What exactly makes a song “danceable”? It’s a question that opens up a world of rhythm, movement, and cultural expression. While you could argue that any song capable of making someone tap their foot qualifies, when we talk about Danceable Songs in the context of “dance music culture,” we’re diving into something much more specific and incredibly vast. This culture, spanning nearly half a century, is constantly evolving, yet deeply rooted in history.
Our journey into the realm of danceable songs begins in the mid-1970s with the explosion of disco, paying homage to the undeniable godfather of groove, James Brown. From there, we trace the evolution through the early 80s club scenes with electro and Latin freestyle. Disco’s spirit was reborn in the underground, morphing into house music in Chicago and techno in Detroit. The 90s witnessed an explosion of rave culture, spawning diverse genres from jungle and trance to gabba and garage. This evolution continued into the 2000s with the rise of EDM and dubstep. These genres, while having their moments in the spotlight, never truly disappear; drum ‘n’ bass, for example, is experiencing a resurgence even now, and contemporary house tracks still echo the classics.
This exploration isn’t about capturing every single sub-genre within this ocean of sound. Instead, we’re focusing on tracks that resonate beyond specific scenes, songs that feel universally iconic. We’re particularly interested in moments where dance music intersects with broader musical landscapes – from synth-pop and hip-hop to funk, Miami bass, R&B, indie-rock, Latin rhythms, and mainstream pop. This is why you’ll find artists like Prince, Robyn, Britney Spears, and Shakira alongside pioneers like 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-influenced records, this is part of that story – our curated selection of tracks that define danceable songs and their incredible journey.
Donna Summer, ‘Last Dance’ (1979)
Close up of Donna Summer performing on stage, with a microphone in her hand and wearing a sparkly dress.
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The film Thank God It’s Friday might be seen as a lengthy advertisement for Casablanca Records, a disco powerhouse, perhaps signaling disco’s peak. However, “Last Dance” stands apart, rightfully earning an Oscar for Best Original Song. Starting with a slow tempo that makes even “Three Times a Lady” seem fast, it gradually transforms into a captivating disco track. The unsung hero here is Casablanca’s producer, Bob Esty, who masterfully conceived the song’s tempo shift, making it a quintessential danceable song. —M.M.
Fatboy Slim, ‘The Rockafeller Skank’ (1998)
Fatboy Slim, a British DJ, performing at the Pop Music Festival in Porto Alegre, Brazil, with his hands raised in the air.
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Producer-DJ Norman Cook, known as Fatboy Slim, humorously noted about his hit, “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?’” Cook’s signature formula of breakbeats and guitar riffs was at its peak here. “Skank,” with its surf-rock guitar and the iconic Lord Finesse vocal sample (“Right about now, the funk soul brother/Check it out now, the funk soul brother”), quickly became ubiquitous. Cook even joked about the “Frat-Boy Slim” label, acknowledging “Rockafeller Skank” as an anthem for a certain beer-loving mentality, yet undeniably a massively danceable song. —M.M.
Mescalinum United, ‘We Have Arrived’ (1991)
Techno’s hardcore counterpart is “gabber,” Dutch for “buddy,” with the Netherlands being its stronghold. However, gabber’s primary innovator is Marc Acardipane, known by around 90 aliases. His groundbreaking track, “We Have Arrived,” under the name Mescalinum United, remains intensely impactful. Built upon relentless drums and piercing air-raid sirens, it became the foundation of gabber music. At Brooklyn raves, DJs like Lenny Dee, who released the track in America, witnessed crowds moshing to its aggressive rhythm – a testament to its intensely danceable nature within its subgenre. —M.M.
Oliver Heldens, ‘Melody’ (2016)
Oliver Heldens, a DJ with blond hair, wearing a black shirt, looking towards the right side.
By the mid-2010s, even DJs headlining festivals were tiring of the predictable build-and-drop formula that dominated dance music. Oliver Heldens’ “Melody” signaled a shift. This Dutch producer, only 18 when he released it, crafted a track with dramatic string swells and an uplifting piano melody, evoking a more sophisticated dance music classicism. While retaining a powerful bassline, “Melody” introduced an airier, more melodic approach, marking it as a uniquely danceable song that broke away from prevailing trends. —M.M.
