What exactly defines “Dance Songs”? It’s a thought-provoking question. In a broad sense, any piece of music that inspires movement could be considered a dance song. From The Beatles to Slayer, countless artists across genres have created songs that get people moving. Hip-hop and reggae are almost universally recognized as danceable genres. However, when we curate a definitive list of dance songs, like “The 200 Greatest Dance Songs of All Time,” we delve into a more specific realm: “dance music culture.” This is a distinct and expansive world, spanning nearly half a century and continuously evolving.
Our exploration of dance music culture, after acknowledging the foundational contributions of James Brown, begins in the mid-1970s with the rise of disco. It then progresses through the early 1980s club scenes with sounds like electro and Latin freestyle. A rebirth occurs as disco is reimagined into house music in Chicago and techno in Detroit. This evolution accelerates into the 1990s rave era, spawning diverse genres from jungle to trance, gabba to garage, and eventually leading to the EDM and dubstep explosions of the 2000s. While these genres have had moments of mainstream prominence, they remain vibrant and influential. Drum ‘n’ bass, for instance, is currently experiencing a resurgence, and contemporary house tracks continue to emerge.
This curated list doesn’t aim to encompass every nuance within this vast ocean of sub-genres. Instead, we focused on tracks that possess a timeless quality and broader appeal, prioritizing moments where dance music intersects with the wider musical landscape. This includes connections 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, Shakira, and Justin Bieber alongside pioneers such as Adonis, Frankie Knuckles, Moodymann, Goldie, and SOPHIE.
If you’re curious about the journey that led to a summer where artists like Drake and Beyoncé are releasing house-infused records, this is our attempt to tell that story – or at least, our interpretation of it.
Video Editor, Brian Lynch for Rolling Stone
Visual Credits (in order of appearance): Kylie Minogue – Can’t Get You Out of My Head, Crystal Waters – Gypsy Woman, Beyonce – Blow, Corona – The Rhythm of the Night, Madonna – Sorry, Britney – Till the World Ends, Madonna – Vogue, Daft Punk – Get Lucky, Robyn – Dancing on my Own, Joey Beltram – Energy Flash, Azealia Banks – 212, Rihanna & Calvin Harris – We Found Love, DJ Snake & Lil Jon – Turn Down for What, Sylvester – You Make Me Feel, Piri – Soft Spot, Chic – Le Freak, Dee-Lite – Groove is in the Heart, Donna Summer – I Feel Love, Prince – When Doves Cry, Erik B & Rakim – Paid in Full, First Choice – Let No Man Asunder, Michael Jackson – Don’t Stop ’Til you get Enough, A Guy Called Gerald – Voodoo Ray, Grace Jones – Bumper, Marshall – Move Your Body, Internet sensation kid 1997 in Berlin, Whitney Houston – It’s Not Right. Licensed Tracks/SFX (in order): Biodynamic modulated stutter riser, Dance like crazy – Ikoliks, Our Vibe – Superlative, Dance Out There – Alejandro Molinari, Pineapple Disco – Audiopanther, Bring It – Naems, Blurry Stars – Nbdy Nprtnt, Dark Future – Skygaze, Taika Promo (Rolling Stone VO). Song Samples (in order): Erik B & Rakim – Paid in Full, Dee-Lite – Groove is in the Heart, Madonna – Vogue, Azealia Banks – 212, Sylvester – You Make Me Feel, Michael Jackson – Don’t Stop ’Til you get Enough, Marshall Jefferson – Move Your Body, DJ Snake ft. Lil Jon – Turn Down for What, Dee-Lite – Groove is in the Heart, Whitney Houston – It’s Not Right
Donna Summer, ‘Last Dance’ (1979)
Donna Summer performing Last Dance, highlighting her iconic status in disco music.
While the film Thank God It’s Friday might be seen as a promotional vehicle for Casablanca Records and a sign of disco’s overexposure, “Last Dance” stands as a timeless track. Awarded an Oscar for Best Original Song, it begins at a ballad’s pace before evolving into a vibrant disco anthem. The tempo shift, conceived by Casablanca producer Bob Esty, is the song’s defining feature, making it a standout in Donna Summer’s illustrious career and a staple in dance music history. —M.M.
