What exactly defines a “dance song”? It’s a question that opens up a world of musical possibilities. In its broadest sense, any song that can inspire movement, from a subtle foot tap to an all-out groove, could be considered a dance song. Think about The Beatles or even Slayer – artists from vastly different genres who have created tracks that get people moving. Hip-hop and reggae are almost universally considered dance music.
However, when we talk about a curated list of the “Top Dance Songs Ever,” we’re delving into something more specific: “dance music culture.” This is a rich and expansive world, spanning nearly half a century and constantly evolving. Our exploration begins in the mid-1970s with the shimmering sounds of disco, transitioning into the early 80s with club anthems like electro and Latin freestyle. Dance music experienced a powerful resurgence when disco was reimagined as house music in Chicago and techno in Detroit. This rebirth led to an explosion of creativity in the 90s rave scene, giving rise to genres from jungle and trance to gabba and garage, ultimately paving the way for the EDM and dubstep phenomena of the 2000s. These sounds, while experiencing moments of mainstream prominence, never truly disappear. Drum ‘n’ bass, for example, is currently enjoying a vibrant revival, and contemporary house tracks continue to emerge, building upon this rich history.
This list isn’t an attempt to capture every subtle nuance within this vast ocean of subgenres. Instead, we’ve focused on tracks that possess a timeless quality, songs that feel universally resonant and canonical within dance music culture. We’ve also paid close attention to moments where dance music has intersected with the wider musical landscape – blending seamlessly with synth-pop, hip-hop, funk, Miami bass, R&B, indie-rock, Latin music, and mainstream pop. This is why you’ll find artists like Prince, Robyn, Britney Spears, and Shakira sharing space with pioneers like Adonis, Frankie Knuckles, Moodymann, Goldie, and the innovative SOPHIE.
If you’ve ever wondered how we arrived at a point where artists like Drake and Beyoncé are releasing house-inspired tracks, this list tells that story – or at least, our version of it. It’s a journey through the evolution of dance music, highlighting the tracks that have shaped its past, defined its present, and continue to inspire its future.
Donna Summer, ‘Last Dance’ (1979)
Donna Summer Last Dance Image Credit: Redferns
Image Credit: Redferns
While the film Thank God It’s Friday might be seen as a somewhat over-the-top promotion for Casablanca Records and the disco era, “Last Dance” stands alone as a truly exceptional track. It rightfully earned an Oscar for Best Original Song. The song’s genius lies in its dramatic tempo shift. It begins at a ballad pace, almost glacial in its slowness, before transforming into a vibrant, high-energy disco anthem. Credit for this brilliant concept goes to Casablanca’s in-house producer Bob Esty, who masterfully engineered the song’s dynamic change. “Last Dance” is a quintessential disco track and a deserving inclusion among the top dance songs ever.
Fatboy Slim, ‘The Rockafeller Skank’ (1998)
Fatboy Slim The Rockafeller Skank British DJ performs at Pop Music Festival in Brazil Image Credit: AP
Image Credit: AP
Norman Cook, the DJ and producer behind Fatboy Slim, described his massive hit “The Rockafeller Skank” as “funny.” He recounted the first time he played it at the Boutique in Brighton, where the crowd’s reaction was a collective, knowing look, mouthing, “This is you, isn’t it?” Cook’s signature formula of breakbeats combined with catchy guitar riffs was in full effect, reaching peak efficiency with “Skank.” Featuring a 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”), the track quickly became inescapable. Despite jokes about “Frat-Boy Slim,” Cook acknowledged that “‘Rockafeller Skank’ became an anthem for that sort of beer-boyish mentality.” Its infectious energy and memorable samples cemented its place as one of the top dance songs of the late 90s and beyond.
Mescalinum United, ‘We Have Arrived’ (1991)
Techno’s heavy metal equivalent, “gabber,” meaning “buddy” in Dutch, boasts its most dedicated fanbase in the Netherlands. However, the genre’s pioneering figure is Marc Acardipane, known under approximately 90 aliases. His initial and still potent release, “We Have Arrived,” under the name Mescalinum United, is built upon relentless, crushing drums and piercing, crisscrossing air-raid siren sounds. This track became the foundation upon which gabber was constructed. At Brooklyn raves hosted by Lenny Dee, whose label released the track in America, crowds would enthusiastically mosh to its intense energy. “We Have Arrived” is a landmark in hard dance music and a testament to the genre’s raw power.
