What exactly defines a “dance song”? It’s a valid question. In a broad sense, any piece of music that inspires movement could be considered a dance song. Think about it – even The Beatles or Slayer could get someone moving. Hip-hop and reggae are almost universally considered dance music. However, when we curate a list of the 200 Greatest Dance Songs of All Time, we’re diving into something more specific: “dance music culture.” This is a distinct yet massive world, spanning nearly half a century and constantly evolving.
Our exploration of dance music, after acknowledging the foundational influence of James Brown, begins in the mid-1970s with the rise of disco. From there, we trace its evolution into early 1980s club sounds like electro and Latin freestyle. Disco’s spirit was reborn in the mid-80s, re-engineered as house music in Chicago and techno in Detroit. The genre continued to morph at an incredible pace, exploding into the 1990s rave scene, which spawned everything from jungle and trance to gabba and garage, eventually leading to the EDM and dubstep boom of the 2000s. While some of these subgenres have had their moments in the mainstream spotlight, they never truly disappear. Drum ‘n’ bass, for example, is experiencing a resurgence, and even contemporary house tracks carry echoes of the past.
This list doesn’t attempt to capture every nuance within this vast ocean of subgenres. Instead, we aimed for tracks that felt timeless and universally resonant. We paid particular attention to moments where dance music intersected with the wider musical landscape – with genres like synth-pop, hip-hop, funk, Miami bass, R&B, indie-rock, Latin music, and mainstream pop. This is why you’ll find artists like Prince, Robyn, Britney Spears, and Justin Bieber alongside pioneers like Adonis, Frankie Knuckles, Moodymann, Goldie, and SOPHIE.
If you’ve ever wondered how we arrived at a point where major artists like Drake and Beyoncé are releasing house-inspired tracks, this list tells that story – or at least, our version of it, highlighting some of the most Popular Dance Songs that have shaped the genre.
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)
Image Credit: Redferns
While the film Thank God It’s Friday might be seen as an extended advertisement for Casablanca Records, the powerhouse disco label, signaling a potential “jump the shark” moment for both the label and disco itself, this song stands apart. “Last Dance” rightfully earned its Oscar for Best Original Song. It begins at a pace so slow, it makes “Three Times a Lady” seem like a speed metal track, before blossoming into a tight, exhilarating disco anthem. The unsung hero here is Casablanca’s in-house producer Bob Esty, who masterfully conceived the song’s dramatic tempo shift, making it one of the most popular disco dance songs of the era. —M.M.
Fatboy Slim, ‘The Rockafeller Skank’ (1998)
Fatboy Slim concert in Brazil, 2011 Image Credit: AP
Producer-DJ Norman Cook, known as Fatboy Slim, humorously recalled the initial reaction to his biggest 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 infectious surf-rock riff 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. Despite the jokes about “Frat-Boy Slim,” Cook acknowledged, “I suppose ‘Rockafeller Skank’ became an anthem for that sort of beer-boyish mentality,” solidifying its place as one of the most popular electronic dance songs of the late 90s. —M.M.
Mescalinum United, ‘We Have Arrived’ (1991)
Techno’s equivalent to heavy metal is “gabber,” a Dutch word for “buddy,” and the Netherlands is indeed the genre’s stronghold. However, gabber’s defining pioneer is Marc Acardipane, who has recorded under an astonishing 90 aliases. His initial impact, “We Have Arrived,” credited to Mescalinum United, remains powerfully intense. Built upon relentless drums and piercing air-raid siren sounds, it became the foundational track for the entire gabber movement. At Brooklyn raves hosted by Lenny Dee, whose label released the track in America, crowds would enthusiastically mosh to its aggressive energy, cementing its status as a popular hardcore dance song. —M.M.
Oliver Heldens, ‘Melody’ (2016)
Oliver Heldens DJ portrait
By the mid-2010s, even DJs headlining major festivals were tiring of the predictable build-and-drop formula that dominated the dance music scene. “Melody” signaled a significant shift. Dutch producer Oliver Heldens was only 18 when he released this track, yet its soaring string arrangements and uplifting piano melody possessed a refined, classic dance music sensibility. While maintaining a powerful bassline, “Melody” offered a more sophisticated and airy sound, marking it as one of the popular progressive house dance songs that redefined the EDM landscape. —M.M.
