What exactly defines “Dancing Songs”? It’s a question that opens up a world of musical possibilities. In the broadest sense, any piece of music capable of moving someone, physically or emotionally, could be considered a dancing song. Think about it – The Beatles and Slayer, despite their vastly different sounds, have both inspired movement in their listeners. The rhythmic pulse of hip-hop and reggae naturally compels you to sway and groove. But when we talk about “dancing songs” in the context of dance music culture, we’re entering a more specific and incredibly rich territory.
This exploration into the realm of dancing songs delves into a vibrant culture that spans nearly half a century, constantly evolving and shaping musical landscapes. Our journey starts in the mid-1970s with the glittering era of disco, tracing its evolution through the early 80s club scenes with electro and Latin freestyle. The narrative then takes a transformative turn as disco is reborn, morphing into house music in Chicago and techno in Detroit. The 1990s witness an explosion of rave culture, spawning diverse genres from jungle and trance to gabba and garage. This evolution continues into the 2000s, with the rise of EDM and dubstep, sounds that have left an indelible mark on the global music scene. While these genres have experienced moments of mainstream prominence, they never truly disappear. Drum ‘n’ bass, for example, is experiencing a resurgence, and even contemporary house tracks carry echoes of the past.
This guide doesn’t aim to capture every nuance within this vast ocean of subgenres. Instead, we focus on tracks that resonate beyond specific scenes, achieving a sense of timelessness and universality. We’re particularly interested in moments where dance music intersects with broader musical styles – synth-pop, hip-hop, funk, Miami bass, R&B, indie-rock, Latin, and mainstream pop. This is why you’ll find artists as diverse as Prince, Robyn, Britney Spears, and Shakira alongside pioneers like Adonis, Frankie Knuckles, Moodymann, Goldie, and SOPHIE.
If you’ve ever wondered about the path that led to contemporary music icons like Drake and Beyoncé releasing house-infused records, this is your guide. It’s our perspective on the story of dancing songs – a journey through rhythm, innovation, and cultural impact.
Donna Summer, ‘Last Dance’ (1979)
Donna Summer performing Last Dance, highlighting disco era fashion and stage presence
Thank God It’s Friday, as a film, might be seen as a lengthy commercial for Casablanca Records, a powerhouse disco label, perhaps signaling disco’s peak and subsequent shift. However, “Last Dance” undeniably earned its Oscar for Best Original Song. Beginning at a ballad’s pace, it gradually unfolds into a dynamic and exhilarating disco anthem. The unsung hero here is Casablanca’s producer Bob Esty, who ingeniously conceived the song’s dramatic tempo transformation. —M.M.
Fatboy Slim, ‘The Rockafeller Skank’ (1998)
Fatboy Slim DJing at Pop Music Festival in Brazil, showcasing his energetic performance style
Norman Cook, the DJ and producer behind Fatboy Slim, humorously remarked about his breakthrough hit, “The Rockafeller Skank,” recalling its debut at the Brighton club, Boutique, where the crowd’s puzzled yet intrigued reactions confirmed its unique sound. Cook’s signature formula of breakbeats combined with guitar riffs reached its zenith with “Skank.” Featuring a surf-rock guitar riff and a vocal sample from Lord Finesse (“Right about now, the funk soul brother/Check it out now, the funk soul brother”), the track quickly became ubiquitous. Cook acknowledged the “Frat-Boy Slim” jokes, suggesting “Rockafeller Skank” became an anthem for a beer-loving, boisterous mentality. —M.M.
Mescalinum United, ‘We Have Arrived’ (1991)
Techno’s hard-edged counterpart, “gabber,” Dutch slang for “buddy,” thrives in the Netherlands. Yet, gabber’s pioneering figure is Marc Acardipane, known by around 90 aliases. His initial impact, “We Have Arrived,” credited to Mescalinum United, remains potent. Constructed from intense drums and piercing air-raid siren sounds, it became the foundational track for the gabber genre. At Brooklyn raves, DJ Lenny Dee, whose label released the track in the US, witnessed mosh pits erupting to its relentless energy. —M.M.