Oliver Heldens, ‘Melody’ (2016)
Oliver Heldens DJ and producer Image Credit: Rolling Stone
By the mid-2010s, even DJs headlining major festivals were experiencing fatigue with the predictable build-and-drop structures that had become dominant in the dance music scene. Oliver Heldens’ “Melody” signaled a significant shift. Released when the Dutch producer was only 18, “Melody” possessed a sense of airy classicism, evident in its sweeping string arrangements and uplifting piano melodies, while still maintaining a powerful, stomping bassline. This track marked a turning point, suggesting a move towards more nuanced and melodically rich dance music, making it a standout among top dance songs of the modern era.
Kerri Chandler, ‘Rain’ (1998)
New Jersey house producer Kerri Chandler’s deeply soulful and uplifting tracks have made him a touchstone for countless younger producers and DJs. Chandler, while not considering himself a traditional singer, sees himself as a “vocalist,” stating 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 even more fitting. In “Rain,” Chandler delivers a poignant plea, each line punctuated by the song’s title, conveying profound emotion with simple phrases like “Never knew you could be this way — rain.” While the lyrics hint at heartbreak, the music itself is more playful than melancholic, especially the distinctive xylophone solo. “Rain” is a testament to Chandler’s ability to blend emotional depth with infectious grooves, solidifying its place as a top house track.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
Detroit Grand Pubahs Paris the Black Fu performing live in London Image Credit: Jim Dyson/Getty Images
Image Credit: Jim Dyson/Getty Images
Andy Toth and Mack Goudy, known as Dr. Toefinger Paris the Black Fu, of Detroit Grand Pubahs, initially connected while working at a restaurant in Royal Oak, Michigan. Toth recalled, “We both liked whiskey and working on music.” One night, Toth created a buzzing and incredibly flexible electro track. Paris, without hesitation, instructed him to turn on the microphone. Toth inquired, “What you got?” to which Paris confidently replied, “Don’t worry about it. Just turn the mic on.” Within minutes, Paris improvised suggestive and humorous lyrics about a dance-floor encounter. This impromptu recording became “Sandwiches,” a defining moment in Detroit’s electro revival at the turn of the century and an instant club hit worldwide. Its raw energy and playful lyrics made it a unique and memorable top dance song.
Black Box, ‘Everybody Everybody’ (1990)
Sometimes, exceptional music emerges from less-than-ideal circumstances. “Everybody Everybody” is one such example. Martha Wash of the Weather Girls was hired in 1989 to record demos for Italian house producers Groove Groove Melody. She was led to believe these demos would be presented to other singers. However, 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 rightfully sued and won, achieving a similar victory against C+C Music Factory for similar practices. 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 its controversial origins, “Everybody Everybody” became a massive hit, its infectious energy and powerful vocals making it a staple in the top dance songs of the early 90s.
Big Freedia, ‘Azz Everywhere’ (2010)
Big Freedia Essence Festival in New Orleans Image Credit: Amy Harris/Invision/AP
Image Credit: Amy Harris/Invision/AP
Big Freedia, in 2011, spoke about her mission to spread the sound of bounce music, stating, “I’ve run across half the globe now, spreading the goodness of bounce and trying to get people everywhere onto what’s been around for two decades.” Bounce, a high-energy, New Orleans-born club sound, is intrinsically linked to the dance move twerking. “Azz Everywhere” became the track that propelled bounce into wider recognition. It’s a sonic explosion of rapid-fire snares, diverse samples, and the shouted title phrase. Big Freedia further explained the genre’s essence: “We hold classes on the road sometimes at performing venues and different colleges to teach about the history of bounce music. We describe it as an uptempo, heavy bass, holler-response music. And it definitely has a lot to do with azz shaking!” “Azz Everywhere” is a defining track in bounce music and a high-energy addition to any list of top dance songs.
Joy Orbison, ‘Hyph Mngo’ (2009)
In the late 2000s, dubstep producers were pushing boundaries, leading to a wave of experimental tracks. Joy Orbison’s debut, “Hyph Mngo,” emerged as the biggest dubstep track of 2009, capturing the scene at its peak. The track features smoothly gliding basslines and plastic-sounding synths, but it’s the ricocheting snare drum and fragmented vocal samples – a woman’s voice uttering “Ooh!” and “I do” – that give it a surprisingly emotional depth, rare for dubstep at the time. This emotional resonance helped propel “Hyph Mngo” into the mainstream, demonstrating dubstep’s potential for both raw energy and subtle emotional complexity, and earning its place among top dance songs.