Kerri Chandler, ‘Rain’ (1998)
New Jersey house producer Kerri Chandler’s deeply soulful and uplifting tracks are a major reason why his work is so revered by younger 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. Chandler’s heartfelt plea in “Rain,” with each line punctuated by the evocative title, teeters on the brink of sadness. However, the music itself is more playful than melancholic, especially the distinctive xylophone solo, making it a popular deep house dance song with emotional depth. —M.M.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
Detroit Grand Pubahs performing live in London, 2002 Image Credit: Jim Dyson/Getty Images
Andy Toth and Mack Goudy – also known as Dr. Toefinger Paris the Black Fu – first connected while working at a restaurant in Royal Oak, Michigan. “We both liked whiskey and working on music,” Toth explained. One evening, Toth created a buzzing, incredibly flexible electro track, and Paris instructed him to turn on the microphone. “I said ‘What you got?’ He said, ‘Don’t worry about it. Just turn the mic on.’” Within minutes, Paris improvised some suggestive lyrics about a dance floor encounter. This impromptu recording became “Sandwiches,” the defining pop moment of Detroit’s turn-of-the-century electro revival, and an instant international club hit, solidifying its place as a popular electro dance song with a provocative edge. —M.M.
Black Box, ‘Everybody Everybody’ (1990)
Sometimes, exceptional records emerge from less-than-ideal circumstances, as was the case with “Everybody Everybody.” Martha Wash of the Weather Girls was hired in 1989 to record demos for Italian house producers Groove Groove Melody, with the understanding that the songs would be offered to other singers. Instead, the tracks were released under the name Black Box, featuring her uncredited vocals. Adding insult to injury, a model was hired to lip-sync Wash’s vocals in music videos. She rightfully sued and won. (She also took similar action against C+C Music Factory for the same offense.) Daniele Davoli of Black Box later expressed remorse: “We didn’t know any better at the time. I guess we had to learn from our mistakes,” he admitted in 2013. Despite the controversy, “Everybody Everybody” became a massive hit and remains a popular house dance song from the early 90s. —M.M.
Big Freedia, ‘Azz Everywhere’ (2010)
Big Freedia performing at Essence Festival, 2019 Image Credit: Amy Harris/Invision/AP
“I’ve traveled across the globe, spreading the gospel of bounce and trying to introduce people everywhere to what’s been around for two decades,” Big Freedia shared in 2011, speaking about New Orleans’ high-energy, chaotic, and raw club sound – the very music for which twerking was invented. “Azz Everywhere” was the track that propelled bounce music into the wider consciousness. A whirlwind of snares, samples, and the repeated shouted title, it’s an undeniable party starter. “We sometimes hold classes on the road at venues and colleges to teach about the history of bounce music,” Big Freedia added. “We describe it as uptempo, heavy bass, call-and-response music. And it definitely has a lot to do with ass shaking!” making it a quintessential popular bounce dance song. —M.M.
Joy Orbison, ‘Hyph Mngo’ (2009)
In the late 2000s, dubstep producers were feeling experimental, resulting in a surge of innovative tracks. Joy Orbison’s debut, “Hyph Mngo,” the biggest dubstep track of 2009, perfectly captured this creative peak. The bassline and plasticky synths flow smoothly, but the ricocheting snare drum and fragmented vocal samples – a woman’s voice alternating between “Ooh!” and “I do” – impart a surprisingly emotional quality, rare for dubstep at the time. This emotional depth helped propel “Hyph Mngo” into the mainstream, establishing it as a popular dubstep dance song with crossover appeal. —M.M.
ESG, ‘Moody’ (1981)
ESG performing live, Moody song cover
The Scroggins sisters from the South Bronx left an enduring mark on New York dance music when they formed ESG in the late 1970s. While their grooves were rooted in funk and disco, their minimalist sound and emphasis on percussion resonated with the post-punk and no-wave scenes, especially after they collaborated with Joy Division producer Martin Hannett for their debut EP. “Moody,” the EP’s centerpiece, remains futuristic even today. It’s a seductive blend of rumbling bass, bongo drums, and Renee Scroggins’ distant vocals cutting through the sonic texture, solidifying its status as a popular post-punk dance song with enduring influence. —C.S.