Kerri Chandler, ‘Rain’ (1998)
New Jersey house producer Kerri Chandler’s deeply soulful tracks have made him a significant influence on contemporary producers and DJs. “I never considered myself a singer,” he stated in 2014. “I feel I’m more of a vocalist. I write my life’s story and let it out through the music.” Perhaps “monologist” is a more fitting term. In “Rain,” Chandler’s emotional plea, each line punctuated by the title word, borders on sorrow. Yet, the music itself, particularly the playful xylophone solo, feels more teasing than tragic, creating a uniquely bittersweet and danceable song. —M.M.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
Mack Goudy Jr, known as Paris the Black Fu of Detroit Grand Pubahs, performing live on stage in London, wearing a black hat and a white shirt.
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Andy Toth and Mack Goudy, a.k.a. Dr. Toefinger Paris the Black Fu of Detroit Grand Pubahs, initially connected while working at a Michigan restaurant. “We both liked whiskey and working on music,” Toth recounted. One evening, Toth created a dynamic electro track, and Paris spontaneously grabbed the mic. “I said ‘What you got?’ He said, ‘Don’t worry about it. Just turn the mic on.’” Within minutes, Paris improvised suggestive lyrics about a dance-floor encounter. This impromptu creation became a defining moment in Detroit’s electro revival at the turn of the century, an instantly popular and audaciously danceable song in clubs worldwide. —M.M.
Black Box, ‘Everybody Everybody’ (1990)
Sometimes, exceptional music emerges from questionable circumstances. “Everybody Everybody” is a case in point. Martha Wash of the Weather Girls was hired to record demos in 1989 for Italian house producers Groove Groove Melody. She was told these were for other singers. Instead, her uncredited vocals were released under the name Black Box, further compounded by hiring a model to lip-sync in videos. Wash sued and won, as she did similarly with C+C Music Factory. Daniele Davoli of Black Box later expressed regret, stating, “We didn’t know any better at the time. I guess we had to learn from our mistakes.” Despite the controversy, “Everybody Everybody” remains a powerful and undeniably danceable song of the era. —M.M.
Big Freedia, ‘Azz Everywhere’ (2010)
Big Freedia performing at the 2019 Essence Festival in New Orleans, wearing a colorful outfit and sunglasses.
Image Credit: Amy Harris/Invision/AP
“I’ve run across half the globe now, spreading the goodness of bounce and trying to get people everywhere onto what’s been around for two decades,” Big Freedia said in 2011, championing New Orleans bounce music – the high-energy, locally grown club sound that birthed twerking. “Azz Everywhere” became the breakout track for this genre, a vibrant mix of snares, samples, and the chanted title phrase. “We hold classes on the road sometimes at performing venues and different colleges to teach about the history of bounce music,” Freedia added. “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 the epitome of a danceable song within the bounce scene. —M.M.
Joy Orbison, ‘Hyph Mngo’ (2009)
In the late 2000s, dubstep producers pushed boundaries, resulting in a wave of experimental tracks. Joy Orbison’s debut, “Hyph Mngo,” became the defining dubstep track of 2009, capturing this creative peak. The bassline and synth textures are smooth and gliding, but the echoing snare drum and fragmented vocal samples – a woman’s voice alternating between “Ooh!” and “I do” – added an unexpectedly emotional depth, rare for dubstep. This emotional resonance contributed to its mainstream appeal, solidifying its place as a uniquely danceable song that transcended genre boundaries. —M.M.
ESG, ‘Moody’ (1981)
ESG performing live, the band consists of four women playing instruments in a dimly lit stage.