ESG, ‘Moody’ (1981)
ESG Moody band portrait Image Credit: Rolling Stone
The Scroggins sisters from the South Bronx made a lasting impact on New York dance music with their band ESG, formed in the late 1970s. While their grooves were rooted in funk and disco, their minimalist sound and emphasis on percussion resonated with post-punk and no-wave scenes, especially after collaborating with Joy Division producer Martin Hannett for their debut EP. “Moody,” the EP’s centerpiece, remains remarkably futuristic. It’s characterized by a slinking bassline, hypnotic bongo rhythms, and Renee Scroggins’ ethereal vocals echoing through the mix. “Moody” is a timeless example of minimalist dance-funk and a highly influential track in the lineage of top dance songs.
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 held a different view of Skream’s remix of “In for the Kill.” She credited Skream, another London-based artist, with not only capturing the essence of her synth-pop single but also “regave birth to the real meaning and atmosphere of the song as we wrote it.” Skream’s remix strips away the original’s bouncy beat and Kanye West’s guest verse, creating an incredibly tense atmosphere with flattened synths before unleashing a torrent of drum-and-bass breaks. Jackson remarked, “What he did with the song is what we would have done if we’d been brave enough… We wanted to make a pop record and that just isn’t a pop thing, what he did to it.” Skream’s “Let’s Get Ravey Remix” transformed “In for the Kill” into a high-energy dance floor weapon, arguably surpassing the original in its impact and earning its place among top dance remixes.
Double 99, ‘RIP Groove’ (1997)
Double 99 producers Tim Deluxe and DJ Omar Image Credit: Rolling Stone
London producers Tim Deluxe and DJ Omar, after collaborating as RIP in the mid-90s, rebranded as Double 99 to commemorate “a double-pack vinyl EP,” according to Omar. Due to time constraints, they decided to create track names and artwork before the music was even produced. “RIP Groove,” titled in homage to their previous 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. Taking only three hours to create, “RIP Groove” became one of the biggest tracks of 1997, catapulting UK garage (then called “speed garage”) into the pop charts and announcing a new sound. Its infectious groove and clever sampling made it a defining track of the UK garage scene and a top dance song of the era.
Snap!, ‘The Power’ (1990)
“The Power” exemplifies a classic dance-music archetype. Two German producers sampled American rapper Chill Rob G and R&B vocalist Jocelyn Brown to create a club hit. Major label Arista picked it up and rerecorded it with a new vocalist, Turbo B, an American G.I. stationed in Germany. Chill Rob G then rerecorded that version as Power Jam feat. Chill Rob G. Both versions became club hits, but “The Power” transcended genres to become a 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”‘s impactful combination of rap, powerful vocals, and a driving beat made it a global phenomenon and a highly influential top dance song.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ Frosty producer and DJ Image Credit: Rolling Stone
Jersey club, originating in Newark, New Jersey (originally called Brick City club), is characterized by its bristling, syncopated rhythms, chopped vocal samples, and a visceral yet non-violent energy, reminiscent of classic hip-house in a blender. DJ Frosty’s “Ride That Wave” perfectly embodies these elements. It’s an incredibly catchy chant-along track that emerged just as Jersey club was gaining recognition from EDM producers globally. This wider embrace eventually led to Jersey club’s influence reaching mainstream artists like Drake on Honestly, Nevermind. The remix featured Fatman Scoop, known for his 90s hip-hop cut-ups on AV8 Records, popular among DJs like Armand Van Helden and Fatboy Slim. “Ride That Wave (Remix)” is a prime example of Jersey club’s infectious energy and a top dance track that bridged underground sounds with mainstream appeal.
Todd Terje, “Inspector Norse” (2012)
Todd Terje DJ and producer Image Credit: Future via Getty Images
Image Credit: Future via Getty Images
Norwegian nu-disco producer Todd Terje created “Inspector Norse” using only sounds from a vintage ARP synthesizer for his 2012 It’s the Arps EP. He didn’t anticipate the track’s widespread appeal. Terje explained, “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.” However, the track’s playful and catchy melody proved irresistible. “It really helped me as a DJ in terms of popularity,” he acknowledged. “Inspector Norse,” with its quirky charm and infectious groove, became a surprise hit and a top nu-disco dance song.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture band performing in New York City Image Credit: David Corio/Redferns
Image Credit: Redferns
James Murphy, DFA founder and co-producer of “House of Jealous Lovers,” told Spin, “Most people now have no memory of how absolutely sacrilegious it was at the time. We wanted to make a rock track that could compete with dance music. We obsessed over it.” The Rapture’s debut single combined edgy Gang of Four-style guitar riffs and manic shout-along vocals with a powerful beat and deep bass, engineered to appeal to dance DJs. It worked. The song became the pinnacle of the early 2000s “dance punk” movement. Suddenly, New York bands sounded like they were from 1979 Manchester or Leeds, and indie bars across the city installed DJ booths. “House of Jealous Lovers” was a game-changer, bridging rock and dance music and securing its place as a top dance-punk anthem.
