What exactly defines a “dance song”? It’s a question that opens up a vast and diverse musical landscape. In a broad sense, any song capable of inspiring movement can be considered dance music. From the iconic tunes of The Beatles to the intense rhythms of Slayer, the spectrum is incredibly wide. Hip-hop and reggae, in their near entirety, inherently possess a danceable quality. However, when we talk about “dance music culture,” we delve into a more specific and deeply rooted world. This world, rich and ever-changing, spans nearly half a century, constantly evolving and pushing boundaries, reaching from its historical roots to the contemporary sounds of today and the innovations of tomorrow.
Our exploration of dance music, after acknowledging the foundational influence of James Brown, the “Godfather of Soul” and master of groove, begins in the mid-1970s with the explosion of disco. From there, we trace its path into the early 1980s club scenes, marked by the emergence of electro and Latin freestyle. The genre experienced a powerful rebirth as disco was reimagined into house music in Chicago and techno in Detroit. This reinvention sparked a period of rapid mutation, exploding into the 1990s rave culture, which spawned a plethora of subgenres from jungle and trance to gabba and garage. This relentless evolution continued into the 2000s, giving rise to the EDM and dubstep phenomena. While these genres have had their moments of mainstream prominence, they haven’t disappeared; drum ‘n’ bass, for instance, is currently experiencing a resurgence, and contemporary house tracks continue to emerge.
If you’re curious about how we arrived at a point where artists like Drake and Beyoncé are releasing house-influenced tracks, this journey through popular dance music history offers context. It’s our perspective on that evolution, at least.
Donna Summer, ‘Last Dance’ (1979)
Image Credit: Redferns
The film Thank God It’s Friday, while visually a lengthy advertisement for the disco powerhouse Casablanca Records, perhaps signaled an over-saturation point for both the label and disco itself. However, “Last Dance” stands as a testament to disco’s artistic merit, rightfully earning an Oscar for Best Original Song. The track begins at a remarkably slow tempo, almost ballad-like, before dramatically transitioning into a taut and exhilarating disco anthem. The unsung hero here is Casablanca’s in-house producer Bob Esty, who masterminded the song’s ingenious tempo shift. —M.M.
Fatboy Slim, ‘The Rockafeller Skank’ (1998)
British DJ Fatboy Slim performs a concert at the Pop Music Festival, held at the parking lot of the Federation of Industries of Rio Grande do Sul, in northern Porto Alegre, southern Brazil, on March 15, 2011. Photo: WESLEY SANTOS/AE/AE (Agencia Estado via AP Images)
Image Credit: AP
Norman Cook, the producer and DJ behind Fatboy Slim, humorously recalled the initial reaction to his massive hit, “The Rockafeller Skank”: “It’s funny. The first time it ever got played was at the Boutique in Brighton. I put it on and everybody just looked up, mouthing, ‘This is you, isn’t it?’” The track’s signature blend of breakbeats and catchy guitar riffs, Cook’s trademark formula, was undeniably effective. “Skank,” with its memorable surf-rock guitar riff and the iconic Lord Finesse vocal sample (“Right about now, the funk soul brother/Check it out now, the funk soul brother”), quickly permeated popular culture. Cook jokingly referred to the phenomenon as “Frat-Boy Slim,” acknowledging that “Rockafeller Skank” became an anthem for a certain kind of boisterous, beer-loving mentality. —M.M.
Mescalinum United, ‘We Have Arrived’ (1991)
Techno’s harder, more aggressive counterpart is “gabber,” a Dutch word for “buddy,” and the Netherlands is indeed the genre’s stronghold. Marc Acardipane, known under approximately 90 different aliases, is considered gabber’s pioneering figure. His early track, “We Have Arrived,” released under the name Mescalinum United, remains a potent example of the genre. Built upon relentlessly pounding drums and piercing, siren-like sound effects, it became foundational to the gabber sound. At Brooklyn raves, where DJ Lenny Dee championed the track (releasing it on his label in America), crowds enthusiastically moshed to its intense energy. —M.M.
Oliver Heldens, ‘Melody’ (2016)
Oliver Heldens
By the mid-2010s, a sense of fatigue had set in even among main-stage festival DJs regarding the predictable build-and-drop structures that dominated the dance music scene. Oliver Heldens’ “Melody” marked a significant shift. Released when the Dutch producer was only 18, the track’s soaring string arrangements and uplifting piano melody possessed a refined, almost classical quality, while still maintaining a powerful, driving bassline. “Melody” signaled a move towards a more sophisticated and nuanced sound within popular dance music. —M.M.