Fatboy Slim, ‘The Rockafeller Skank’ (1998)
Fatboy Slim performing at Pop Music Festival in Brazil, showcasing his energetic stage presence.
Norman Cook, known as Fatboy Slim, humorously recalled the debut of “The Rockafeller Skank”: “The first time it ever got played was at the Boutique in Brighton. I put it on and everybody just looked up, mouthing, ‘This is you, isn’t it?’” His signature formula of breakbeats and guitar riffs reached peak effectiveness 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”), it quickly became ubiquitous. Cook acknowledged the song’s “beer-boyish mentality” appeal, cementing its place as a party anthem and a defining track of the late 90s big beat genre. —M.M.
Mescalinum United, ‘We Have Arrived’ (1991)
Techno’s equivalent to heavy metal is “gabber,” a Dutch word for “buddy,” reflecting the Netherlands’ strong embrace of this hardcore sound. Marc Acardipane, known under approximately 90 aliases, is gabber’s foremost innovator. His early track, “We Have Arrived,” released under the name Mescalinum United, remains impactful. Built upon powerful drums and piercing air-raid siren sounds, it became foundational to the gabber genre. At Brooklyn raves, where DJ Lenny Dee played it, the intense energy of the track inspired moshing among the crowd, solidifying its status as a high-energy dance anthem. —M.M.
Oliver Heldens, ‘Melody’ (2016)
Oliver Heldens DJing, representing the evolution of festival main-stage DJs.
By the mid-2010s, a shift occurred in dance music as even main-stage festival DJs sought alternatives to the prevalent build-and-drop formula. Oliver Heldens’ “Melody” signaled this change. Released when he was just 18, the Dutch producer crafted a track with dramatic string arrangements and an uplifting piano melody, evoking a more refined dance music classicism. Yet, the bass maintained a powerful stomp, blending classic elements with contemporary energy. “Melody” became a landmark track, demonstrating a more nuanced approach to big room dance music. —M.M.
Kerri Chandler, ‘Rain’ (1998)
Kerri Chandler, a New Jersey house music producer, is revered for his deeply soulful and buoyant tracks, influencing many contemporary DJs and producers. Chandler describes himself as more of a “vocalist” than a singer, stating, “I write my life’s story and let it out through the music.” In “Rain,” Chandler’s emotional delivery, punctuated by the repeated word “rain,” expresses vulnerability and longing (“Never knew you could be this way — rain”). However, the music itself, particularly the playful xylophone solo, offers a contrasting sense of lightness and hope, showcasing Chandler’s signature soulful house sound. —M.M.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
Paris the Black Fu of Detroit Grand Pubahs performing live in London, capturing the duo's stage energy.
Andy Toth and Mack Goudy, known as Dr. Toefinger and Paris the Black Fu of Detroit Grand Pubahs, met while working in a Michigan restaurant. Sharing a fondness for whiskey and music creation, they collaborated on “Sandwiches.” Toth created a dynamic electro track, and Paris spontaneously improvised lyrics about a risqué dance floor encounter. This impromptu creation became a defining moment in Detroit’s electro resurgence at the turn of the century. “Sandwiches” became an instant club hit worldwide, celebrated for its raw energy and humorous, explicit content. —M.M.
Black Box, ‘Everybody Everybody’ (1990)
The story behind “Everybody Everybody” highlights the complexities of the music industry. Martha Wash, of the Weather Girls, was hired to record demos for Italian house producers Groove Groove Melody. Despite the understanding that her vocals were for demo purposes only, the tracks were released under the name Black Box, featuring Wash’s uncredited vocals. Adding insult to injury, a model mimed Wash’s singing in music videos. Wash took legal action and won, highlighting issues of credit and representation in dance music. Despite the controversy, “Everybody Everybody” became a massive hit, emblematic of early 90s house music. —M.M.
Big Freedia, ‘Azz Everywhere’ (2010)
Big Freedia performing at Essence Festival in New Orleans, embodying the spirit of bounce music.