TNGHT, ‘Higher Ground’ (2012)
TNGHT Hudson Mohawke and Lunice performing Image Credit: Getty Images
Image Credit: Getty Images
Hudson Mohawke described TNGHT’s 2012 EP, created with Lunice, as “our take on big American rap beats, with a little bit of cheekiness to it.” The five-song EP propelled both artists to the forefront of EDM due to its energetic and dancefloor-focused take on trap music. “Higher Ground,” a track with a grand, almost regal feel, is both spacious and intricate. Within a year, Kanye West enlisted TNGHT to produce “Blood on the Leaves” from Yeezus. “Higher Ground” is a landmark in trap-influenced EDM and a top dance song that showcased TNGHT’s innovative sound.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size Reprazent Brown Paper Bag album art Image Credit: Rolling Stone
In the late 90s, drum and bass was becoming increasingly fragmented and distancing itself from its dancehall and hip-hop origins. Bristol-based crew Roni Size and Reprazent managed to create drum and bass that felt both experimental and grounded in its Black roots. They fused fast-paced beats with warm, organic jazz-funk influences. Roni Size noted in 2018, “It’s funny how ‘Brown Paper Bag’ split people,” referring to their biggest track, a 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” successfully blended genres, expanding the sound of drum and bass and becoming a top dance track that resonated across different audiences.
Soul II Soul, ‘Back to Life (However Do You Want Me)’ (1989)
Led by DJ-producer Jazzie B and co-producer Nellee Hooper for their first two albums, 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 with a relaxed elegance. Initially, their tracks were intended solely for Soul II Soul’s parties. Jazzie B explained, “It was literally for our sound [system] at the beginning. We weren’t really interested in what anybody else was doing.” However, everyone became interested in them. “Back to Life” reached Number One on the Billboard R&B chart and Top Five on the Hot 100. Its sophisticated blend of soul and reggae rhythms made it a crossover hit and a top dance song that brought a unique sound to the mainstream.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix da Housecat DJ and producer Image Credit: Rolling Stone
Felix Stallings Jr., known as Felix da Housecat, is a Chicago house veteran, having created the acid house classic “Fantasy Girl” with DJ Pierre in 1987 while still in high school. His career went global, and for his 2000 album Kittenz and Thee Glitz, he assembled an international 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 celebrity-mocking lyrics and electro-infused music seemingly defining the electroclash era. Jacques Lu Cont’s “Thin White Duke Remix” further amplified its popularity among DJs. “Silver Screen Shower Scene” is a defining track of the electroclash movement and a top dance song with a sharp cultural edge.
Dntel feat. Ben Gibbard, “(This Is) The Dream of Evan and Chan (Superpitcher Kompakt Remix)” (2001)
In 2000, Death Cab for Cutie’s frontman Ben Gibbard had “a weird dream … involving [Lemonheads frontman] Evan Dando and Chan Marshall,” a.k.a. Cat Power. “It was completely G-rated, not one of those inappropriate dreams, but it was bizarre – you know, in the same way you dream that you’re in your house but it’s not your house, your friend is there but he’s a merman.” He transformed this dream into a song, collaborating with Dntel (Jimmy Tamborello) before their Postal Service project. Dntel set Gibbard’s vocals to lively beats and buzzing synths. However, the remix by Superpitcher, from the German Kompakt label, elevated the track to a dreamlike state with hazy synth layers and echoing bells, perfectly capturing the surreal atmosphere hinted at in the lyrics. The “Superpitcher Kompakt Remix” of “(This Is) The Dream of Evan and Chan” is a standout remix and a top dance track that blends indie sensibilities with electronic soundscapes.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Patrick Cowley and Sylvester portrait Image Credit: Anthony Barboza/Getty Images
Image Credit: Getty Images
Patrick Cowley was a synth pioneer who became a key figure in Hi-NRG, a staple of gay clubs. His innovative work included collaborations with Sylvester and a remarkable 16-minute extended version of Donna Summer’s “I Feel Love.” Tragically, Cowley became ill in November 1981 and passed away a year later at 32, just months after “AIDS” was officially recognized. In his final months, Cowley continued to create music, finishing tracks like “Do Ya Wanna Funk” while propped up on pillows in the studio. “Do Ya Wanna Funk” remains a landmark track – featuring soaring synth riffs and Sylvester’s stratospheric falsetto. It also provided a memorable movie moment in Trading Places. “Do Ya Wanna Funk?” is a testament to Cowley’s genius and a top Hi-NRG dance song.