The Scroggins sisters from the South Bronx profoundly impacted New York dance music with their band ESG in the late 1970s. While rooted in funk and disco, their minimalist sound and focus on percussion resonated with post-punk and no-wave scenes, especially after collaborating with Joy Division producer Martin Hannett on their debut EP. “Moody,” the EP’s centerpiece, remains futuristic. It’s a subtle rumble of bass, bongo drums, and Renee Scroggins’ ethereal vocals echoing through the mix, making it a timelessly cool and subtly danceable song. —C.S.
La Roux, ‘In for the Kill (Skream’s Let’s Get Ravey Remix)’ (2009)
La Roux performing live, Elly Jackson with distinctive red hair and wearing a white shirt, singing into a microphone.
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Artists sometimes have mixed feelings about remixes. But La Roux’s Elly Jackson credited Skream for not just capturing the essence of her synth-pop single “In for the Kill” in his remix, but for “regave birth to the real meaning and atmosphere of the song as we wrote it.” Skream’s remix discards the original’s upbeat rhythm and Kanye West’s rap, creating an intensely tense atmosphere with flattened synths, then shattering it with drum-and-bass breaks. “What he did with the song is what we would have done if we’d been brave enough,” Jackson admitted. Skream’s “Let’s Get Ravey Remix” transformed “In for the Kill” into an unexpected and powerfully danceable song, even more so than the original. —M.M.
Double 99, ‘RIP Groove’ (1997)
Double 99 logo, text in white against a dark background.
After working as RIP in the mid-90s, London producers Tim Deluxe and DJ Omar rebranded as Double 99 to mark a “double-pack vinyl EP,” according to Omar. Due to time constraints, they created track names and artwork before the music itself. “RIP Groove,” a tribute to their former name, cleverly sampled Armand Van Helden’s remix of CJ Bolland’s “Sugar Is Sweeter,” alongside Kenny Dope and Tina Moore samples. Produced in just three hours, it became a massive hit in 1997, propelling UK garage (then “speed garage”) into mainstream charts and establishing a fresh sound. “RIP Groove” is a landmark danceable song in UK garage history. —M.M.
Snap!, ‘The Power’ (1990)
“The Power” is a quintessential dance music archetype: German producers sample an American rapper (Chill Rob G) and an American R&B vocalist (Jocelyn Brown), creating a club hit. A major label (Arista) picks it up, rerecords it with a new vocalist (Turbo B, an American G.I. in Germany). Then, the original rapper rerecords his own version as Power Jam feat. Chill Rob G. Both versions become club hits. More significantly, “The Power” became the Europop blueprint. Snap!’s Michael Muenzing explained in 1994, “Now you have 50 or 60 groups singing this way — rapping, singing the chorus, and going back to the rap.” “The Power” is a foundational and massively influential danceable song. —M.M.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ Frosty logo, text in white and blue against a black background.
Jersey club, originating in Newark, New Jersey (formerly Brick City club), is characterized by sharp, syncopated rhythms, chopped vocal samples, and an energetic yet non-violent vibe, akin to hip-house in a blender. DJ Frosty’s “Ride That Wave” perfectly embodies this. A relentlessly catchy, chant-driven track, it emerged as Jersey club was gaining international attention from EDM producers. This trend eventually led Jersey club influences to permeate mainstream music, even reaching Drake’s Honestly, Nevermind. The remix features Fatman Scoop, known for his 90s hip-hop cut-ups on AV8 Records, which were favorites of DJs like Fatboy Slim. “Ride That Wave (Remix)” is a prime example of a modern and incredibly danceable Jersey club song. —J.D.
Todd Terje, “Inspector Norse” (2012)
Todd Terje performing live, DJing with his hands on the mixer, wearing a patterned shirt.
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Norwegian nu-disco producer Todd Terje didn’t anticipate the success of “Inspector Norse.” Created entirely with sounds from a vintage ARP synthesizer for his It’s the Arps EP, he expected it to be a DJ favorite. “I thought it was going to go well with the DJs, as I’d tried it out and it had a danceable beat, but I never thought I’d hear people singing along to the melodies,” Terje said. The track’s catchy melody proved irresistible, boosting his DJ career. “Inspector Norse” became an unexpectedly popular and infectiously danceable song, celebrated for its unique sound. —M.M.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture performing live on stage, the band members are energetic and playing their instruments.