Oliver Heldens, ‘Melody’ (2016)
Oliver Heldens performing, capturing the modern EDM artist in action
By the mid-2010s, even DJs headlining major festivals were tiring of the predictable build-and-drop formula that had become dominant in dance music. Oliver Heldens’ “Melody” heralded a significant shift. Released when the Dutch producer was only 18, “Melody” showcased a refined dance-music sensibility with sweeping string arrangements and an uplifting piano melody. Despite its sophisticated air, the track retained a powerful bassline, satisfying dancefloors while signaling a move towards more nuanced sounds. —M.M.
Kerri Chandler, ‘Rain’ (1998)
Kerri Chandler, the New Jersey house producer, is revered by younger artists and DJs for his deeply soulful and buoyant tracks. Chandler, reflecting on his vocal work in 2014, described himself as more of a “vocalist” than a “singer,” explaining, “I write my life’s story and let it out through the music.” Perhaps “monologist” is even more fitting. In “Rain,” Chandler’s yearning vocal delivery, punctuated by the repeated word “rain” which encapsulates a spectrum of emotions (“Never knew you could be this way — rain”), borders on heartbreak. Yet, the music, particularly the playful xylophone solo, maintains a sense of lightheartedness and tease. —M.M.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
Paris the Black Fu of Detroit Grand Pubahs performing live, embodying the energy of electro music
Andy Toth and Mack Goudy, known as Dr. Toefinger and Paris the Black Fu respectively, of Detroit Grand Pubahs, first connected while working in a Royal Oak, Michigan restaurant. Bonding over whiskey and music, their collaboration began spontaneously. Toth created a vibrant electro track, and Paris, without hesitation, requested a microphone. Paris improvised lyrics about a scandalous dance-floor encounter, resulting in “Sandwiches.” This track became a defining moment in Detroit’s electro revival at the turn of the millennium, achieving instant global club acclaim with its audacious and humorous approach. —M.M.
Black Box, ‘Everybody Everybody’ (1990)
Sometimes, exceptional music emerges from questionable circumstances, as with “Everybody Everybody.” Martha Wash of the Weather Girls was contracted in 1989 to record demos for Italian house producers Groove Groove Melody, with the understanding that the songs were for other artists. However, her powerful vocals were released uncredited under the name Black Box. Adding insult to injury, a model was hired to lip-sync Wash’s vocals in music videos. Wash took legal action and won. (She pursued similar action against C+C Music Factory for a similar offense). 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.” —M.M.
Big Freedia, ‘Azz Everywhere’ (2010)
Big Freedia performing at Essence Festival, showcasing the energy of bounce music
Big Freedia, in 2011, spoke about her global mission to promote bounce music, New Orleans’ high-energy club sound, 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, the sound that birthed twerking, gained wider recognition with “Azz Everywhere.” This track is a dynamic explosion of snares, samples, and the chanted title phrase. Big Freedia explains bounce as “an uptempo, heavy bass, holler-response music. And it definitely has a lot to do with azz shaking!” She even conducts workshops on tour and at universities to educate people about the history of bounce music. —M.M.
Joy Orbison, ‘Hyph Mngo’ (2009)
In the late 2000s, dubstep producers were pushing boundaries, resulting in experimental tracks. Joy Orbison’s debut, “Hyph Mngo,” became the quintessential dubstep track of 2009, capturing this innovative period. The track features a smooth bassline and synthetic textures, but its distinctive ricocheting snare drum and fragmented vocal samples – a woman’s voice alternating between “Ooh!” and “I do” – evoke a surprising emotional depth, uncommon in dubstep, propelling it into mainstream recognition. —M.M.
ESG, ‘Moody’ (1981)
ESG performing Moody, highlighting the band's minimalist and impactful stage presence
The Scroggins sisters from the South Bronx profoundly impacted New York’s dance music scene as ESG in the late 1970s. While their rhythms drew from funk and disco, their stripped-down sound and emphasis on percussion resonated with post-punk and no-wave club-goers. This appeal intensified after they collaborated with Joy Division producer Martin Hannett for their debut EP. “Moody,” the EP’s centerpiece, remains futuristic. It’s a subtle yet powerful blend of a creeping bassline, bongo rhythms, and Renee Scroggins’ ethereal vocals, creating a unique and lasting sonic landscape. —C.S.