Funkadelic, ‘One Nation Under a Groove’ (1978)
Funkadelic band portrait Image Credit: Redferns
Image Credit: Redferns
“One Nation Under a Groove” is arguably the greatest funk track ever to feature a banjo so prominently. Its instantly captivating groove propelled it to the top of the R&B singles chart for six weeks in 1978. George Clinton assigned the song to Funkadelic, known for their guitar-heavy rock sound, rather than Parliament, known for their horn-driven R&B, to give it more weight. Clinton explained, “Parliament is smashing. But Funkadelic is the movement.” “One Nation Under a Groove” is a funk masterpiece and a top dance song that transcends genre boundaries.
Evelyn Thomas, ‘High Energy’ (1984)
Evelyn Thomas singer at Limelight Disco in NYC Image Credit: Ron Galella Collection via Getty
Image Credit: Ron Galella Collection via Getty
Released in April 1984, “High Energy” became the defining track for the Hi-NRG genre, though 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-70s as a teenager. Levine, a DJ on the Northern Soul circuit who transitioned to disco, particularly as synths became dominant, was described by Smash Hits as straddling “both gay disco and old Motown — the two main Hi-NRG ingredients.” “High Energy,” brash, cheerful, and irresistibly cheesy, reached the British Top Five and remains a dance floor anthem, as demonstrated by The Blessed Madonna (formerly Black Madonna) on her Bunker Podcast. “High Energy” is a quintessential Hi-NRG track and a top dance song known for its upbeat energy.
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, saying, “If you just want me to play a tambourine, I’ll do it.” When they met in Paris, Williams expressed his desire to channel Nile Rodgers. The robots played him a track they had already created with Rodgers, and Williams recorded his smooth vocal on that visit. He enthused, “You don’t need MDMA for this music, because it’s so incredibly vivid.” “Get Lucky” is a modern disco masterpiece, blending Daft Punk’s electronic production, Rodgers’ signature guitar riffs, and Williams’ soulful vocals, making it an undeniable top dance song of the 21st century.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson and Mat Zo Easy collaboration art Image Credit: Rolling Stone
Porter Robinson described his collaboration with Mat Zo, “Easy,” in 2013 as “‘Easy’ in my mind is an homage to Daft Punk’s Discovery. 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. The central synth melody evokes both a Theremin and a Moog, and the vocal sample (from Colourblind’s NYC garage classic “Nothing Better”) has an emotional depth that was often missing in stadium EDM of that era. “Easy” is a sophisticated and emotionally resonant EDM track, standing out as a top dance song that paid homage to its influences while forging its own path.
Justice vs. Simian, “We Are Your Friends” (2006)
Image Credit: FilmMagic
In 2003, Parisian musicians Gaspard Augé and Xavier de Rosnay, who would become Justice, entered a remix contest for British rockers Simian’s “Never Be Alone.” De Rosnay told The New York Times, “You could download the separate tracks: guitar, drums, and other things. But we were working without music software: just a sampler, a sequencer, and a synthesizer. So we downloaded just the voice on the chorus, because there was not space enough for more than eight seconds of sound on our sampler.” The result was a raw, energetic track that bridged electroclash and EDM. Retitled “We Are Your Friends,” it became a hit in 2006, launching Justice’s career and prompting Simian to reinvent themselves as the dance act Simian Mobile Disco. “We Are Your Friends” is a pivotal track in the crossover between indie and electronic music and a top dance song that defined an era.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix DJ performing at Coachella Image Credit: Scott Roth/Invision/AP
Image Credit: Scott Roth/Invision/AP
Dance music is often a young person’s domain, and the early 2010s EDM boom exemplified this. Martin Garrix’s “Animals,” built around a catchy synth riff so memorable that crowds chanted along to it despite the absence of lyrics, was released when the Dutch producer was only 18. It became an instant global hit. This rapid success led to skepticism. Garrix later said, “At first, people in the industry assumed I didn’t make my own shit. So I would do livestreams and production tutorials on the internet to get rid of that stigma.” “Animals” is a defining track of the EDM boom and a top dance song that showcased the genre’s global appeal and youthful energy.