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“Most people now have no memory of how absolutely sacrilegious it was at the time,” DFA founder James Murphy said about The Rapture’s “House of Jealous Lovers.” “We wanted to make a rock track that could compete with dance music. We obsessed over it.” The Rapture’s debut single combined aggressive Gang of Four-style guitar riffs and manic vocals with a compelling beat and powerful bass, engineered to appeal to dance DJs. It succeeded. The song became the pinnacle of the early 2000s “dance-punk” movement, influencing countless New York bands and transforming indie bars into DJ-friendly venues. “House of Jealous Lovers” is a groundbreaking and intensely danceable song that bridged rock and dance music. —J.D.
TNGHT, ‘Higher Ground’ (2012)
TNGHT logo, text in white against a black and white abstract background.
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Hudson Mohawke described TNGHT’s 2012 EP, a collaboration with Lunice, as “our take on big American rap beats, with a little bit of cheekiness to it.” The five-song EP propelled them to the forefront of EDM with its playful, dance-floor-focused take on trap music. “Higher Ground,” a powerful and intricate track, is both cavernous and detailed. Within a year, Kanye West enlisted TNGHT to produce “Blood on the Leaves” from Yeezus. “Higher Ground” is a significant and incredibly danceable song that showcases TNGHT’s innovative trap sound. —M.M.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size Reprazent performing live on stage, the band members are playing instruments energetically in a concert setting.
In the late 90s, drum and bass was becoming increasingly fragmented and distancing itself from its dancehall and hip-hop roots. Bristol’s Roni Size and Reprazent managed to create drum and bass that was both innovative and connected to its origins, blending fast-paced beats with warm jazz-funk elements. “It’s funny how ‘Brown Paper Bag’ split people,” Size reflected in 2018, referring to their hit track from the 1997 album, New Forms. “They heard the jazz, how it sounded different from everything else, and they saw this other audience that loved it.” “Brown Paper Bag” is a distinctive and richly danceable song that broadened the appeal of drum and bass. —J.D.
Soul II Soul, ‘Back to Life (However Do You Want Me)’ (1989)
Led by Jazzie B and 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 merged both genres. Initially intended for Soul II Soul parties, “It was literally for our sound [system] at the beginning,” Jazzie B explained. “We weren’t really interested in what anybody else was doing.” But their sound captivated everyone. “Back to Life” reached Number One on the Billboard R&B chart and Top Five on the Hot 100. It’s a timelessly smooth and effortlessly danceable song that defined an era. —M.M.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix Da Housecat DJing, wearing sunglasses and headphones, with a focused expression.
Felix Stallings Jr., a Chicago house veteran, co-created the acid house classic “Fantasy Girl” in 1987 as Pierre’s Pfantasy Club. His career went global with the 2000 album Kittenz and Thee Glitz, a collaborative project exploring celebrity and artifice. “Silver Screen Shower Scene” became an instant anthem. Its celebrity-mocking lyrics and music seemed to herald the electroclash era. Jacques Lu Cont’s “Thin White Duke Remix” became even more popular among DJs. “Silver Screen Shower Scene” is a sharp, satirical, and highly danceable song that captured the electroclash zeitgeist. –M.M.
Dntel feat. Ben Gibbard, “(This Is) The Dream of Evan and Chan (Superpitcher Kompakt Remix)” (2001)
In 2000, Death Cab for Cutie’s Ben Gibbard had “a weird dream … involving [Lemonheads frontman] Evan Dando and Chan Marshall,” a.k.a. Cat Power. He turned it into a song with Dntel. The Superpitcher remix, from the German Kompakt label, added foggy synths and echoing bells, enhancing the dreamlike quality hinted at in the lyrics. While the original is more IDM, the Superpitcher remix elevates it to a subtly hypnotic and unexpectedly danceable song, perfect for late-night grooves. —M.M.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Portrait of Sylvester James, known as Sylvester, in a black and white photo, wearing a fur coat and looking elegant.