La Roux, ‘In for the Kill (Skream’s Let’s Get Ravey Remix)’ (2009)
Image Credit: Jim Ross/Invision/AP
Artists sometimes have mixed feelings about remixes of their songs. Then there’s La Roux, whose Elly Jackson credited London producer Skream for not only capturing the essence of her synth-pop single “In for the Kill” in his remix, but also for “regiving birth to the real meaning and atmosphere of the song as we wrote it.” Skream’s remix strips away the original’s upbeat tempo (and Kanye West’s guest verse), creating an intensely tense atmosphere with flattened synths, before unleashing hurtling drum-and-bass breaks that shatter the tension. “What he did with the song is what we would have done if we’d been brave enough,” Jackson admitted. “We wanted to make a pop record, and that just isn’t a pop thing, what he did to it,” making it a popular drum and bass dance song remix that transcended genres. —M.M.
Double 99, ‘RIP Groove’ (1997)
Double 99 duo portrait
After collaborating as RIP in the mid-1990s, London producers Tim Deluxe and DJ Omar rebranded as Double 99 to commemorate “a double-pack vinyl EP,” Omar explained. Due to time constraints in completing the package, he added, “we decided to make up track names and get the artwork done before the tracks had actually been made.” “RIP Groove,” titled as a tribute to their previous moniker, cleverly sampled Armand Van Helden’s remix of CJ Bolland’s “Sugar Is Sweeter,” alongside elements of Kenny Dope and singer Tina Moore. It took just three hours to create and became one of 1997’s biggest tracks, propelling UK garage (then known as “speed garage”) into the pop charts and announcing a fresh sound. This cemented “RIP Groove” as a popular UK garage dance song that defined a genre. —M.M.
Snap!, ‘The Power’ (1990)
A classic dance music archetype: two German producers sample an American rapper (Chill Rob G of Queen Latifah’s Flavor Unit crew) and an American R&B diva (Jocelyn Brown) to create a club hit. It’s then picked up by a major label (Arista), and rerecorded with a new vocalist (Turbo B, an American G.I. stationed in Germany). Subsequently, the original sampled rapper rerecords that version, under the name Power Jam feat. Chill Rob G. Both versions become club hits, but “The Power” went further, establishing a new Europop blueprint. As Snap!’s Michael Muenzing explained in 1994: “Now you have 50 or 60 groups singing this way – rapping, singing the chorus, and going back to the rap.” “The Power” remains a popular Eurodance song and a template for countless hits that followed. —M.M.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ Frosty portrait
Originating in Newark, New Jersey (initially called Brick City club), Jersey club is characterized by its sharp, syncopated rhythms, clipped vocal samples, and a vibe that is energetic but never aggressive, somewhat like classic hip-house in a blender. DJ Frosty’s “Ride That Wave” perfectly exemplifies these qualities. It’s a relentlessly catchy chant-along track that emerged just as the sound began to gain traction with EDM producers globally. This trend eventually led to Jersey club’s influence reaching mainstream artists like Drake on Honestly, Nevermind. The remix featured artists like Fatman Scoop, whose 90s hip-hop cut-ups on AV8 Records were favorites of DJs like Armand Van Helden and Fatboy Slim, further cementing “Ride That Wave” as a popular Jersey club dance song with broad appeal. —J.D.