Debbie Deb, ‘Lookout Weekend’ (1984)
Debbie Deb’s “Lookout Weekend” is a freestyle classic. Miami production pioneer Pretty Tony claimed in 2015, “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.” His airy, high-energy tracks bridged the sound between KC and the Sunshine Band and 2 Live Crew in Miami. “Lookout Weekend,” Debbie Deb’s second single with Pretty Tony, who discovered her working in a record store, is freestyle at its peak. Like its predecessor, “When I Hear Music,” “Weekend” went triple platinum. Pretty Tony responded to this success by saying, “I bought me a Porsche. As a matter of fact, two Porsches.” “Lookout Weekend” is a quintessential freestyle track and a top dance song that captured the genre’s vibrant energy.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang rapper performing in Austin, TX Image Credit: Thomas M Jackson/Redferns
Image Credit: Redferns
Tate Kobang’s “Bank Rolls (Remix),” built around a sample of Tim Trees’ Baltimore club track “Bank Roll,” is a modern tribute to Baltimore club music, its people, resilience, and energy. In his final verse, Kobang shouts out K-Swift, the legendary DJ who helped popularize Baltimore club before her untimely death in 2008. Kobang said of K-Swift, “She was just one of those bodies in our culture that was like, ‘She ain’t never going anywhere.’” Like K-Swift’s work, “Bank Rolls (Remix)” introduced a new audience to the underground Baltimore sound. “Bank Rolls (Remix)” is a modern Baltimore club anthem and a top dance song that honors the genre’s legacy.
Soft Cell, ‘Tainted Love/Where Did Our Love Go?’ (1981)
Soft Cell band portrait Image Credit: Redferns
Marc Almond of Soft Cell explained in 1981 that he and David Ball shared a love for “Northern soul, Sixties music, and the 12-inch record.” They combined these influences into their hit “Tainted Love/Where Did Our Love Go?”. Their synth-pop version of Gloria Jones’ R&B track “Tainted Love” was already a hit, but for the extended version, they seamlessly incorporated The Supremes’ classic “Where Did Our Love Go?”. Almond explained, “It was originally just going to include a few bars of ‘Where Did Our Love Go?’ but we like the way it turned out and included the whole song.” The resulting nine-minute medley, a New Wave disco masterpiece, has captivated dance floors ever since. “Tainted Love/Where Did Our Love Go?” is a New Wave classic and a top dance song known for its innovative medley format.
The Orb, ‘Little Fluffy Clouds’ (1990)
The Orb Alex Paterson portrait Image Credit: Martyn Goodacre/Getty Images
Image Credit: Getty Images
The Orb’s Alex Paterson received a tape from a friend with a note: “This might be a good idea for a new Orb single.” Side A contained an interview with Rickie Lee Jones describing Arizona skies: “The most beautiful skies, as a matter of fact … purple and yellow and red and on fire.” Side B was Steve Reich’s Electric Counterpoint. Paterson combined them to create “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 classic and a top dance song known for its innovative use of samples and calming atmosphere.
Polygon Window, ‘Quoth’ (1993)
Richard D. James, also known as Aphex Twin, is often associated with more cerebral electronic music. However, in the early 90s, he produced high-energy rave tracks. “Quoth,” released under the moniker Polygon Window, is a prime example. It’s a percussive symphony and a high-energy track, particularly popular among Midwestern American ravers of the time, who reportedly danced to it in barns. “Quoth” is a standout track from Aphex Twin’s early rave period and a top dance song for its intense energy and complex rhythms.
Skream, ‘Midnight Request Line’ (2005)
Skream DJ performing at Fabric Nightclub in London Image Credit: PYMCA/Universal Images Group via Getty Images
Image Credit: Universal Images Group via Getty
Shortly after releasing his 12-inch “Midnight Request Line,” London dubstep producer-DJ Skream 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, gliding bassline, and heavy claps, propelled Skream and dubstep into the spotlight. “Midnight Request Line” is a pivotal track in the rise of dubstep and a top dance song that showcases the genre’s early sound.
Paul Johnson, ‘Feel My M.F. Bass’ (1994)
“Ghetto house” was house music’s equivalent to gangsta rap, a raw, sample-based style from 90s Chicago producers, particularly those on Dance Mania Records. Paul Johnson, who used a wheelchair, was a leading figure in the genre, known for his unique and often eccentric tracks and dreamy voice-overs on his DJ mixtapes. “Feel My M.F. Bass” is his pinnacle, a blunt and powerful track featuring a cavernous kick drum over which Johnson gleefully proclaims, “Feel my motherfuckin’ bass in your face,” like a lover’s whisper. When the kick drum returns, the message is clear. Paul Johnson’s “Feel My M.F. Bass” is a ghetto house anthem and a top dance song known for its raw energy and explicit lyrics.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City band portrait in London Image Credit: Martyn Goodacre/Getty Images
Image Credit: Getty Images
Marshall Jefferson, who produced the Chicago house vocal trio Ten City, explained, “When Ten City started, I think we were both at a point where we wanted to expand the genre by writing proper songs while at the same time doing more abstract things.” “That’s the Way Love Is,” Ten City’s third single, defined their style – Philly-soul strings over lush love songs, topped by Byron Stingily’s soaring falsetto. It reached the UK Top 10 and Number One on the Billboard dance chart. Jefferson added, “People in South Africa have told us stories of how that song represents liberation for them.” “That’s the Way Love Is” is a soulful house classic and a top dance song known for its uplifting message and musical sophistication.