La Roux, ‘In for the Kill (Skream’s Let’s Get Ravey Remix)’ (2009)
La Roux performing In for the Kill, showcasing the synth-pop artist in concert
Artists sometimes have mixed feelings about remixes of their work. However, La Roux’s Elly Jackson credited Skream, a fellow Londoner, for not just capturing the essence but enhancing her synth-pop single “In for the Kill” with his remix. She stated it “regave 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 guest verse, creating intense tension with flattened synths, then releasing it with drum-and-bass breakdowns. 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.” —M.M.
Double 99, ‘RIP Groove’ (1997)
Double 99 performing RIP Groove, capturing the UK garage duo in action
London producers Tim Deluxe and DJ Omar, initially working as RIP in the mid-90s, rebranded as Double 99 to celebrate a double-pack vinyl EP, as Omar explained. Due to time constraints, they created track names and artwork before the music. “RIP Groove,” a tribute to their previous moniker, was ingeniously constructed from samples of Armand Van Helden’s remix of CJ Bolland’s “Sugar Is Sweeter,” Kenny Dope, and Tina Moore vocals. Created in just three hours, it became a defining track of 1997, propelling UK garage (then called “speed garage”) into mainstream charts and introducing a fresh sound. —M.M.
Snap!, ‘The Power’ (1990)
“The Power” exemplifies a dance-music archetype: German producers sampling an American rapper (Chill Rob G of Flavor Unit) and an American R&B vocalist (Jocelyn Brown) to create a club hit. Picked up by Arista, it was rerecorded with Turbo B, an American G.I. in Germany. Chill Rob G also re-recorded his version as Power Jam feat. Chill Rob G. Both versions became club hits, but “The Power” established a Europop template. Snap!’s Michael Muenzing observed in 1994, “Now you have 50 or 60 groups singing this way — rapping, singing the chorus, and going back to the rap.” —M.M.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ Frosty performing Ride That Wave, showcasing the Jersey club sound artist
Jersey club, originating in Newark (initially Brick City club), is defined by its sharp, syncopated rhythms, clipped vocal samples, and an energetic yet non-aggressive feel, reminiscent of hip-house. DJ Frosty’s “Ride That Wave” perfectly embodies this. It’s an irresistibly catchy, chant-driven track that emerged as Jersey club gained international traction with EDM producers. This trend eventually influenced mainstream music, reaching Drake’s Honestly, Nevermind. The remix features Fatman Scoop, known for his 90s hip-hop cut-up 12-inches on AV8 Records, popular among DJs like Fatboy Slim and Armand Van Helden. —J.D.
Todd Terje, “Inspector Norse” (2012)
Todd Terje performing Inspector Norse, embodying the nu-disco sound
Norwegian nu-disco producer Todd Terje created “Inspector Norse,” and his entire It’s the Arps EP from 2012, using only sounds from a vintage ARP synthesizer. He didn’t anticipate the laid-back track becoming popular. Terje admitted, “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, its infectious melody proved irresistible. He acknowledged, “It really helped me as a DJ in terms of popularity.” —M.M.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture performing House of Jealous Lovers, capturing the energy of dance-punk
DFA co-founder James Murphy, 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, a catchy shouted vocal, a strong beat, and deep bass, designed to impress dance DJs. It succeeded, becoming 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 everywhere installed DJ booths. —J.D.