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Patrick Cowley, a synth innovator, pioneered Hi-NRG in his solo work and collaborations, notably with Sylvester and his extended version of Donna Summer’s “I Feel Love.” Diagnosed with AIDS, Cowley persevered, even working from his studio bed in his final months. “Do Ya Wanna Funk” is a landmark of his career – soaring synth riffs, Sylvester’s stratospheric falsetto. It also famously soundtracked the party scene in Trading Places. “Do Ya Wanna Funk” remains a vibrant and iconic danceable song, a testament to Cowley’s genius. —M.M.
Funkadelic, ‘One Nation Under a Groove’ (1978)
Funkadelic performing live, the band members are dressed in flamboyant costumes and playing instruments energetically.
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“One Nation Under a Groove,” arguably the greatest funk track led by a banjo, reached the top of the R&B charts for six weeks in 1978. George Clinton assigned it to the guitar-heavy Funkadelic to give it more weight, explaining, “Parliament is smashing. But Funkadelic is the movement.” Its irresistible groove and powerful message made it a cultural phenomenon. “One Nation Under a Groove” is a profoundly influential and universally danceable song, transcending genres and generations. —M.M.
Evelyn Thomas, ‘High Energy’ (1984)
Evelyn Thomas sighted at the Limelight Disco in New York City in 1984, wearing a white dress and posing for the camera.
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Released in 1984, “High Energy” gave the Hi-NRG genre its name, though it wasn’t the first of its kind. Chicago singer Evelyn Thomas was signed by Manchester producer Ian Levine, a Northern Soul DJ who transitioned to synth-driven disco. Smash Hits noted Levine bridged “gay disco and old Motown — the two main Hi-NRG ingredients.” “High Energy,” brash, cheerful, and undeniably cheesy, reached the UK Top Five and remains a classic, championed by DJs like The Blessed Madonna. It’s a definitive and exuberantly danceable Hi-NRG song. —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. In Paris, Williams expressed his desire to channel Nile Rodgers. The robots played him a track they’d created with Rodgers, and Williams recorded his smooth vocals. “You don’t need MDMA for this music, because it’s so incredibly vivid,” he enthused. “Get Lucky,” with its infectious groove and star power, is a globally celebrated and undeniably danceable song, revitalizing disco influences for a new generation. –M.M.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson and Mat Zo logo for Easy, text in white and blue against a futuristic background.
“‘Easy’ in my mind is an homage to Daft Punk’s Discovery,” Porter Robinson said of his collaboration with Mat Zo. “It takes the disco chords of all of the early French stuff and gives it a louder, more trance-inspired feel.” An expertly crafted update, “Easy” is both dazzling and classic. Its central synth line evokes a Theremin and a Moog, and the sampled vocal from Colourblind’s “Nothing Better” adds emotional depth, often lacking in stadium EDM. “Easy” is a brilliantly executed and intensely danceable song, bridging classic and contemporary electronic sounds. —M.M.
Justice vs. Simian, “We Are Your Friends” (2006)
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In 2003, Parisians Gaspard Augé and Xavier de Rosnay of Justice remixed Simian’s “Never Be Alone” for a contest. Limited by their equipment—sampler, sequencer, synthesizer—they only downloaded the chorus vocal. The result was a jarring, powerful 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. “We Are Your Friends” is a transformative and hugely danceable remix that defined the electro-house sound of the mid-2000s. —M.M.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix performing at Coachella Music and Arts Festival, raising his hands in the air with a large crowd in the background.
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Dance music often favors youth, exemplified by the early 2010s EDM boom. Martin Garrix’s instrumental track “Animals,” built around a catchy synth riff, became a global sensation when he was only 18. Its popularity led to skepticism. “At first, people in the industry assumed I didn’t make my own shit,” Garrix later said. He addressed this by doing live streams and production tutorials. “Animals” is a massively successful and undeniably danceable song that marked the rise of a young EDM prodigy. —M.M.