Kerri Chandler, ‘Rain’ (1998)
New Jersey house producer Kerri Chandler’s deeply soulful and uplifting tracks are a major reason for his lasting influence on contemporary producers and DJs. “I never considered myself a singer,” Chandler 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 description. On “Rain,” Chandler’s heartfelt vocal delivery, with each line punctuated by the repeated title, teeters on the brink of sadness, yet the music itself is more playful and teasing, particularly the distinctive xylophone solo. The track captures a complex emotional landscape within a danceable framework. —M.M.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
LONDON, ENGLAND – 2002: Mack Goudy Jr, aka Paris the Black Fu, of Detroit Grand Pubahs performs live at the ICA, circa 2002 in London, England. (Photo by Jim Dyson/Getty Images)
Image Credit: Jim Dyson/Getty Images
Andy Toth and Mack Goudy—also known as Dr. Toefinger Paris the Black Fu—of Detroit Grand Pubahs, initially connected while working at a restaurant in Royal Oak, Michigan. “We both liked whiskey and working on music,” Toth explained. One evening, Toth crafted a dynamic, quirky electro track, and Paris spontaneously asked 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 had improvised some suggestive lyrics about a dance-floor encounter. “Sandwiches” became a defining moment of Detroit’s turn-of-the-century electro revival, achieving global club hit status and showcasing the city’s innovative spirit. —M.M.
Black Box, ‘Everybody Everybody’ (1990)
Sometimes, a successful record emerges from ethically questionable circumstances, as was the case with “Everybody Everybody.” Martha Wash of the Weather Girls was contracted in 1989 to record demos for an Italian house production team calling themselves Groove Groove Melody. She was led to believe the songs were for other singers. Instead, the tracks were released under the name Black Box, featuring Wash’s uncredited vocals. Adding insult to injury, a model was hired to lip-sync Wash’s vocals in music videos. Wash pursued legal action and won. (She also took similar action against C+C Music Factory for a similar offense). Daniele Davoli of Black Box later expressed regret, stating in 2013, “We didn’t know any better at the time. I guess we had to learn from our mistakes.” Despite the controversy, “Everybody Everybody” became a hugely popular dance anthem of the era. —M.M.
Big Freedia, ‘Azz Everywhere’ (2010)
Big Freedia performs at the 2019 Essence Festival at the Mercedes-Benz Superdome, Sunday, July 7, 2019, in New Orleans. (Photo by Amy Harris/Invision/AP)
Image Credit: Amy Harris/Invision/AP
“I’ve run across half the globe now, spreading the goodness of bounce and trying to get people everywhere onto what’s been around for two decades,” Big Freedia said in 2011, speaking about New Orleans’ high-energy, chaotic, and distinctly local club sound – the very music that gave rise to twerking. “Azz Everywhere” became the breakthrough track for bounce music, characterized by its frenetic blend 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, highlighting the cultural significance of the genre. “We describe it as an uptempo, heavy bass, holler-response music. And it definitely has a lot to do with azz shaking!” “Azz Everywhere” brought the infectious energy of bounce music to a wider audience. —M.M.
Joy Orbison, ‘Hyph Mngo’ (2009)
During the late 2000s, dubstep producers were pushing creative boundaries, resulting in a wave of experimental tracks. Joy Orbison’s debut, “Hyph Mngo,” became the quintessential dubstep track of 2009, capturing the scene at its peak. The track’s smooth bassline and synthetic textures create a gliding sensation, while the sharp snare drum and fragmented vocal samples—a woman’s voice alternating between “Ooh!” and “I do”—imbue it with an unexpected emotional depth, rare for dubstep at the time. This emotional resonance helped propel “Hyph Mngo” into mainstream recognition, demonstrating dubstep’s capacity for nuance. —M.M.