TNGHT, ‘Higher Ground’ (2012)
TNGHT performing Higher Ground, showcasing the trap influenced EDM duo
Hudson Mohawke described the 2012 EP he created with Lunice as TNGHT as “our take on big American rap beats, with a little bit of cheekiness to it.” The five-song EP propelled them into EDM’s spotlight with its energetic, dance-oriented trap sound. “Higher Ground,” a powerful and detailed track, features a majestic, almost regal rhythm. Within a year, Kanye West enlisted TNGHT to produce “Blood on the Leaves” for Yeezus. —M.M.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size Reprazent performing Brown Paper Bag, showcasing the jazz infused drum and bass group
In the late 90s, drum and bass became increasingly fragmented and distanced from its dancehall and hip-hop roots. Roni Size and Reprazent from Bristol, England, created drum and bass that was both experimental and rooted in its Black origins, blending fast beats with warm jazz-funk elements. Roni Size noted in 2018 about “Brown Paper Bag,” their biggest track from the 1997 album New Forms, “It’s funny how ‘Brown Paper Bag’ split people. They heard the jazz, how it sounded different from everything else, and they saw this other audience that loved it.” The track’s double-bass driven sound indeed appealed to a diverse audience. —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 for Soul II Soul parties only. Jazzie B stated, “It was literally for our sound [system] at the beginning. We weren’t really interested in what anybody else was doing.” However, their sound became universally appealing. “Back to Life” reached Number One on the Billboard R&B chart and Top Five on the Hot 100, marking their crossover success. —M.M.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix Da Housecat performing Silver Screen Shower Scene, embodying the electroclash era
Felix Stallings Jr., aka Felix da Housecat, is a Chicago house veteran, having created the acid house classic “Fantasy Girl” as Pierre’s Pfantasy Club in 1987. His career went global with the 2001 album Kittenz and Thee Glitz, a conceptual work about celebrity and artifice, featuring collaborations with Junior Sanchez, Tommie Sunshine, and vocalists Miss Kittin and Melistar. “Silver Screen Shower Scene” became an instant anthem, its celebrity-focused lyrics and electro sound defining the electroclash era. Jacques Lu Cont’s “Thin White Duke Remix” was even more popular among DJs. –M.M.
Dntel feat. Ben Gibbard, “(This Is) The Dream of Evan and Chan (Superpitcher Kompakt Remix)” (2001)
Ben Gibbard of Death Cab for Cutie had a “weird dream” in 2000 involving Evan Dando of the Lemonheads and Chan Marshall (Cat Power). He turned it into a song, collaborating with Dntel (Jimmy Tamborello) before their Postal Service project. Dntel set Gibbard’s vocals to upbeat rhythms and synths. However, Superpitcher’s remix, from Kompakt, a German label, created a dreamlike atmosphere with hazy synths and echoing bells, enhancing the lyrical dream state. —M.M.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Sylvester performing Do Ya Wanna Funk, highlighting the disco icon's flamboyant style
Patrick Cowley, a synth innovator, pioneered Hi-NRG, a gay-club staple, through his work with Sylvester and his extended remix of Donna Summer’s “I Feel Love.” In late 1981, Cowley became ill, passing away a year later at 32, shortly after AIDS was officially recognized. During his final months, he continued creating music, completing “Do Ya Wanna Funk.” This track remains a landmark of Hi-NRG, featuring bright synth riffs and Sylvester’s soaring falsetto. It also famously soundtracked a party scene in the movie Trading Places. —M.M.
Funkadelic, ‘One Nation Under a Groove’ (1978)
Funkadelic performing One Nation Under a Groove, showcasing the band's energetic funk style
“One Nation Under a Groove,” a funk track famously led by a banjo, topped the R&B charts for six weeks in 1978. George Clinton assigned it to Funkadelic, his guitar-focused group, to give it more impact, stating, “Parliament is smashing. But Funkadelic is the movement.” Its instantly appealing rhythm and message resonated deeply with audiences. —M.M.
Evelyn Thomas, ‘High Energy’ (1984)
Evelyn Thomas at Limelight Disco, capturing the Hi-NRG artist in a club setting
Released in 1984, “High Energy” gave the Hi-NRG genre its name. However, Chicago singer Evelyn Thomas, signed by Manchester producer Ian Levine to Pye Records in the mid-70s, was already working in this style. Levine, a Northern Soul DJ who transitioned to disco, blended “gay disco and old Motown — the two main Hi-NRG ingredients,” according to Smash Hits. “High Energy,” brash, cheerful, and catchy, reached the UK Top Five and remains influential, as highlighted by The Blessed Madonna in her Bunker Podcast. —M.M.