Big Freedia, a champion of New Orleans bounce music, describes it as a sound that has “been around for two decades.” “Azz Everywhere” became the track that propelled bounce into wider recognition. Characterized by its rapid tempo, heavy bass, and call-and-response structure, bounce is intrinsically linked to twerking. “Azz Everywhere” is a chaotic yet infectious mix of snares, samples, and the repeated title phrase. Big Freedia actively educates audiences about bounce music’s history, emphasizing its high-energy, bass-heavy nature and its undeniable connection to dance and movement. —M.M.
Joy Orbison, ‘Hyph Mngo’ (2009)
In the late 2000s, dubstep was evolving rapidly, leading to a wave of experimental and innovative tracks. Joy Orbison’s debut, “Hyph Mngo,” became a standout dubstep track of 2009, capturing the scene’s innovative spirit. Its smooth bassline and synthetic textures contrast with a skipping snare drum and fragmented vocal samples (“Ooh!” and “I do”). This combination created an unexpectedly emotional quality within dubstep, contributing to its mainstream crossover appeal. “Hyph Mngo” is celebrated for its unique sound and its role in broadening dubstep’s reach. —M.M.
ESG, ‘Moody’ (1981)
ESG performing Moody, showcasing their influential post-punk and no-wave sound.
The Scroggins sisters, forming ESG in the late 1970s in the South Bronx, left a lasting impact on New York dance music. While influenced by funk and disco, ESG’s minimalist sound and focus on percussion resonated with post-punk and no-wave scenes. Their debut EP, produced by Joy Division’s Martin Hannett, further solidified their unique style. “Moody,” the EP’s centerpiece, remains futuristic with its deep bassline, bongo rhythms, and Renee Scroggins’ ethereal vocals. ESG’s sound became highly influential, bridging genres and inspiring generations of dance and alternative artists. —C.S.
La Roux, ‘In for the Kill (Skream’s Let’s Get Ravey Remix)’ (2009)
La Roux performing In for the Kill, highlighting the song's remix transformation.
Artists sometimes have mixed feelings about remixes, but La Roux’s Elly Jackson praised Skream’s remix of “In for the Kill.” Jackson credited Skream with capturing the song’s original essence even more effectively than the original mid-tempo synth-pop version. Skream’s “Let’s Get Ravey Remix” removed the original beat (and Kanye West’s rap), creating a tense atmosphere with flattened synths, before unleashing drum-and-bass breaks. Jackson felt Skream’s bold remix achieved what they had envisioned for the song’s atmosphere, making it a powerful and transformative reinterpretation. —M.M.
Double 99, ‘RIP Groove’ (1997)
Double 99, representing the UK garage sound evolution in the late 90s.
London producers Tim Deluxe and DJ Omar, initially known as RIP, rebranded as Double 99 to mark a double-pack vinyl EP. “RIP Groove,” titled as a tribute to their previous name, was created quickly using samples from Armand Van Helden’s remix of CJ Bolland’s “Sugar Is Sweeter,” Kenny Dope, and singer Tina Moore. Produced in just three hours, it became a defining track of 1997, popularizing UK garage (then called “speed garage”) and pushing it into the mainstream charts. “RIP Groove” announced a fresh sound and the arrival of a significant new genre in dance music. —M.M.
Snap!, ‘The Power’ (1990)
“The Power” exemplifies a classic dance music formula. 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 Turbo B, an American G.I. based in Germany. Chill Rob G then rerecorded his own version as Power Jam feat. Chill Rob G. Both versions were club hits, but Snap!’s “The Power” became a blueprint for Europop. Michael Muenzing of Snap! noted its influence, observing how many groups adopted its rapping-chorus-rap structure, shaping the sound of 90s pop-dance music. —M.M.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ Frosty, representing the Jersey club sound's rise in the 2010s.
Jersey club, originating in Newark, New Jersey (initially called Brick City club), is characterized by its energetic, syncopated rhythms, clipped vocal samples, and a raw yet uplifting feel, reminiscent of hip-house. DJ Frosty’s “Ride That Wave” perfectly embodies this sound. This catchy, chant-driven track emerged as Jersey club began gaining international attention, influencing EDM producers globally. This spread eventually led Jersey club’s influence to mainstream artists like Drake on Honestly, Nevermind. The remix features Fatman Scoop, known for his influential 90s hip-hop cut-ups, further bridging hip-hop and dance music styles. —J.D.