Debbie Deb, ‘Lookout Weekend’ (1984)
“As far as I know, I coined the phrase. I hadn’t heard anybody call it freestyle music prior to me coming up with the name of the group Freestyle,” Miami producer Pretty Tony claimed in 2015. His airy, energetic tracks bridged KC and the Sunshine Band and 2 Live Crew. “Lookout Weekend,” his second single with Debbie Weshoff Lopez, was freestyle at its peak. Like “When I Hear Music,” it went triple platinum. Tony’s response: “I bought me a Porsche. As a matter of fact, two Porsches.” “Lookout Weekend” is a quintessential and joyously danceable freestyle song. —M.M.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang performing onstage at the Youtube Music Showcase in Austin, Texas, wearing a black jacket and holding a microphone.
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Rapper Tate Kobang’s “Bank Rolls (Remix),” built around a Tim Trees Baltimore club sample, is a tribute to Baltimore club music and its energy. He even shouts out K-Swift, the influential Baltimore club DJ who helped popularize the genre before her passing in 2008. “She was just one of those bodies in our culture that was like, ‘She ain’t never going anywhere,’” Kobang said. “Bank Rolls (Remix)” introduced Baltimore club to a wider audience. It’s a contemporary and powerfully danceable Baltimore club song that honors its roots. —C.S.
Soft Cell, ‘Tainted Love/Where Did Our Love Go?’ (1981)
Soft Cell performing live, Marc Almond and David Ball on stage surrounded by musical instruments.
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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 medley. Their synth-pop version of Gloria Jones’ “Tainted Love” was a hit, but for the extended version, they seamlessly incorporated The Supremes’ “Where Did Our Love Go?” “It was originally just going to include a few bars of ‘Where Did Our Love Go?’ but we like the way it turned out and included the whole song,” Almond said. This nine-minute medley—New Wave disco in a nutshell—has captivated dance floors ever since. It’s a timeless and hypnotically danceable song that blends synth-pop and classic soul. —M.M.
The Orb, ‘Little Fluffy Clouds’ (1990)
Alex Paterson of The Orb, portrait in London, wearing sunglasses and a hat, with a thoughtful expression.
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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.” Side B was Steve Reich’s Electric Counterpoint. Combining them created “Little Fluffy Clouds,” the most approachable 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 a uniquely mellow and dreamily danceable song that brought ambient house to a wider audience. —M.M.
Polygon Window, ‘Quoth’ (1993)
Richard D. James, a.k.a. Aphex Twin, is often known for less dance-oriented music, but in the early 90s, he produced rave anthems. “Quoth,” under the Polygon Window alias, is a prime example—a percussion-driven symphony. It was particularly popular in the American Midwest rave scene, where it was played in actual barns. “Quoth” is a high-energy and intensely danceable song, showcasing Aphex Twin’s rave-era prowess. —M.M.
Skream, ‘Midnight Request Line’ (2005)
Skream DJing at Fabric Nightclub in London, with headphones and a focused expression.
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Shortly after releasing “Midnight Request Line,” London dubstep producer Skream found it named Record of the Month in DJ Magazine or Mixmag. The track, with its fluttering synth, smooth bass, and heavy claps, propelled Skream and dubstep into the spotlight. “Midnight Request Line” is a pivotal and widely influential danceable dubstep song, marking a key moment in the genre’s rise. –M.M.
Paul Johnson, ‘Feel My M.F. Bass’ (1994)
“Ghetto house” was house music’s equivalent to gangsta rap, a raw, sample-based, street-oriented style from 90s Chicago producers, particularly on Dance Mania Records. Paul Johnson, wheelchair-bound, was a leading figure, known for his unique flair. “Feel My M.F. Bass” is his pinnacle, a blunt-force track with a cavernous kick drum and Johnson’s gleeful vocals. Despite his passing in 2021, his music, especially “Feel My M.F. Bass,” remains influential. It’s a raw and powerfully danceable ghetto house song. —M.M.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City group portrait in London, Byron Stingily, Herb Lawson, and Byron Burke in suits and ties.
