Kobang’s remix is a contemporary tribute to Baltimore’s spirit, energy, and resilience. In his final verse, he even pays homage to K-Swift, the influential DJ who helped popularize Baltimore club music 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 noted. Like K-Swift’s pioneering work, “Bank Rolls (Remix)” introduced Baltimore’s underground sound to a broader audience, showcasing its dynamic contribution to good dance music. —C.S.
Soft Cell, ‘Tainted Love/Where Did Our Love Go?’ (1981)
Image Credit: Redferns
“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 a remarkable track. The duo’s synth-pop rendition of Gloria Jones’ R&B hit “Tainted Love” was successful on its own. For the extended version, they seamlessly merged it with The Supremes’ classic from the same era. “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 — a New Wave disco encapsulation — has captivated dance floors ever since, becoming a timeless piece of good dance music. —M.M.
The Orb, ‘Little Fluffy Clouds’ (1990)
Alex Paterson of The Orb, pictured in London, 1991, the mastermind behind ambient house classics like 'Little Fluffy Clouds'.
Image Credit: Getty Images
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 contained an interview with Rickie Lee Jones describing Arizona’s starry 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 to create “Little Fluffy Clouds,” the most soothing track of the acid-house era. Reich “was very happy when he heard it,” Paterson mentioned. “Suddenly, it was being played to the masses, and they were loving it.” This ambient house classic demonstrated the broad appeal of good dance music beyond the club setting. —M.M.
Polygon Window, ‘Quoth’ (1993)
Richard D. James, a.k.a. Aphex Twin, is often recognized for introspective electronic music. However, in the early 90s, he produced rave anthems of the highest caliber. “Quoth,” released under the Polygon Window alias, is a prime example – a percussive symphony that became a rave favorite, particularly in the American Midwest where it was enjoyed in actual barns. Its energetic and intricate rhythm exemplifies the diverse forms of good dance music. —M.M.
Skream, ‘Midnight Request Line’ (2005)
Skream at Fabric Nightclub, London, capturing the moment his 'Midnight Request Line' propelled him and dubstep into the limelight.
Image Credit: Universal Images Group via Getty
Shortly after London dubstep producer-DJ Skream released “Midnight Request Line,” he recalled, “I was on a boys’ holiday with my friends. They had a DJ Magazine or a Mixmag rack up on a shelf … I looked at it, and I had Record of the Month. I was like, ‘Shit, I need to get home.’” The track, with its wavering synth melody, smooth bassline, and prominent claps, catapulted Skream and dubstep into mainstream awareness, establishing a new wave of good dance music. –M.M.
Paul Johnson, ‘Feel My M.F. Bass’ (1994)
“Ghetto house” was house music’s counterpart to gangsta rap, a style self-defined by 90s Chicago producers (notably on Dance Mania label) who created a raw, sample-based, street-oriented sound. Paul Johnson, who used a wheelchair, was a leading figure, crafting unconventional genre pieces with unique flair. (His DJ mixtapes, often featuring his dreamy voice-overs, are also notable.) Johnson’s pinnacle was “Feel My M.F. Bass,” a blunt, powerful track with a cavernous kick drum over which Johnson gleefully chants, “Feel my motherfuckin’ bass in your face,” in a playful yet assertive manner. This track, and his overall body of work, exemplifies the raw energy of good dance music from the ghetto house era. —M.M.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City, pictured in London, 1990, showcasing the Chicago house vocal trio known for soulful tracks like 'That's The Way Love Is'.
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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, producer of the Chicago house vocal trio. “That’s the Way Love Is,” Ten City’s third single, epitomized their style – Philly-soul strings over lush love songs, topped with Byron Stingily’s soaring falsetto. It reached the UK Top 10 and topped the Billboard dance chart. Jefferson added, “people in South Africa have told us stories of how that song represents liberation for them.” Its soulful vocals and uplifting melody made it a significant piece of good dance music with global resonance. —M.M.