ESG, ‘Moody’ (1981)
ESG Moody
The Scroggins sisters from the South Bronx left an enduring imprint on New York dance music with their band ESG, formed in the late 1970s. While their grooves drew inspiration from funk and disco, their minimalist sound and emphasis on percussion resonated with post-punk and no-wave club scenes. This crossover appeal was solidified after they collaborated with Joy Division producer Martin Hannett for their debut EP. “Moody,” the EP’s centerpiece, remains strikingly futuristic. It features a seductive bassline, rhythmic bongo drums, and Renee Scroggins’ detached vocals echoing through the sparse soundscape. “Moody” exemplified the innovative spirit of New York’s downtown music scene. —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’s remix of her synth-pop single “In for the Kill,” stating that the London producer not only captured the essence of the original but “regave birth to the real meaning and atmosphere of the song as we wrote it.” Skream’s remix strips away the original’s upbeat tempo (and Kanye West’s guest verse), creating an intensely atmospheric soundscape with flattened synths. He then unleashes a burst of energy with rapid drum-and-bass rhythms. “What he did with the song is what we would have done if we’d been brave enough,” Jackson admitted, acknowledging the remix’s bold departure from conventional pop structures. “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 synth-pop track into a dynamic and innovative dance floor anthem. —M.M.
Double 99, ‘RIP Groove’ (1997)
Double 99
London producers Tim Deluxe and DJ Omar, who had previously worked together as RIP in the mid-1990s, rebranded as Double 99 to commemorate “a double-pack vinyl EP,” Omar explained. Due to production delays, “we decided to make up track names and get the artwork done before the tracks had actually been made.” “RIP Groove,” titled as a tribute to their earlier moniker, cleverly samples Armand Van Helden’s remix of CJ Bolland’s “Sugar Is Sweeter,” along with elements from Kenny Dope and singer Tina Moore. The track, reportedly created in just three hours, became a defining tune of 1997, propelling UK garage (then called “speed garage”) into the mainstream charts and introducing a fresh sound to popular dance music. —M.M.
Snap!, ‘The Power’ (1990)
“The Power” embodies a classic dance music archetype: German producers sampling an American rapper (Chill Rob G from Queen Latifah’s Flavor Unit crew) and an American R&B vocalist (Jocelyn Brown) to create a club hit. The track 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 original sampled rapper released his own version, credited to Power Jam feat. Chill Rob G. Both versions achieved club success, but “The Power” had a broader impact, establishing a new Europop blueprint. As Snap!’s Michael Muenzing noted in 1994, “Now you have 50 or 60 groups singing this way—rapping, singing the chorus, and going back to the rap.” “The Power” became a template for crossover dance-pop hits. —M.M.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ Frosty
Jersey club, originating in Newark, New Jersey (initially known as Brick City club), is characterized by its energetic, syncopated rhythms, clipped vocal samples, and a feel that is both intense and uplifting, reminiscent of classic hip-house but with a distinct twist. DJ Frosty’s “Ride That Wave” perfectly exemplifies this style. It’s an irresistibly catchy, chant-driven track that emerged just as Jersey club began gaining international attention from EDM producers. This growing popularity eventually led to Jersey club’s influence reaching mainstream artists like Drake on his album Honestly, Nevermind. The remix of “Ride That Wave” features Fatman Scoop, whose 1990s hip-hop cut-ups on AV8 Records were highly regarded by DJs like Armand Van Helden and Fatboy Slim, further solidifying the track’s credibility within dance music culture. —J.D.
Todd Terje, “Inspector Norse” (2012)
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Norwegian nu-disco producer Todd Terje created “Inspector Norse”—like his entire 2012 It’s the Arps EP, using only sounds from a vintage ARP synthesizer—without expecting 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 and infectious melody proved irresistible. “It really helped me as a DJ in terms of popularity,” he acknowledged. “Inspector Norse” became a defining track of the nu-disco movement, showcasing Terje’s unique production style and melodic sensibilities. —M.M.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture – UNITED STATES – DECEMBER 14: Photo of RAPTURE; The Rapture on The Bowery New York City, December 14 2002 (Photo by David Corio/Redferns)
Image Credit: Redferns
“Most people now have no memory of how absolutely sacrilegious it was at the time,” DFA Records co-founder James Murphy, who co-produced “House of Jealous Lovers,” told Spin magazine, reflecting on the track’s initial impact. “We wanted to make a rock track that could compete with dance music. We obsessed over it.” The Rapture’s debut single combined abrasive Gang of Four-esque guitar riffs and a frenzied, shout-along vocal performance with a compelling beat and deep bass, engineered to appeal to dance DJs. It succeeded. The song became the pinnacle of the early 2000s “dance-punk” movement, inspiring a wave of New York bands emulating 1979 Manchester or Leeds sounds. Suddenly, indie bars across the city incorporated DJ booths and turntables, blurring the lines between rock and dance music scenes. —J.D.