Nitzer Ebb, ‘Join in the Chant’ (1987)
Nitzer Ebb band portrait Image Credit: Getty Images
Image Credit: Getty Images
Industrial groove unit Nitzer Ebb, from England’s Midlands, had a genuine connection to dance music. Frontman Douglas McCarthy told The Guardian, “The clubs we knew were disco and funk. It’s in the DNA of the area.” Nitzer Ebb’s anthem “Join in the Chant” became a techno crossover hit, particularly in Detroit, where techno artists like Carl Craig and Jeff Mills had roots in industrial music. Richie Hawtin included “Chant” in his influential 1999 mix CD Decks, EFX & 909, and Andrew Weatherall once stated, “The closest I felt to God was listening to ‘Join in the Chant.’” “Join in the Chant” is an industrial dance classic and a top dance song known for its powerful energy and crossover appeal.
Bronski Beat, ‘Smalltown Boy’ (1984)
Soft Cell band portrait Image Credit: Redferns
Bronski Beat’s Jimi Somerville 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 yearning vocal hook (“Run away, run away, run away”) and smooth synth backdrop, it became an instant gay club anthem, reaching Number One on the Billboard club chart and the UK Top Three. “Smalltown Boy” is an iconic synth-pop anthem and a top dance song known for its emotional resonance and social commentary.
LFO, ‘LFO (Leeds Warehouse Mix)’ (1990)
Image Credit: PYMCA/Universal Images Group/Getty Images
LFO were pioneers of Sheffield, England’s “bleep” scene, the original signature sound of Warp Records. 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.” Their self-titled track “LFO” got them signed to Warp. Icy synth chords and bleeps set the stage for layers of low end – the bassline makes you move, while the sub-bass can shake buildings. “LFO (Leeds Warehouse Mix)” is a bleep techno classic and a top dance song known for its innovative use of bass and minimalist sound design.
Drake, ‘Sticky’ (2022)
Drake Sticky album art Image Credit: Rolling Stone
Drake’s dance music foray, Honestly, Nevermind, feels intentionally understated, drawing from Jersey and Baltimore club music and deep house. “Sticky,” produced by Gordo and Ry X, is a standout track. Drake shifts from the album’s low-key vocals to rapping about personal topics, including the release of Young Thug and the passing of Virgil Abloh. It’s a strong example of a megastar exploring a subculture and emerging with a fresh sound. “Sticky” is a contemporary dance track and a top dance song that demonstrates the ongoing evolution of dance music into the mainstream.
Roland Clark, ‘I Get Deep (Shelter Mix)’ (2000)
Roland Clark’s love for house music began at Club Zanzibar in Newark, New Jersey, Tony Humphries’ influential DJ residency. “I Get Deep (Shelter Mix)” expresses this deep passion. Over lively beats and a swirling keyboard melody, Clark delivers a monologue capturing a transcendent dance floor moment – “All the sweat just goes down my face/And I pretend that there’s nobody there but me in this place.” The 12-inch also included the a cappella, later sampled by Fatboy Slim on Halfway Between the Gutter and the Stars. “I Get Deep (Shelter Mix)” is a vocal house anthem and a top dance song known for its evocative lyrics and immersive groove.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us Follow Me album art Image Credit: Rolling Stone
Early house music often had a raw, imperfect quality that was part of its charm. This is true of Aly-Us’s uplifting anthem “Follow Me,” a gospel-inspired track with a message of unity (“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 production and slight vocal imperfections enhance the song’s sense of urgency. “Follow Me” is an uplifting house classic and a top dance song known for its raw emotion and positive message.
George McCrae, ‘Rock Your Baby’ (1974)
Image Credit: Redferns
In the summer of 1974, two songs that originated in clubs reached Number One on the Billboard Hot 100. One was Hues Corporation’s “Rock the Boat,” and the other was George McCrae’s smooth classic “Rock Your Baby.” These were early disco hits. Keyboardist Henry Wayne Casey, drummer/bassist Richard Finch, and guitarist Jerome Smith created the shimmering track for “Rock Your Baby.” McCrae was added because he was at TK Records offices. He recalled, “I think they gave me ‘Rock Your Baby’ to get me out of their hair.” After the record became a hit, Casey, Finch, and Smith formed the core of KC and the Sunshine Band. “Rock Your Baby” is a foundational disco track and a top dance song that helped launch the disco era.