Nitzer Ebb, ‘Join in the Chant’ (1987)
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Originating from England’s Midlands, industrial groove act Nitzer Ebb developed their danceability naturally. “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 produced industrial music. Richie Hawtin included “Chant” in his influential 1999 mix CD Decks, EFX & 909, while Andrew Weatherall once proclaimed, “The closest I felt to God was listening to ‘Join in the Chant.’” Its powerful rhythm and chant-like vocals made it an iconic example of good dance music bridging industrial and techno genres. —M.M.
Bronski Beat, ‘Smalltown Boy’ (1984)
Bronski Beat, pictured in a promotional shot, known for their synth-pop anthems like 'Smalltown Boy' that resonated in gay clubs and beyond.
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 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 quickly became a gay club anthem, topping the Billboard club chart and reaching the UK Top Three. Its emotional depth and danceable rhythm made it a powerful and enduring piece of good dance music. —M.M.
LFO, ‘LFO (Leeds Warehouse Mix)’ (1990)
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LFO were leaders of Sheffield’s “bleep” scene, Warp Records’ initial signature sound. 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 secured LFO’s signing was their self-titled number, “LFO,” where icy synth chords and bleeps set the stage for layers of low-end. The bassline compels movement, while the sub-bass can shake city blocks. Its innovative use of bass and minimalist synth sounds established it as a seminal piece of good dance music from the bleep techno era. —M.M.
Drake, ‘Sticky’ (2022)
Drake in a promotional shot for 'Honestly, Nevermind', showcasing his foray into dance music with tracks like 'Sticky'.
As suggested by its title, Drake’s exploration into dance music with Honestly, Nevermind feels intentionally understated, drawing from Jersey and Baltimore club music alongside various deep-house influences. The standout track is “Sticky,” produced by Gordo and Ry X. Here, Drake shifts from the album’s prevalent low-key vocals to rap about personal topics, including Young Thug’s release from jail and Virgil Abloh’s passing. It’s a compelling instance of a major star entering a subculture and emerging with a refined version of their own sound, creating a unique blend that qualifies as good dance music in a contemporary context. —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 recounted, referring to the Newark, New Jersey club where Tony Humphries held a legendary DJ residency. This anthem clearly expresses the depth of his passion. Over lively kicks and hats, and a swirling keyboard melody, Clark delivers a monologue capturing a euphoric dance floor experience – “All the sweat just goes down my face/And I pretend that there’s nobody there but me in this place.” Clark also included the a cappella on the 12-inch, which was later sampled by Fatboy Slim on Halfway Between the Gutter and the Stars. Its captivating spoken-word element and driving rhythm make it a unique example of good dance music. —M.M.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us, pictured in a promotional shot, known for their uplifting house anthem 'Follow Me', recorded in lo-fi for a raw, urgent feel.
Early house music often had a raw, unpolished quality, which was a significant part of its appeal. This is especially true for “Follow Me,” an uplifting anthem with gospel undertones (“We must stop fighting/To achieve the peace”) from a New Jersey vocal trio. Recorded in a basement on a four-track, its lo-fi production and occasional vocal imperfections enhance the song’s urgency. This raw energy and positive message contribute to its enduring status as good dance music. —M.M.
George McCrae, ‘Rock Your Baby’ (1974)
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In the summer of 1974, two songs that originated in clubs reached Number One on the Billboard Hot 100: Hues Corporation’s “Rock the Boat” and George McCrae’s “Rock Your Baby.” These were seminal 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 as he was present at the TK Records offices: “I think they gave me ‘Rock Your Baby’ to get me out of their hair,” he recalled. After the record’s success, Casey, Finch, and Smith formed the core of KC and the Sunshine Band. “Rock Your Baby” is recognized as one of the earliest and most influential tracks of good dance music in the disco era. —M.M.
El General, ‘Perezosa’ (1995)
El General, Panamanian pioneer of reggaeton, showcasing his experimental approach to dance music in a vibrant promotional shot.