TNGHT, ‘Higher Ground’ (2012)
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“The first time around was our take on big American rap beats, with a little bit of cheekiness to it,” Hudson Mohawke said of the 2012 EP he created with Lunice as TNGHT. The five-song EP propelled both artists into the EDM spotlight, thanks to its energetic and club-focused take on trap music. “Higher Ground,” a track characterized by its powerful, almost regal stomp, is both expansive and intricately detailed. Within a year, Kanye West enlisted TNGHT to produce “Blood on the Leaves” from his Yeezus album, demonstrating TNGHT’s influence on mainstream hip-hop and solidifying their position in popular music. —M.M.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size Reprazent Brown Paper Bag
In the late 1990s, drum and bass was becoming increasingly fragmented and distanced from its roots in dancehall and hip-hop. Roni Size and Reprazent, a crew from Bristol, England, managed to create drum and bass that felt both experimental and accessible, while staying connected to its Black musical heritage. They achieved this by fusing fast-paced beats with warm, organic jazz-funk influences. “It’s funny how ‘Brown Paper Bag’ split people,” Size mentioned in a 2018 interview, referring to the group’s most famous track, the double-bass driven highlight from their 1997 album, New Forms. “They heard the jazz, how it sounded different from everything else, and they saw this other audience that loved it.” “Brown Paper Bag” broadened the appeal of drum and bass, attracting listeners beyond the genre’s core fanbase. —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 initial 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 these influences with a relaxed elegance. Initially, their tracks were intended solely for Soul II Soul’s own 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.” However, the world became very interested in them. “Back to Life” reached Number One on the Billboard R&B chart and climbed into the Top Five of the Hot 100, achieving mainstream success while retaining its soulful and reggae-infused essence. —M.M.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix Da Housecat
Felix Stallings Jr., known as Felix da Housecat, is a Chicago house music veteran. He co-created the acid house classic “Fantasy Girl” as Pierre’s Pfantasy Club with DJ Pierre in 1987, while still in high school. His career reached global heights with his 2001 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, creating a concept album exploring themes of celebrity and artificiality. “Silver Screen Shower Scene” became an instant anthem, its lyrics satirizing celebrity culture and its music seemingly defining the electroclash era. Jacques Lu Cont’s “Thin White Duke Remix” became even more popular among DJs, further solidifying the track’s status as a dance music classic. –M.M.
Dntel feat. Ben Gibbard, “(This Is) The Dream of Evan and Chan (Superpitcher Kompakt Remix)” (2001)
In 2000, Death Cab for Cutie’s frontman Ben Gibbard had “a weird dream … involving [Lemonheads frontman] Evan Dando and Chan Marshall,” also known as Cat Power. “It was completely G-rated, not one of those inappropriate dreams, but it was bizarre – you know, in the same way you dream that you’re in your house but it’s not your house, your friend is there but he’s a merman.” He transformed this dream into a song, collaborating with Dntel (Jimmy Tamborello) before their Postal Service project. Dntel set Gibbard’s vocals to lively beats and shimmering synths. However, the remix by Superpitcher, from the influential German label Kompakt, elevated the track to another level. Featuring hazy synth layers and echoing bell sounds, Superpitcher’s remix fully realized the dreamlike atmosphere hinted at in the lyrics, creating a uniquely evocative piece of electronic music. —M.M.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Portrait of Sylvester James (1947 – 1988), American disco singer better known as Sylvester, circa 1980. (Photo by Anthony Barboza/Getty Images)
Image Credit: Getty Images
Patrick Cowley was a synth virtuoso who became a key figure in Hi-NRG, a genre that dominated gay club culture. His innovations were evident in his solo work, his collaborations with Sylvester, and his extended, 16-minute version of Donna Summer’s “I Feel Love.” Tragically, Cowley fell ill in November 1981 and passed away a year later at the age of 32, just months after the term “AIDS” was officially recognized. During his final months, Cowley continued to create music, working from his studio bed to finish his futuristic, synthetic grooves. “Do Ya Wanna Funk?” remains a landmark track – featuring soaring synth riffs and Sylvester’s stratospheric falsetto vocals. It also became a memorable movie moment when it soundtracked a party scene in Trading Places, further cementing its place in popular culture. —M.M.