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“When Ten City started, I think we were both at a point where we wanted to expand the genre by writing proper songs while at the same time doing more abstract things,” said producer Marshall Jefferson. “That’s the Way Love Is,” Ten City’s third single, defined their style: Philly-soul strings, lush love songs, and Byron Stingily’s soaring falsetto. It reached the UK Top 10 and Billboard dance chart Number One. Jefferson noted its broader impact: “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 and uplifting danceable house song with a profound cultural impact. —M.M.
Nitzer Ebb, ‘Join in the Chant’ (1987)
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Nitzer Ebb, from England’s Midlands, had dance music in their DNA. “The clubs we knew were disco and funk,” frontman Douglas McCarthy explained. “Join in the Chant,” their anthem, was a perfect techno crossover, especially in Detroit, where techno artists had roots in industrial music. Richie Hawtin included “Chant” in his Decks, EFX & 909 mix, and Andrew Weatherall called listening to it “the closest I felt to God.” “Join in the Chant” is a powerful and intensely danceable industrial-techno crossover song. —M.M.
Bronski Beat, ‘Smalltown Boy’ (1984)
Soft Cell performing live, Marc Almond and David Ball on stage surrounded by musical instruments.
Bronski Beat’s Jimi Somerville joked his vocal training was 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. “Smalltown Boy,” a poignant portrayal of alienation and escape, with its iconic vocal hook and synth melody, became a gay club anthem, reaching Number One on the Billboard club chart and UK Top Three. “Smalltown Boy” is a deeply moving and powerfully danceable song that resonated with LGBTQ+ audiences globally. —M.M.
LFO, ‘LFO (Leeds Warehouse Mix)’ (1990)
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LFO were pioneers 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. Icy synth chords and bleeps set the stage for layers of bass—the bassline moves you, the sub-bass shakes everything. “LFO (Leeds Warehouse Mix)” is a groundbreaking and intensely danceable bleep techno song, defined by its powerful bass. —M.M.
Drake, ‘Sticky’ (2022)
Drake in a promotional shot for Honestly, Nevermind, wearing sunglasses and a black outfit.
Drake’s dance music foray, Honestly, Nevermind, is intentionally subtle, drawing from Jersey and Baltimore club 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 club-infused beat. It’s an example of a superstar embracing a subculture and creating something fresh. “Sticky” is a surprisingly effective and subtly danceable song within Drake’s experimental album. —J.D.
Roland Clark, ‘I Get Deep (Shelter Mix)’ (2000)
“The love of house music started when I went to Club Zanzibar in lieu of my prom,” Roland Clark said, referring to the Newark club where Tony Humphries DJed. “I Get Deep” expresses this love. Over energetic beats and a keyboard melody, Clark delivers a monologue capturing a rapturous 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. “I Get Deep (Shelter Mix)” is a deeply personal and intensely danceable house anthem that captures the essence of club culture. —M.M.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us logo, text in white against a black background.
Early house music was often raw and imperfect, a key part of its appeal. Aly-Us’s “Follow Me” exemplifies this. A gospel-inspired anthem (“We must stop fighting/To achieve the peace”) from a New Jersey trio, recorded in a basement on a four-track. Its lo-fi quality and occasional vocal imperfections enhance its urgency and emotional impact. “Follow Me” is a raw and powerfully uplifting danceable house song, celebrated for its sincerity and energy. —M.M.
George McCrae, ‘Rock Your Baby’ (1974)
Image Credit: Redferns
In the summer of 1974, “Rock the Boat” and “Rock Your Baby” became the first disco hits to reach Number One on the Billboard Hot 100 after breaking in clubs. The track for “Rock Your Baby” was created by Henry Wayne Casey, Richard Finch, and Jerome Smith. George McCrae was added because he was at TK Records. “I think they gave me ‘Rock Your Baby’ to get me out of their hair,” he recalled. Casey, Finch, and Smith later formed KC and the Sunshine Band. “Rock Your Baby” is a foundational and smoothly danceable disco song, marking the genre’s mainstream breakthrough. —M.M.