Daft Punk feat. Pharrell Williams and Nile Rodgers, ‘Get Lucky’ (2013)
When Pharrell Williams met Daft Punk at a Madonna party, he offered to collaborate, even just playing tambourine. In Paris, Williams expressed his desire to channel Nile Rodgers, and Daft Punk played him a track they’d created with Rodgers. Williams recorded his smooth vocals during that session. He remarked, “You don’t need MDMA for this music, because it’s so incredibly vivid.” The result was “Get Lucky,” a global phenomenon. –M.M.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson and Mat Zo performing Easy, showcasing the collaborative EDM duo
Porter Robinson described “Easy,” his collaboration with Mat Zo, as “an homage to Daft Punk’s Discovery,” aiming to update early French disco chords with a “louder, more trance-inspired feel.” The result is a sophisticated track, both modern and classic. The central synth melody evokes a Theremin and a Moog, while the vocal sample from Colourblind’s “Nothing Better” adds emotional depth, a quality often lacking in stadium EDM of that era. —M.M.
Justice vs. Simian, “We Are Your Friends” (2006)
In 2003, Parisian musicians Gaspard Augé and Xavier de Rosnay (Justice) remixed Simian’s “Never Be Alone” for a contest. Working without music software, using just a sampler, sequencer, and synthesizer, they only sampled the chorus vocal. 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 inspiring Simian to transform into Simian Mobile Disco. —M.M.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix performing Animals, showcasing the young EDM star at Coachella
Dance music is often driven by young talent, exemplified by the early 2010s EDM boom. Martin Garrix’s “Animals,” built around a catchy synth riff, became a global hit when he was only 18. Its wordless, chanting-like melody was instantly recognizable. His rapid success led to skepticism. Garrix later stated, “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.” —M.M.
Debbie Deb, ‘Lookout Weekend’ (1984)
Miami production pioneer Pretty Tony claimed to have coined the term “freestyle music” before his group Freestyle. His light, energetic tracks bridged KC and the Sunshine Band and 2 Live Crew’s sounds. “Lookout Weekend,” his second single with Debbie Weshoff Lopez, was freestyle at its peak. Like “When I Hear Music,” it went triple platinum. Tony responded to this success by buying “two Porsches.” —M.M.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang performing Bank Rolls, showcasing the Baltimore club inspired hip hop artist
Tate Kobang’s “Bank Rolls (Remix),” based on Tim Trees’ Baltimore club sample “Bank Roll,” is a tribute to Baltimore and its club music scene. In his final verse, he honors K-Swift, a key figure in popularizing Baltimore club music before her passing in 2008. Kobang stated K-Swift was a cultural icon who was “never going anywhere.” Like K-Swift’s work, “Bank Rolls (Remix)” introduced Baltimore’s unique sound to a wider audience. —C.S.
Soft Cell, ‘Tainted Love/Where Did Our Love Go?’ (1981)
Soft Cell performing Tainted Love, capturing the synth-pop duo in concert
Marc Almond of Soft Cell explained their influences in 1981: “We both like Northern soul, Sixties music, and the 12-inch record.” They combined these into their version of Gloria Jones’ “Tainted Love.” Already a hit, they extended it by merging it with The Supremes’ “Where Did Our Love Go?” Almond noted it was initially just to include bars of “Where Did Our Love Go?” but they liked how the full medley turned out. This nine-minute mix of New Wave disco has been a dance floor staple ever since. —M.M.
The Orb, ‘Little Fluffy Clouds’ (1990)
Alex Paterson of The Orb, portrait, embodying the ambient house pioneer
The Orb’s Alex Paterson received a tape with Rickie Lee Jones describing Arizona skies: “The most beautiful skies, as a matter of fact … purple and yellow and red and on fire,” and Steve Reich’s Electric Counterpoint. Combining them, he created “Little Fluffy Clouds,” a defining track of the acid-house era. Reich was pleased with its popularization of his work. Paterson noted, “Suddenly, it was being played to the masses, and they were loving it.” —M.M.