Todd Terje, “Inspector Norse” (2012)
Todd Terje performing, associated with the nu-disco genre and unexpected hits.
Norwegian nu-disco producer Todd Terje created “Inspector Norse” using only sounds from a vintage ARP synthesizer for his It’s the Arps EP. He didn’t anticipate the mellow, meandering track’s widespread appeal. Terje expected it to resonate with DJs due to its danceable beat, but was surprised when audiences began singing along to its distinctive melody. “Inspector Norse” became unexpectedly popular, significantly boosting Terje’s DJ career and highlighting the track’s infectious and unique charm within the nu-disco scene. —M.M.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture performing House of Jealous Lovers, capturing the dance-punk movement's energy.
James Murphy of DFA Records, co-producer of “House of Jealous Lovers,” recalled its revolutionary impact: “Most people now have no memory of how absolutely sacrilegious it was at the time.” The goal was to create a rock track that could rival dance music. The Rapture’s debut single combined Gang of Four-esque guitar riffs, manic vocals, and a powerful beat specifically designed for dance DJs. It succeeded, becoming the pinnacle of the early 2000s “dance-punk” movement. It inspired countless New York bands and transformed indie bars into dance music venues, merging rock energy with dance floor appeal. —J.D.
TNGHT, ‘Higher Ground’ (2012)
TNGHT performing, representing the trap music influence on EDM.
Hudson Mohawke described TNGHT’s 2012 EP with Lunice as “our take on big American rap beats, with a little bit of cheekiness to it.” The five-song EP, especially “Higher Ground,” propelled them to the forefront of EDM with its energetic, trap-influenced sound. “Higher Ground,” characterized by its grand, stomping rhythm, is both spacious and intricate. Its innovative sound quickly caught the attention of Kanye West, who enlisted TNGHT to produce “Blood on the Leaves” for his Yeezus album, showcasing its significant impact on contemporary music. —M.M.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size Reprazent performing Brown Paper Bag, blending drum and bass with jazz influences.
In the late 1990s, drum and bass was diversifying, often distancing itself from its dancehall and hip-hop roots. Roni Size and Reprazent, from Bristol, UK, managed to create drum and bass that was both innovative and rooted in its origins. They fused fast-paced beats with warm, organic jazz-funk elements. Roni Size noted the divisive yet popular reaction to “Brown Paper Bag,” the standout track from their 1997 album New Forms. Its jazz-infused sound broadened drum and bass’s appeal, attracting a wider audience while maintaining its core energy. —J.D.
Soul II Soul, ‘Back to Life (However Do You Want Me)’ (1989)
Soul II Soul, led by Jazzie B and Nellee Hooper, began as a London sound system specializing in reggae and soul. When they started recording in the late 80s, their smooth grooves seamlessly blended these genres. Initially intended for their own parties, their tracks gained wider attention. 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, the world became very interested in them. “Back to Life” became a major hit, reaching Number One on the Billboard R&B chart and the Top Five on the Hot 100, showcasing their unique blend of soul and dance rhythms. —M.M.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix Da Housecat DJing, associated with electroclash and conceptual albums.
Felix Stallings Jr., aka Felix da Housecat, is a Chicago house veteran, having created the acid house classic “Fantasy Girl” in 1987. His career reached global heights with the 2001 album Kittenz and Thee Glitz. This conceptual work, exploring celebrity and artifice, featured collaborations with artists like Miss Kittin and Melistar. “Silver Screen Shower Scene” became an instant anthem with its celebrity-mocking lyrics and electroclash sound, defining the electroclash era. Jacques Lu Cont’s “Thin White Duke Remix” further amplified its popularity among DJs, cementing its status as a dance floor staple. –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 dream involving Evan Dando and Chan Marshall (Cat Power), which inspired the song “(This Is) The Dream of Evan and Chan.” He collaborated with Dntel (Jimmy Tamborello) on the track before their Postal Service project. Dntel set Gibbard’s vocals to lively beats and synths, but Superpitcher’s remix, from the German Kompakt label, transformed it further. Featuring hazy synth layers and echoing bells, Superpitcher’s remix fully realized the dreamlike atmosphere hinted at in the lyrics, making it a standout ambient and electronic track. —M.M.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Sylvester James, portrait, representing the Hi-NRG genre and gay club culture influence.