Funkadelic, ‘One Nation Under a Groove’ (1978)
Image Credit: Redferns
“One Nation Under a Groove,” arguably the greatest funk track ever to feature banjo prominently, possesses an instantly captivating rhythm that propelled it to the top of the R&B singles chart for six weeks in 1978. Assigning the song to the guitar-driven Funkadelic, rather than the horn-heavy Parliament, was George Clinton’s strategic move to give it more weight and impact. “Parliament is smashing,” he explained. “But Funkadelic is the movement.” “One Nation Under a Groove” became an anthem for unity and funk power, transcending genre boundaries. —M.M.
Evelyn Thomas, ‘High Energy’ (1984)
NEW YORK CITY – SEPTEMBER 30: Evelyn Thomas sighted on September 30, 1984 at the Limelight Disco in New York City. (Photo by Ron Galella/Ron Galella Collection via Getty Images)
Image Credit: Ron Galella Collection via Getty
Released in April 1984, “High Energy” is credited with giving the Hi-NRG genre its name, although it wasn’t the first of its kind. Chicago singer Evelyn Thomas was signed by Manchester producer Ian Levine to Pye Records in the mid-1970s when she was a teenager. Levine, a DJ on the Northern Soul circuit who played rare 1960s American R&B, gradually shifted towards disco, particularly as synthesizers became more prevalent. Smash Hits magazine noted that Levine “straddle[ed] both gay disco and old Motown—the two main Hi-NRG ingredients.” “High Energy,” with its bold, upbeat, and undeniably cheesy appeal, reached the UK Top Five and remains a popular track, as demonstrated by DJ-producer Black Madonna (now the Blessed Madonna) on her Bunker Podcast. The track’s enduring popularity underscores its infectious energy and Hi-NRG’s lasting influence. —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 shared his admiration for 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 enthusiastically stated. “Get Lucky” became a global phenomenon, revitalizing disco influences in contemporary popular music and showcasing the power of collaboration across generations and genres. –M.M.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson – Matt Zo – Easy
“‘Easy’ in my mind is an homage to Daft Punk’s Discovery,” Porter Robinson explained in 2013 about his collaborative track with Mat Zo. “It takes the disco chords of all of the early French stuff and gives it a louder, more trance-inspired feel.” “Easy” is a masterful update, both shimmering and classic in its approach. The central synth melody evokes both a Theremin and a Moog synthesizer, and the vocal sample (from Colourblind’s NYC garage classic “Nothing Better”) carries an emotional intensity that many stadium EDM tracks of the era lacked. “Easy” demonstrated a sophisticated approach to EDM, blending nostalgia with contemporary production techniques. —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 rock band 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 raw, energetic track that perfectly bridged electroclash and EDM. Retitled “We Are Your Friends,” it became a hit in 2006, launching Augé and de Rosnay’s career as Justice. It also inspired Simian to reinvent themselves as the dance act Simian Mobile Disco, highlighting the track’s transformative impact on both artists. —M.M.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix performs on day one of the Coachella Music and Arts Festival on Friday, April 11, 2014, in Indio, Calif. (Photo by Scott Roth/Invision/AP)
Image Credit: Scott Roth/Invision/AP
Dance music often feels like a young person’s domain, and the early 2010s EDM boom exemplified this. “Animals,” built around a catchy synth riff so memorable that crowds chanted along even without lyrics, was released by Dutch producer Martin Garrix when he was just 18 years old. It became an instant global smash. This rapid success led to 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” became an anthem of the EDM explosion, demonstrating the genre’s accessibility and appeal to a young audience. —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 musical gap between KC and the Sunshine Band and 2 Live Crew in Miami. “Lookout Weekend,” his second single with Debbie Weshoff Lopez—whom he discovered working at a record store—is freestyle at its most vibrant. Like its predecessor, “When I Hear Music,” “Weekend” achieved triple platinum status. In response to this success, Tony recounted, “I bought me a Porsche. As a matter of fact, two Porsches.” “Lookout Weekend” became a defining track of the freestyle genre and a testament to Miami’s vibrant dance music scene. —M.M.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang – AUSTIN, TX – MARCH 17: Tate Kobang performs onstage at the Youtube Music Showcase on March 17, 2016 in Austin, Texas. (Photo by Thomas M Jackson/Redferns)
Image Credit: Redferns
Built upon a sample of Tim Trees’ Baltimore club track “Bank Roll,” Tate Kobang’s remix, created when he was 23, is a modern tribute to Baltimore, its people, its resilience, and its energetic spirit. In his final verse, he even acknowledges K-Swift, the legendary DJ who helped bring Baltimore club music to a wider audience 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 explained. “Bank Rolls (Remix),” like K-Swift’s pioneering work, introduced a new generation to the infectious energy of Baltimore club 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, describing his shared musical tastes with Soft Cell partner David Ball. They combined these influences into a groundbreaking medley. The duo’s synth-pop rendition of Gloria Jones’ R&B stomper “Tainted Love” was already a hit, but for the extended version, they seamlessly incorporated The Supremes’ classic “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—a quintessential example of New Wave disco—has captivated dance floors ever since, showcasing Soft Cell’s innovative approach to blending genres. —M.M.