Panamanian pioneer El General established the blueprint for reggaeton with his international hits using reggae rhythms in the 80s and 90s. Often overlooked is his experimental nature and broader influence on club music. “Perezosa,” from his album Club 555, exemplifies his range – a booming, empowering dance anthem filled with high-voltage electronic sounds that captured the energy of Latin American parties. This track highlights his innovative approach to good dance music, blending reggae roots with electronic experimentation. —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 from early 90s UK hardcore to late 90s neo-fusion, often under various aliases. Tom and Jerry is one such alias, credited for “Maximum Style,” released as jungle’s popularity surged in the UK. This smooth, gliding stepper, with a captivating guitar riff and playful cartoon effects, maintains a lighthearted feel while delivering a serious groove. Its blend of playful elements and solid rhythm makes it a standout example of good dance music from the jungle era. —M.M.
LCD Soundsystem, ‘Losing My Edge’ (2002)
LCD Soundsystem performing in New York City, 2002, capturing the irony and energy of their dance-punk anthem 'Losing My Edge'.
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James Murphy’s debut single for LCD Soundsystem, “Losing My Edge,” is both a compelling groove and a witty comedic piece. It’s a burst of irony that helped ignite New York’s dance-punk scene in the early 2000s. Murphy portrays an aging hipster grappling with fading relevance 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 the rock kids.” “Losing My Edge” makes you laugh and dance simultaneously, and its sense of FOMO remains universally relatable, making it a clever and engaging piece of good dance music. —J.D.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
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Pablo Flores is considered a key figure in Latin pop. The Puerto Rican DJ collaborated with major artists associated with Emilio Estefan, including Gloria Estefan and Ricky Martin. Introducing him to a then lesser-known Colombian singer Shakira in the 90s, he and Javier Garza helped her create “Ojos Asi,” a groundbreaking song that honored her Lebanese heritage while foreshadowing globally influenced Latin music. His extended remix, the “Thunder Mix,” further amplified these concepts with masterful production that resonated on dance floors worldwide. This remix demonstrated the global appeal and innovative sound of good dance music from Latin America. —J.L.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher performing live in Nottingham, UK, 2013, showcasing the complex rhythms and experimental nature of his track 'My Red Hot Car'.
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As Squarepusher in the mid-90s, Tom Jenkinson transformed drum and bass’s intensity into complex, almost undanceable structures, infused with intellectual undertones. “Basically, I was beginning to stare up my own ass,” he later admitted. Consequently, “I wanted to shake things up and make music in a more spontaneous, almost flippant way.” However, the cut-up vocals and glitchy production of “My Red Hot Car” are not mere abstraction. The flickering complexity alternates with strategic negative space, outlining a groove that adventurous DJs find irresistible. Its experimental yet rhythmically compelling nature makes it a unique and challenging piece of good dance music. —M.M.
Moloko, ‘Sing It Back (Boris Musical Mix)’ (1997)
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Featuring Róisín Murphy’s vocals, described by Mark Brydon as “Peggy Lee on mescaline,” Moloko’s 1998 single “Sing It Back” was moody, downtempo, and expansive but initially underperformed. Then, Belgian house producer Boris Dlugosch remixed it, creating a crisp house groove inspired by Chic – with alluring rhythm guitar and playful bass. This remix reached the UK Top Five and launched Murphy’s solo career, becoming a defining track that transformed a downtempo song into a vibrant piece of good dance music. —M.M.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League in a promotional shot for 'Don't You Want Me', a synth-pop classic that bridged club music and Top 40 success.
“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,” Human League keyboardist Jo Callis explained about “Don’t You Want Me,” which he co-wrote. Despite initial reservations, its he-said-she-said structure and catchy riff were undeniably appealing. 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. It marked a pivotal moment in the fusion of UK synth-pop, club music, and mainstream Top 40, solidifying its status as good dance music with broad appeal. —M.M.