Patrick Cowley was a synth innovator who pioneered Hi-NRG, a defining genre in gay clubs. His work with Sylvester and his extended version of Donna Summer’s “I Feel Love” are legendary. In his final months, battling illness (later understood as AIDS), Cowley continued creating music, including “Do Ya Wanna Funk.” This track, with its soaring synth riffs and Sylvester’s stratospheric vocals, is a Hi-NRG landmark. It also gained further recognition through its use in the movie Trading Places, underscoring its cultural impact. —M.M.
Funkadelic, ‘One Nation Under a Groove’ (1978)
Funkadelic performing One Nation Under a Groove, highlighting funk music's danceability and social message.
“One Nation Under a Groove” is arguably the greatest funk track led by a banjo. Its irresistible groove propelled it to the top of the R&B charts for six weeks in 1978. George Clinton assigned it to Funkadelic, known for their guitar-heavy rock-funk, to give it weight, distinguishing it from Parliament’s horn-driven R&B. Clinton explained, “Parliament is smashing, But Funkadelic is the movement,” emphasizing the song’s broader cultural and social resonance beyond just music. —M.M.
Evelyn Thomas, ‘High Energy’ (1984)
Evelyn Thomas at Limelight Disco in NYC, associated with the Hi-NRG genre's naming and popularity.
Released in 1984, Evelyn Thomas’s “High Energy” gave the Hi-NRG genre its name. However, it wasn’t the first of its kind. Producer Ian Levine, originally a Northern Soul DJ, blended elements of gay disco and Motown, creating the “Hi-NRG ingredients.” “High Energy,” with its bold, upbeat, and catchy style, reached the UK Top Five and remains a popular track. The Blessed Madonna highlighted its enduring appeal in her Bunker Podcast, showcasing its continued relevance in dance music culture. —M.M.
Daft Punk feat. Pharrell Williams and Nile Rodgers, ‘Get Lucky’ (2013)
When Pharrell Williams met Daft Punk, he expressed his desire to collaborate, even offering to “play a tambourine.” In Paris, Williams aimed to channel Nile Rodgers’ style, and Daft Punk played him a track they had created with Rodgers. Williams recorded his smooth vocals during that session. He described the track’s vividness, stating, “You don’t need MDMA for this music, because it’s so incredibly vivid.” “Get Lucky” became a global phenomenon, celebrated for its infectious groove and collaboration of iconic artists. –M.M.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson and Mat Zo performing Easy, representing the fusion of disco and trance in EDM.
Porter Robinson described “Easy,” his collaboration with Mat Zo, as “an homage to Daft Punk’s Discovery.” It takes disco chords and infuses them with a more intense, trance-inspired energy. “Easy” is a masterful update, both shimmering and classic. Its central synth melody evokes a Theremin and a Moog, while the sampled vocal from Colourblind’s “Nothing Better” adds emotional depth often missing in stadium EDM. “Easy” is celebrated for its expert blend of classic and contemporary dance music elements. —M.M.
Justice vs. Simian, “We Are Your Friends” (2006)
In 2003, Parisian duo Justice remixed Simian’s “Never Be Alone” for a contest. Working without extensive music software, they sampled only the chorus vocals due to sampler limitations. The result was a raw, edgy 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 transform into Simian Mobile Disco. The remix’s impact highlighted the creative possibilities of sample-based music and genre fusion. —M.M.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix performing Animals at Coachella, representing the young generation in EDM.
Dance music is often driven by young talent, exemplified by the early 2010s EDM boom. Martin Garrix’s “Animals,” built around a captivating synth riff, became a global smash when he was only 18. Its chant-like melody, lacking lyrics, was instantly recognizable. Garrix faced skepticism about his production, leading him to do livestreams and tutorials to prove his skills. “Animals” became an anthem of the EDM era, demonstrating the genre’s youth-driven innovation and global reach. —M.M.