The Orb, ‘Little Fluffy Clouds’ (1990)
The Orb – Alex Paterson of The Orb, portrait, London, United Kingdom, 1991. (Photo by Martyn Goodacre/Getty Images)
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 the stunning Arizona skies of her youth: “The most beautiful skies, as a matter of fact … purple and yellow and red and on fire.” Side B featured Steve Reich’s Electric Counterpoint. By combining these elements, Paterson created “Little Fluffy Clouds,” the most mellow and approachable track of the acid house era. Reich “was very happy when he heard it,” Paterson recalled. “Suddenly, it was being played to the masses, and they were loving it.” “Little Fluffy Clouds” introduced ambient house to a wider audience, demonstrating its potential for both dance floors and relaxed listening. —M.M.
Polygon Window, ‘Quoth’ (1993)
Richard D. James, known as Aphex Twin, is often associated with more introspective electronic music. However, during the early 1990s, he produced rave anthems of exceptional quality. “Quoth,” released under his Polygon Window alias, is a prime example—a percussion-driven masterpiece. It became particularly popular in the American Midwest during that period, where it was enthusiastically danced to in actual barn raves, highlighting its raw energy and underground appeal. —M.M.
Skream, ‘Midnight Request Line’ (2005)
Skream. Fabric Nightclub, Farringdon, London. (Photo by: PYMCA/Universal Images Group via Getty Images)
Image Credit: Universal Images Group via Getty
Shortly after London dubstep producer-DJ Skream released his atmospheric 12-inch “Midnight Request Line,” he recounted, “I was on a boys’ holiday with my friends. They had a DJ Magazine or a Mixmag rack up on a shelf … I looked at it, and I had Record of the Month. I was like, ‘Shit, I need to get home.’” The track, with its wavering synth melody, smooth bassline, and prominent claps, propelled Skream, and dubstep, into the forefront of popular dance music. –M.M.
Paul Johnson, ‘Feel My M.F. Bass’ (1994)
“Ghetto house” emerged as house music’s equivalent to gangsta rap—a raw, sample-based, and street-oriented style developed by a group of Chicago producers in the 1990s, particularly those associated with the Dance Mania label. Paul Johnson, who used a wheelchair, became a leading figure in this style, creating unconventional and genre-bending tracks with a distinctive flair. (His DJ mixtapes, often featuring his dreamy voice-overs, were also notable). Johnson’s peak achievement was arguably “Feel My M.F. Bass,” a forceful track built around a cavernous kick drum. Over this heavy beat, Johnson, who tragically passed away from Covid in August 2021, gleefully chants, “Feel my motherfuckin’ bass in your face,” as if serenading a lover. When the kick drum returns, the track delivers on its promise of raw, visceral energy. —M.M.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City, group portrait, London, United Kingdom, 1990. Line up includes: Byron Stingily, Herb Lawson and Byron Burke (Photo by Martyn Goodacre/Getty Images)
Image Credit: Getty Images
“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,” explained Marshall Jefferson, who produced the Chicago house vocal trio. “That’s the Way Love Is,” Ten City’s third single, perfectly encapsulated their style—lush Philly-soul strings accompanying heartfelt love songs, topped with Byron Stingily’s soaring falsetto vocals. It reached the Top 10 in the UK and Number One on the Billboard dance chart. Moreover, Jefferson recounted, “people in South Africa have told us stories of how that song represents liberation for them,” highlighting the song’s powerful emotional resonance and global impact. —M.M.