Polygon Window, ‘Quoth’ (1993)
Richard D. James, aka Aphex Twin, is known for less dance-oriented electronic music. However, in the early 90s, he produced rave tracks, including “Quoth” under the name Polygon Window. This track, a percussion-heavy symphony, was especially popular in the American Midwest rave scene. —M.M.
Skream, ‘Midnight Request Line’ (2005)
Skream DJing at Fabric Nightclub, capturing the dubstep pioneer in action
Shortly after releasing “Midnight Request Line,” London dubstep producer Skream found it named “Record of the Month” in a magazine during a holiday. The track, with its synth melody, smooth bass, and heavy beat, propelled Skream and dubstep into the mainstream. –M.M.
Paul Johnson, ‘Feel My M.F. Bass’ (1994)
“Ghetto house,” a raw, sample-based, street-oriented style, was house music’s equivalent to gangsta rap in 90s Chicago, particularly on the Dance Mania label. Paul Johnson, a wheelchair-using producer, was a key figure, known for his genre-bending tracks and DJ mixtapes with his voice-overs. “Feel My M.F. Bass,” a hard-hitting track with a deep kick drum, features Johnson’s playful vocals, “Feel my motherfuckin’ bass in your face.” It became his signature track. Johnson passed away from Covid in August 2021. —M.M.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City group portrait, showcasing the Chicago house vocal trio
Marshall Jefferson, producer of Chicago house vocal trio Ten City, explained, “When Ten City started, I think we were both at a point where we wanted to expand the genre by writing proper songs while at the same time doing more abstract things.” “That’s the Way Love Is,” their third single, defined their style: Philly-soul strings, love songs, and Byron Stingily’s high falsetto. It reached the UK Top 10 and Billboard dance chart top spot. Jefferson noted its impact, “people in South Africa have told us stories of how that song represents liberation for them.” —M.M.
Nitzer Ebb, ‘Join in the Chant’ (1987)
Nitzer Ebb performing Join in the Chant, showcasing the industrial dance group
Industrial group Nitzer Ebb from England’s Midlands had dance music in their roots. Frontman Douglas McCarthy explained, “The clubs we knew were disco and funk. It’s in the DNA of the area.” “Join in the Chant,” their anthem, was a techno crossover hit, especially in Detroit, where techno artists had industrial music roots. Richie Hawtin included it in his 1999 mix CD Decks, EFX & 909, and Andrew Weatherall called listening to it “the closest I felt to God.” —M.M.
Bronski Beat, ‘Smalltown Boy’ (1984)
Soft Cell performing Tainted Love, capturing the synth-pop duo in concert
Bronski Beat’s Jimi Somerville joked his vocal training was singing along to Donna Summer and Sylvester. He sought more than “working in a paint factory and having to accept that being gay was a nighttime occupation only,” feeling “had enough of the abuse and the heartache.” He channeled this into “Smalltown Boy,” a poignant song of alienation and escape. With its vocal hook and synth arrangement, it became a gay club anthem, topping the Billboard club chart and UK Top Three. —M.M.
LFO, ‘LFO (Leeds Warehouse Mix)’ (1990)
LFO were leaders of Sheffield’s “bleep” scene, Warp Records’ early sound. 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 highlight layers of bass. The bassline moves you, while the sub-bass can shake buildings. —M.M.
Drake, ‘Sticky’ (2022)
Drake performing Sticky, showcasing his foray into dance music
Drake’s dance music album, Honestly, Nevermind, is intentionally understated, incorporating Jersey and Baltimore club music and deep-house. “Sticky,” produced by Gordo and Ry X, is a standout track. Drake raps about personal topics, like Young Thug’s release and Virgil Abloh’s passing, over a dance beat. It exemplifies a superstar embracing a subculture and evolving his sound. —J.D.