Debbie Deb, ‘Lookout Weekend’ (1984)
Miami production pioneer Pretty Tony claimed to have coined the term “freestyle music.” His airy, energetic tracks bridged the sounds of KC and the Sunshine Band and 2 Live Crew. “Lookout Weekend,” Debbie Deb’s second single, was freestyle at its peak. Like its predecessor, “When I Hear Music,” it went triple platinum. Its success underscored the popularity of freestyle music in the 80s Miami scene, blending pop sensibility with danceable rhythms. —M.M.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang performing Bank Rolls, representing Baltimore club music's contemporary relevance.
Tate Kobang’s “Bank Rolls (Remix),” built on a sample of Tim Trees’ Baltimore club track “Bank Roll,” is a modern tribute to Baltimore club music. Kobang’s remix honors Charm City’s energy and resilience. In his final verse, he pays homage to K-Swift, a legendary DJ who popularized Baltimore club music before her passing. “Bank Rolls (Remix)” introduced Baltimore club’s underground sound to a new audience, keeping its vibrant energy alive in contemporary hip-hop and dance music scenes. —C.S.
Soft Cell, ‘Tainted Love/Where Did Our Love Go?’ (1981)
Soft Cell performing Tainted Love, representing synth-pop and Northern soul influences.
Marc Almond of Soft Cell explained their influences: “We both like Northern soul, Sixties music, and the 12-inch record.” They combined these into their hit “Tainted Love.” Their synth-pop version of Gloria Jones’ R&B track was already a hit, but for the extended version, they merged it with The Supremes’ “Where Did Our Love Go?” This medley, a fusion of New Wave disco, became a dance floor classic. Its enduring popularity highlights the innovative blend of synth-pop and classic soul. —M.M.
The Orb, ‘Little Fluffy Clouds’ (1990)
Alex Paterson of The Orb, portrait, representing ambient house and sample-based innovation.
The Orb’s Alex Paterson created “Little Fluffy Clouds” from a tape given to him by a friend. Side A contained an interview with Rickie Lee Jones describing Arizona skies, and Side B was Steve Reich’s Electric Counterpoint. Combining them resulted in “Little Fluffy Clouds,” a defining track of the acid-house era. Steve Reich was pleased with its popularization of his work. The track’s dreamy, sample-rich sound made it accessible to a mass audience, showcasing the innovative sampling techniques of ambient house. —M.M.
Polygon Window, ‘Quoth’ (1993)
Richard D. James, aka Aphex Twin, is known for more cerebral electronic music, but in the early 90s, he produced rave anthems. “Quoth,” released under the name Polygon Window, is a prime example. This percussion-heavy track was highly popular, especially in the American Midwest rave scene. Its intense, rhythmic energy made it a standout track in the early 90s rave culture, showcasing Aphex Twin’s versatility. —M.M.
Skream, ‘Midnight Request Line’ (2005)
Skream DJing, representing the early dubstep scene and breakthrough tracks.
Skream’s “Midnight Request Line” marked a turning point for the London dubstep producer and the genre. Upon its release, Skream discovered it was named “Record of the Month” in DJ Magazine. The track, with its wavering synth melody, smooth bassline, and prominent claps, propelled Skream and dubstep into the mainstream spotlight. “Midnight Request Line” is celebrated for its unique sound and its pivotal role in dubstep’s rise to prominence in the mid-2000s. –M.M.
Paul Johnson, ‘Feel My M.F. Bass’ (1994)
“Ghetto house,” a raw, sample-based style from Chicago’s Dance Mania label, was house music’s equivalent to gangsta rap. Paul Johnson, a central figure in this scene, was known for his unconventional, energetic tracks and dreamy DJ voice-overs. “Feel My M.F. Bass” is Johnson’s signature track, characterized by a powerful kick drum and Johnson’s playful, provocative vocal sample. This track, and Johnson’s overall style, epitomized the raw energy and attitude of ghetto house music. —M.M.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City, group portrait, representing Chicago house vocal groups and soulful sound.