Nitzer Ebb, ‘Join in the Chant’ (1987)
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Hailing from England’s industrial Midlands, Nitzer Ebb’s rhythmic and industrial sound had organic roots in dance music. “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 electrifying anthem, “Join in the Chant,” became a perfect techno crossover track—particularly in Detroit, where techno artists like Carl Craig and Jeff Mills had previously embraced industrial music. Richie Hawtin included “Chant” in his influential 1999 mix CD Decks, EFX & 909, and Andrew Weatherall famously declared, “The closest I felt to God was listening to ‘Join in the Chant.’” The track’s raw energy and rhythmic intensity made it a staple in both industrial and techno scenes. —M.M.
Bronski Beat, ‘Smalltown Boy’ (1984)
Bronski Beat
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 stated. “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 mournful vocal hook (“Run away, run away, run away”) and gentle synth backdrop, it quickly became a gay club anthem, reaching Number One on the Billboard club chart and the UK Top Three. “Smalltown Boy” became a powerful anthem for LGBTQ+ individuals and anyone experiencing feelings of isolation. —M.M.
LFO, ‘LFO (Leeds Warehouse Mix)’ (1990)
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LFO were pioneers of Sheffield, England’s “bleep” scene—Warp Records’ original signature sound, characterized by its distinctive “bleep” sounds. 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 secured LFO’s signing was their self-titled “LFO,” where icy synth chords and quirky bleeps set the stage for layers of deep bass. The bassline compels movement, while the sub-bass can literally shake a city block. “LFO” became a landmark track in early Warp Records history and a testament to the power of minimalist electronic music. —M.M.
Drake, ‘Sticky’ (2022)
Drake Sticky
As the title of Drake’s dance music foray, Honestly, Nevermind, suggests, the album feels intentionally understated, casually incorporating Jersey and Baltimore club music influences along with various deep house styles. The standout track is “Sticky,” produced by Gordo and Ry X. Here, Drake departs from the subdued vocals that dominate the rest of the album and raps about personal topics, such as the release of Young Thug and the passing of Virgil Abloh. “Sticky” exemplifies a megastar venturing into a subculture and emerging with a refreshed and compelling sound, showcasing the ongoing cross-pollination between mainstream and underground dance music. —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 makes the depth of his passion evident. Over playful kicks and hi-hats and a swirling keyboard melody, Clark delivers a spoken-word piece capturing a transcendent dance floor moment: “All the sweat just goes down my face/And I pretend that there’s nobody there but me in this place.” Clark also included the a cappella version on the 12-inch, which was later sampled by Fatboy Slim on his album Halfway Between the Gutter and the Stars. “I Get Deep” perfectly encapsulates the immersive and spiritual experience of dance music. —M.M.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us Follow Me
Early house music often had a raw, slightly imperfect quality—a handmade feel that was a significant part of its charm. This is especially true of “Follow Me,” an uplifting anthem with a gospel-infused message (“We must stop fighting/To achieve the peace”) from a New Jersey vocal trio who recorded it in a basement using a four-track recorder. Its lo-fi production and occasional vocal imperfections only enhance the song’s sense of urgency and sincerity. “Follow Me” remains a classic example of early house music’s soulful and DIY ethos. —M.M.
George McCrae, ‘Rock Your Baby’ (1974)
Image Credit: Redferns
In the summer of 1974, two songs that originated in clubs reached Number One on the Billboard Hot 100. One was Hues Corporation’s “Rock the Boat,” and the other was “Rock Your Baby.” These tracks marked the arrival of disco into mainstream popular music. The shimmering instrumental track for “Rock Your Baby” was created by keyboardist Henry Wayne Casey, drummer and bassist Richard Finch, and guitarist Jerome Smith. George McCrae was brought in because he was frequently at the TK Records offices. “I think they gave me ‘Rock Your Baby’ to get me out of their hair,” he joked. After the record became a hit, Casey, Finch, and Smith went on to form the core of KC and the Sunshine Band, further solidifying the track’s importance in the disco movement. —M.M.
El General, ‘Perezosa’ (1995)
El General
Panamanian artist El General is a pioneer who laid the groundwork for reggaeton. He achieved massive international success in the 1980s and 1990s by using reggae rhythms in his music. However, his experimental approach and broader influence on club music are often overlooked. “Perezosa,” a powerful and empowering dance anthem from his album Club 555, exemplifies his innovative range. The album was filled with high-energy electronic sounds capturing the spirit of vibrant parties across Latin America. “Perezosa” showcased El General’s ability to blend reggae rhythms with electronic elements, paving the way for future Latin dance music genres. —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 influential music throughout the genre’s evolution, from early 1990s UK hardcore to late 1990s neo-fusion. They often worked under various aliases, including Tom and Jerry, under which they released the gem “Maximum Style.” Released as jungle music’s popularity surged in the UK, “Maximum Style” is a smooth, gliding track with an enchanting, almost whimsical guitar melody and playful cartoon sound effects. Despite its lighthearted elements, it possesses a seriously compelling groove, blending playfulness with dance floor functionality. —M.M.