El General, ‘Perezosa’ (1995)
El General performing live, wearing a colorful outfit and a hat, with a lively stage presence.
Panamanian pioneer El General established the blueprint for reggaeton in the 80s and 90s with international hits using reggae rhythms. His experimental approach and influence on club music are often overlooked. “Perezosa,” from Club 555, showcases his range. It’s a booming and empowering dance anthem packed with high-energy electronic sounds, capturing the spirit of Latin American parties. “Perezosa” is a pioneering and intensely danceable reggaeton song, highlighting El General’s innovative sound. —J.L.
Tom and Jerry, ‘Maximum Style’ (1994)
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4Hero, Marc Mac and Dego MacFarlane, are drum and bass stalwarts, creating hits across its evolution from early UK hardcore to neo-fusion, often under aliases. Tom and Jerry is one such alias, responsible for “Maximum Style,” released as jungle’s popularity grew in the UK. This smooth stepper, with its captivating guitar melody and cartoon sound effects, balances playfulness with a serious groove. “Maximum Style” is a playful yet seriously danceable jungle song, showcasing 4Hero’s versatility. —M.M.
LCD Soundsystem, ‘Losing My Edge’ (2002)
LCD Soundsystem performing live at Bowery Ballroom in NYC, James Murphy singing into a microphone and playing guitar.
Image Credit: Redferns
LCD Soundsystem’s debut single, “Losing My Edge,” is both a great dance track and a stand-up comedy routine. James Murphy plays an aging hipster humorously confronting his fading relevance. “Losing My Edge” makes you laugh and dance, capturing a universal feeling of FOMO, even if you’ve never been to Cologne or heard Daft Punk early on. It’s a witty and infectiously danceable song that defined the New York dance-punk scene. —J.D.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
Shakira performing live, wearing a sparkly outfit and playing a harmonica, with a dynamic stage presence.
Image Credit: ASSOCIATED PRESS
Pablo Flores is a key figure in Latin pop. The Puerto Rican DJ worked with Emilio Estefan and artists like Gloria Estefan and Ricky Martin. He and Javier Garza helped a young Shakira create “Ojos Asi,” a forward-thinking song blending her Lebanese roots with global sounds. His extended remix amplified these ideas with masterful production that resonated on dance floors worldwide. “Ojos Asi (Thunder Mix)” is a globally appealing and powerfully danceable Latin pop song, showcasing Shakira’s early innovation. —J.L.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher performing live at Rescue Rooms in Nottingham, playing electronic instruments with a focused expression.
Image Credit: Redferns via Getty Images
Squarepusher, Tom Jenkinson, twisted drum and bass into complex, often undanceable forms in the mid-90s. Seeking a change, he aimed for spontaneity. “My Red Hot Car,” with cut-up vocals and glitchy production, is not just abstract. Its flickering sounds and negative space create a compelling groove, driven by Jenkinson’s playful bassline. “My Red Hot Car” is an experimental yet surprisingly danceable song, appealing to adventurous DJs and listeners. —M.M.
Moloko, ‘Sing It Back (Boris Musical Mix)’ (1997)
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Moloko’s “Sing It Back” initially underperformed. Then, Boris Dlugosch’s remix transformed it. His version—a crisp house groove inspired by Chic—featured a captivating rhythm guitar and playful bass. This remix reached the UK Top Five, launching Róisín Murphy’s successful solo career. “Sing It Back (Boris Musical Mix)” is a transformative and hugely danceable remix that turned a downtempo track into a house classic. —M.M.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League performing live, Phil Oakey and other band members in a studio setting with 80s fashion.
Human League keyboardist Jo Callis described “Don’t You Want Me” as inspired by A Star Is Born and My Fair Lady. The group initially underestimated the song, despite its catchy structure and riff. It became their first Number One in the UK and US, and a Top Three hit on the Billboard Dance Club chart, merging UK synth-pop, club music, and Top 40. “Don’t You Want Me” is a groundbreaking and enduringly danceable synth-pop song that bridged genres and audiences. —M.M.