Marshall Jefferson, producer of Chicago house vocal trio Ten City, aimed to expand house music by incorporating “proper songs” alongside more experimental elements. “That’s the Way Love Is,” Ten City’s third single, exemplified this style. Featuring Philly-soul strings, romantic lyrics, and Byron Stingily’s high-pitched vocals, it became a hit, reaching the UK Top 10 and Number One on the Billboard dance chart. Jefferson highlighted its broader impact, noting its symbolic meaning of liberation for people in South Africa, demonstrating music’s power beyond entertainment. —M.M.
Nitzer Ebb, ‘Join in the Chant’ (1987)
Nitzer Ebb performing Join in the Chant, representing industrial dance and techno crossover.
Nitzer Ebb, an industrial band from England’s Midlands, brought danceability to the industrial genre. Douglas McCarthy explained their club influences: “The clubs we knew were disco and funk. It’s in the DNA of the area.” “Join in the Chant,” Nitzer Ebb’s most famous anthem, became a techno crossover hit, especially in Detroit where techno artists had roots in industrial music. Richie Hawtin included it in his Decks, EFX & 909 mix, and Andrew Weatherall praised it profoundly, highlighting its powerful impact on dance music culture. —M.M.
Bronski Beat, ‘Smalltown Boy’ (1984)
Soft Cell performing Tainted Love, representing synth-pop and Northern soul influences.
Bronski Beat’s Jimi Somerville joked about his vocal training, which consisted of singing along to Donna Summer and Sylvester. “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. He channeled his experiences into “Smalltown Boy,” a poignant song about alienation and escape. With its emotional vocal hook and synth arrangement, it became a gay club anthem, reaching Number One on the Billboard club chart and the UK Top Three, becoming a significant LGBTQ+ anthem in dance music. —M.M.
LFO, ‘LFO (Leeds Warehouse Mix)’ (1990)
LFO were pioneers of Sheffield’s “bleep” scene, a signature sound of Warp Records. Steve Beckett of Warp emphasized that while the sound was called “bleep,” for the artists, “it was all about the bass.” LFO’s self-titled track got them signed to Warp. Featuring icy synth chords and bleeps, it was defined by its powerful bassline and sub-bass frequencies. “LFO” became a landmark track in bleep techno, known for its innovative use of bass and minimalist sound. —M.M.
Drake, ‘Sticky’ (2022)
Drake performing Sticky, representing contemporary artists incorporating dance music influences.
Drake’s album Honestly, Nevermind explored dance music, drawing from Jersey and Baltimore club and deep house. “Sticky,” produced by Gordo and Ry X, is a standout track. Here, Drake raps about personal topics, including Young Thug’s release and Virgil Abloh’s passing, over a dance-oriented beat. It exemplifies a major artist embracing subcultures and innovating within their own style, creating a unique fusion of hip-hop and dance music. —J.D.
Roland Clark, ‘I Get Deep (Shelter Mix)’ (2000)
Roland Clark’s love for house music began at Club Zanzibar in Newark, New Jersey, where Tony Humphries was a resident DJ. “I Get Deep” expresses this deep connection. Over rhythmic kicks, hats, and keyboard melodies, Clark delivers a monologue capturing the immersive dance floor experience: “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, further extending its influence. “I Get Deep” is celebrated for its authentic portrayal of dance music’s emotional and immersive power. —M.M.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us performing Follow Me, representing early house music's raw and soulful appeal.
Early house music often had a raw, DIY quality, which was a significant part of its appeal. Aly-Us’s “Follow Me” embodies this. A gospel-infused track with an uplifting message (“We must stop fighting/To achieve the peace”), it was recorded by a New Jersey trio in a basement on a four-track. Its lo-fi sound and slightly imperfect vocals contribute to its urgency and emotional impact. “Follow Me” remains a beloved example of early house music’s soulful and authentic spirit. —M.M.