Roland Clark, ‘I Get Deep (Shelter Mix)’ (2000)
Roland Clark’s love for house music started at Club Zanzibar in Newark, New Jersey, Tony Humphries’ DJ residency. “I Get Deep” expresses this love. Over rhythmic beats and keyboard, Clark’s monologue captures a 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 a cappella version was sampled by Fatboy Slim. —M.M.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us performing Follow Me, highlighting the uplifting house music group
Early house music often had a raw, imperfect quality, part of its charm. Aly-Us’s “Follow Me,” an uplifting, gospel-inspired track (“We must stop fighting/To achieve the peace”), recorded in a basement with basic equipment, embodies this. Its lo-fi sound and slightly off-key vocals enhance its urgency and emotional impact. —M.M.
George McCrae, ‘Rock Your Baby’ (1974)
In summer 1974, two club-originating songs topped the Billboard Hot 100: Hues Corporation’s “Rock the Boat” and George McCrae’s “Rock Your Baby.” These were early disco hits. The track for “Rock Your Baby” was created by Henry Wayne Casey, Richard Finch, and Jerome Smith. McCrae was added as he was at TK Records. He joked, “I think they gave me ‘Rock Your Baby’ to get me out of their hair.” Casey, Finch, and Smith later formed KC and the Sunshine Band. —M.M.
El General, ‘Perezosa’ (1995)
El General performing Perezosa, showcasing the reggaeton pioneer
Panamanian El General pioneered reggaeton, creating hits using reggae rhythms in the 80s and 90s. His experimental approach and influence on club music are often overlooked. “Perezosa,” from Club 555, is an example of his range, a powerful dance anthem with electronic sounds capturing Latin American party energy. —J.L.
Tom and Jerry, ‘Maximum Style’ (1994)
4Hero (Marc Mac and Dego MacFarlane) are drum and bass veterans, known for hits from early 90s hardcore to late 90s neo-fusion, sometimes under aliases like Tom and Jerry. Under this name, they released “Maximum Style” as jungle music’s popularity grew in the UK. This track, a smooth stepper with guitar and cartoon sounds, is playful yet seriously groovy. —M.M.
LCD Soundsystem, ‘Losing My Edge’ (2002)
LCD Soundsystem performing Losing My Edge, capturing the dance-punk band in concert
James Murphy’s LCD Soundsystem debut single “Losing My Edge” is both a dance track and comedy routine, launching New York’s dance-punk scene in the early 2000s. Murphy plays an aging hipster humorously lamenting his fading relevance, despite his early music experiences. “Losing My Edge” is both funny and danceable, capturing universal FOMO. —J.D.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
Shakira performing Ojos Asi, showcasing the Latin pop star
Pablo Flores, a key figure in Latin pop, worked with Emilio Estefan’s artists like Gloria Estefan and Ricky Martin. He and Javier Garza helped Shakira create “Ojos Asi,” blending her Lebanese roots with global Latin music trends. His extended remix amplified these ideas, appealing to dance floors worldwide with its masterful production. —J.L.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher performing My Red Hot Car, capturing the experimental electronic artist
Squarepusher (Tom Jenkinson) twisted drum and bass into complex, less danceable forms in the mid-90s. He later aimed for spontaneity, creating “My Red Hot Car.” Its cut-up vocals and glitchy production are balanced with groove and Jenkinson’s bassline, appealing to adventurous DJs. —M.M.
Moloko, ‘Sing It Back (Boris Musical Mix)’ (1997)
Moloko’s “Sing It Back” with Róisín Murphy’s vocals was initially a moody, downtempo track that wasn’t successful. Boris Dlugosch’s remix transformed it into a house track with a Chic-inspired groove. This remix reached the UK Top Five and launched Murphy’s successful solo career. —M.M.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League performing Don't You Want Me, capturing the synth-pop group in concert
Human League’s “Don’t You Want Me” originated from Phil Oakey’s idea of a A Star Is Born/My Fair Lady-like story. Despite initial doubts, its structure and riff were catchy. It became their first UK and US Number One and a Top Three hit on the Billboard Dance Club chart, merging UK synth-pop, club music, and mainstream pop. —M.M.