El General, ‘Perezosa’ (1995)
El General performer portrait Image Credit: Rolling Stone
Panamanian pioneer El General laid the groundwork for reggaeton with his international hits using reggae rhythms in the 80s and 90s. His experimental approach and broad influence on club music are often overlooked. “Perezosa,” from his album Club 555, showcases his range. It’s a powerful dance anthem with high-voltage electronic sounds that captured the energy of Latin American parties. “Perezosa” is a reggaeton classic and a top dance song that highlights El General’s pioneering role in Latin club music.
Tom and Jerry, ‘Maximum Style’ (1994)
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4Hero, consisting of Marc Mac and Dego MacFarlane, are drum and bass stalwarts, creating hits throughout the genre’s evolution from early 90s UK hardcore to late 90s neo-fusion, sometimes under aliases like Tom and Jerry. Tom and Jerry is credited with the gem “Maximum Style,” released as jungle’s popularity surged in the UK. This smooth, gliding track, with its enchanting guitar melody and cartoon sound effects, balanced playfulness with a serious groove. “Maximum Style” is a jungle classic and a top dance song known for its playful yet powerful sound.
LCD Soundsystem, ‘Losing My Edge’ (2002)
LCD Soundsystem James Murphy performing in NYC Image Credit: David Corio/Redferns
Image Credit: Redferns
James Murphy’s LCD Soundsystem debut single, “Losing My Edge,” is both a compelling groove and a witty commentary, a blend of irony that helped launch the New York dance-punk scene of the early 2000s. Murphy portrays an aging hipster grappling with fading relevance as a new generation emerges, making him feel obsolete, even if 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” is both hilarious and danceable, its FOMO theme universally relatable. “Losing My Edge” is a dance-punk anthem and a top dance song known for its witty lyrics and infectious groove.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
Pablo Flores, a key figure in Latin pop, spent years working with Emilio Estefan-associated artists like Gloria Estefan and Ricky Martin. When he met a then-lesser-known Colombian singer Shakira in the 90s, he and Javier Garza helped her create “Ojos Asi,” a forward-thinking song that honored her Lebanese heritage and foreshadowed global Latin music trends. His extended remix, “Thunder Mix,” amplified these elements with masterful production that resonated on dance floors worldwide. “Ojos Asi (Thunder Mix)” is a Latin pop dance classic and a top dance song that showcased Shakira’s global sound.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher Tom Jenkinson performing in Nottingham, UK Image Credit: Ollie Millington/Redferns via Getty Images
Image Credit: Redferns via Getty Images
Tom Jenkinson, as Squarepusher in the mid-90s, twisted drum and bass into complex, almost undanceable forms, injecting it with intellectual flair. He later admitted, “Basically, I was beginning to stare up my own ass… 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 flickering effects alternate with clever moments of silence, creating a groove that adventurous DJs embraced. “My Red Hot Car” is an experimental drum and bass track and a top dance song known for its complex rhythms and innovative sound design.
Moloko, ‘Sing It Back (Boris Musical Mix)’ (1997)
Moloko band portrait Image Credit: Getty Images
Image Credit: Getty Images
Moloko’s 1998 single “Sing It Back,” featuring Róisín Murphy’s distinctive vocals, was initially a moody, downtempo track that didn’t achieve commercial success. However, Belgian house producer Boris Dlugosch’s remix transformed it into a crisp house track with a Chic-inspired rhythm guitar and playful bassline. This remix reached the UK Top Five and launched Murphy’s successful and dance-oriented solo career. “Sing It Back (Boris Musical Mix)” is a house remix classic and a top dance song that revitalized Moloko’s career and defined Murphy’s solo trajectory.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League band portrait Image Credit: Rolling Stone
Human League keyboardist Jo Callis described the lyrical concept behind “Don’t You Want Me,” co-written with Phil Oakey, as “a story in the song which is very much A Star Is Born [and] My Fair Lady — the impresario who takes an everyday person and transforms her into a superstar that outshines himself.” The band initially didn’t think much of the song, despite its catchy structure and memorable riff. However, its he-said-she-said narrative and infectious chorus propelled it to Number One in the UK and US, and the Top Three on the Billboard Dance Club chart, marking a key moment in the fusion of UK synth-pop, club music, and mainstream Top 40. “Don’t You Want Me” is a synth-pop classic and a top dance song that bridged genres and achieved mainstream success.