LCD Soundsystem, ‘Losing My Edge’ (2002)
LCD Sound System – UNITED STATES – DECEMBER 14: BOWERY BALLROOM Photo of LCD SOUNDSYSTEM, LCD Soundsystem performing at Bowery Ballroom NYC on December 14 2002 (Photo by David Corio/Redferns)
Image Credit: Redferns
The debut single by James Murphy’s LCD Soundsystem, “Losing My Edge,” is both a fantastic dance track and a brilliant piece of comedic performance art. It’s a witty and ironic commentary that also helped ignite the New York dance-punk scene of the early 2000s. Murphy portrays an aging hipster grappling with his fading relevance as a younger generation emerges. He lists his cultural credentials, like “was there, at the first Can show in Cologne,” or being the first “to play Daft Punk to the rock kids,” but acknowledges his growing obsolescence. “Losing My Edge” makes you laugh and dance simultaneously, and its themes of cultural anxiety and FOMO resonate universally. —J.D.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
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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 forward-thinking song celebrated her Lebanese heritage and foreshadowed the globally influenced Latin music that would soon dominate charts. Flores’ extended remix, “Thunder Mix,” amplified these ideas further with masterful production aimed at dance floors worldwide. “Ojos Asi (Thunder Mix)” became a pivotal track in Shakira’s career and a landmark in the globalization of Latin pop. —J.L.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher – NOTTINGHAM, UNITED KINGDOM – MARCH 29: (EXCLUSIVE ACCESS) Squarepusher performs a one off show on stage at Rescue Rooms on March 29, 2013 in Nottingham, England. (Photo by Ollie Millington/Redferns via Getty Images)
Image Credit: Redferns via Getty Images
Recording as Squarepusher in the mid-1990s, Tom Jenkinson twisted drum and bass’s frenetic energy into complex and often intentionally undanceable sonic puzzles, imbuing it with an intellectual and sometimes self-indulgent quality. “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 glitchy production of “My Red Hot Car” are not purely abstract. The track’s intricate trickery is balanced with moments of negative space, all built around a surprisingly groovy bassline that appeals to adventurous DJs. “My Red Hot Car” showcases Squarepusher’s ability to blend experimental sound design with danceable rhythms. —M.M.
Moloko, ‘Sing It Back (Boris Musical Mix)’ (1997)
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Moloko’s 1998 single “Sing It Back,” featuring Róisín Murphy’s distinctive vocals, described by her partner Mark Brydon as “Peggy Lee on mescaline,” was initially a moody, downtempo, and sprawling track. It was commercially unsuccessful. However, Belgian house producer Boris Dlugosch created a remix that transformed the song. His version featured a crisp house groove inspired by Chic, with a captivating rhythm guitar and a playful bassline. This remix reached the UK Top Five and became a launchpad for Murphy’s adventurous and dance-oriented solo career, demonstrating the transformative power of a well-crafted remix. —M.M.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League Don
“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. The group initially underestimated the song, despite its he-said-she-said structure and catchy riff. However, its nagging hook and giant chorus proved irresistible. The song became the group’s first Number One in both the UK and US, as well as a Top Three hit on the Billboard Dance Club chart. “Don’t You Want Me” marked a key moment in the convergence of UK synth-pop, club music, and mainstream Top 40 radio, showcasing the crossover potential of electronic dance music. —M.M.
Conclusion:
This journey through 50 popular dance music tracks illustrates the genre’s incredible diversity and constant evolution. From the disco anthems of the 70s to the electronic innovations of today, dance music has consistently pushed boundaries, absorbed influences, and redefined itself. These songs, chosen for their cultural impact and enduring appeal, represent just a fraction of the vast and vibrant world of popular dance music. They tell a story of innovation, collaboration, and the universal human desire to move to a beat. Whether you’re a seasoned club-goer or new to the world of dance music, this collection offers a starting point to explore and appreciate the rich history and exciting present of this dynamic genre.