George McCrae, ‘Rock Your Baby’ (1974)
In 1974, two songs that originated in clubs reached Number One on the Billboard Hot 100, marking the early days of disco’s mainstream breakthrough. One was “Rock the Boat,” and the other was George McCrae’s “Rock Your Baby.” The instrumental track was created by Henry Wayne Casey, Richard Finch, and Jerome Smith. McCrae was added to the project almost casually. “Rock Your Baby” became a massive hit and a foundational disco track. Casey, Finch, and Smith later formed KC and the Sunshine Band, further shaping the disco era. —M.M.
El General, ‘Perezosa’ (1995)
El General performing Perezosa, representing reggaeton's experimental origins and Latin dance music.
Panamanian artist El General pioneered reggaeton, creating 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, is a powerful dance anthem. Packed with high-energy electronic sounds, it captured the kinetic spirit of Latin American parties. El General’s innovative fusion of reggae and electronic elements significantly shaped reggaeton and broader Latin dance music. —J.L.
Tom and Jerry, ‘Maximum Style’ (1994)
4Hero, consisting of Marc Mac and Dego MacFarlane, are drum and bass veterans, creating influential tracks throughout the genre’s evolution. Tom and Jerry was one of their aliases, responsible for “Maximum Style.” Released as jungle music gained popularity in the UK, it’s a smooth, gliding track with a playful guitar melody and cartoon sound effects. It balances playfulness with a serious groove, making it a standout track in the jungle genre. —M.M.
LCD Soundsystem, ‘Losing My Edge’ (2002)
LCD Soundsystem performing Losing My Edge, capturing dance-punk irony and New York scene energy.
LCD Soundsystem’s debut single, “Losing My Edge,” is both a dance track and a satirical monologue. James Murphy portrays an aging hipster humorously grappling with fading relevance. The song is infused with irony, referencing hipster in-jokes and cultural touchstones. “Losing My Edge” is both hilarious and danceable, capturing the FOMO of cultural obsolescence and becoming an anthem for the New York dance-punk scene of the early 2000s. —J.D.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
Shakira performing Ojos Asi, representing Latin pop's global sound and dance remixes.
Pablo Flores, a key figure in Latin pop, worked with major artists like Gloria Estefan and Ricky Martin. He collaborated with Shakira on “Ojos Asi,” a song that blended her Lebanese heritage with forward-thinking Latin music. His extended “Thunder Mix” amplified its dance floor appeal. This remix showcased Shakira’s global sound and Flores’ production mastery, making “Ojos Asi” a dance hit worldwide and a significant track in Latin pop’s crossover success. —J.L.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher performing My Red Hot Car, representing experimental electronic music and complex rhythms.
Tom Jenkinson, aka Squarepusher, deconstructed drum and bass into complex, often undanceable rhythms in the mid-90s. Seeking to disrupt his own style, he aimed for a more spontaneous approach. “My Red Hot Car” showcases this evolution. Its cut-up vocals and glitchy production are balanced with moments of negative space and a driving bassline. This blend of abstraction and groove makes it appealing to adventurous DJs, highlighting Squarepusher’s innovative approach to electronic dance music. —M.M.
Moloko, ‘Sing It Back (Boris Musical Mix)’ (1997)
Moloko’s “Sing It Back,” featuring Róisín Murphy’s distinctive vocals, was initially a moody, downtempo track that didn’t achieve mainstream success. Boris Dlugosch’s remix transformed it into a crisp house track, built on a Chic-style rhythm guitar and playful bassline. This remix became a hit, reaching the UK Top Five and launching Róisín Murphy’s successful and dance-oriented solo career. The remix’s success underscores the transformative power of remixing in dance music. —M.M.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League performing Don't You Want Me, representing synth-pop's chart-topping success and narrative songwriting.
The Human League’s “Don’t You Want Me” originated from Phil Oakey’s concept of a song with a narrative, inspired by A Star Is Born and My Fair Lady. Keyboardist Jo Callis co-wrote the track. Despite initial doubts within the group, its he-said-she-said structure and catchy riff proved highly appealing. “Don’t You Want Me” became their first Number One hit in the UK and US, and a Top Three hit on the Billboard Dance Club chart. It marked a key moment in the fusion of UK synth-pop, club music, and mainstream pop charts, demonstrating synth-pop’s broad appeal. —M.M.