Todd Terje, “Inspector Norse” (2012)
Image Credit: Future via Getty Images
When Norwegian nu-disco producer Todd Terje created “Inspector Norse” – entirely from sounds generated by a vintage ARP synthesizer, like the rest of his 2012 It’s the Arps EP – he didn’t anticipate its widespread popularity. “I thought it was going to go well with the DJs, as I’d tried it out and it had a danceable beat, but I never thought I’d hear people singing along to the melodies,” Terje admitted. However, the track’s infectious, quirky melody proved irresistible. “It really helped me as a DJ in terms of popularity,” he acknowledged. “Inspector Norse” became a popular nu-disco dance song, known for its playful and catchy synth lines. —M.M.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture band photo, 2002 Image Credit: Redferns
“Most people now have no memory of how absolutely sacrilegious it was at the time,” DFA founder and “House of Jealous Lovers” co-producer James Murphy told Spin. “We wanted to make a rock track that could compete with dance music. We obsessed over it.” The Rapture’s debut single combined abrasive Gang of Four-esque guitar riffs and an intensely catchy shout-along vocal with a powerful beat and deep bass, engineered to be irresistible to dance DJs. It succeeded. The song became the pinnacle of the early 2000s “dance-punk” movement, and suddenly, every new band in New York sounded like they were from 1979 Manchester or Leeds, and every indie bar in town had a DJ booth and turntables. “House of Jealous Lovers” remains a popular dance-punk song that bridged indie rock and dance floors. —J.D.
TNGHT, ‘Higher Ground’ (2012)
Image Credit: Getty Images
“The first time around was our take on big American rap beats, with a little bit of cheekiness to it,” Hudson Mohawke said of the 2012 EP he created with Lunice as TNGHT. The five-song EP propelled both artists to the forefront of EDM, thanks to its energetic, club-focused take on trap music. “Higher Ground,” a track with a regal, almost elephantine stomp, is both spacious and intricate. Within a year, Kanye West enlisted TNGHT to produce “Blood on the Leaves” from Yeezus. “Higher Ground” became a hugely popular trap dance song that crossed over into mainstream hip-hop production. —M.M.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size Reprazent band photo, Brown Paper Bag song cover
In the late 1990s, drum and bass was becoming increasingly fragmented and distancing itself from its dancehall and hip-hop origins. Bristol, England, collective Roni Size and Reprazent managed to create drum and bass that was both experimental and expansive while retaining its Black roots, by fusing frenetic beats with warm, organic jazz-funk influences. “It’s funny how ‘Brown Paper Bag’ split people,” Size told an interviewer in 2018, referring to their most famous track, the double-bass driven highlight from their 1997 album, New Forms. “They heard the jazz, how it sounded different from everything else, and they saw this other audience that loved it.” “Brown Paper Bag” is a popular drum and bass dance song that successfully blended jazz and electronic music. —J.D.
Soul II Soul, ‘Back to Life (However Do You Want Me)’ (1989)
Led by the charismatic DJ-producer Jazzie B and, for their first two albums, co-producer Nellee Hooper, Soul II Soul began as a London sound system specializing in reggae and soul. When they started recording in the late 1980s, their smooth grooves seamlessly blended both genres with effortless grace. Initially, their tracks were intended solely for Soul II Soul’s own parties. “It was literally for our sound [system] at the beginning,” Jazzie B explained. “We weren’t really interested in what anybody else was doing.” However, the world became very interested in them – “Back to Life” reached Number One on the Billboard R&B chart and Top Five on the Hot 100. “Back to Life” became a popular R&B dance song that achieved mainstream crossover success. —M.M.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix Da Housecat DJ portrait
Felix Stallings Jr. is a Chicago house music veteran – he co-created the acid house classic “Fantasy Girl” as Pierre’s Pfantasy Club with DJ Pierre in 1987, while still in high school. His career reached global heights with his 2001 album Kittenz and Thee Glitz. For this project, he assembled an international group of collaborators, including Junior Sanchez, Tommie Sunshine, and Parisian vocalists Miss Kittin and Melistar, for a concept album exploring celebrity and artificiality. “Silver Screen Shower Scene” immediately became an anthem. Its celebrity-mocking lyrics and music seemed to single-handedly define the electroclash era. Jacques Lu Cont’s “Thin White Duke Remix” was even more popular with DJs, making “Silver Screen Shower Scene” a popular electroclash dance song that captured the 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 frontman Ben Gibbard had “a weird dream… involving [Lemonheads frontman] Evan Dando and Chan Marshall,” also known as Cat Power: “It was completely G-rated, not one of those inappropriate dreams, but it was bizarre – you know, in the same way you dream that you’re in your house but it’s not your house, your friend is there but he’s a merman.” He turned it into a song, collaborating with Dntel (Jimmy Tamborello) before their Postal Service project. Dntel set Gibbard’s vocals to skittering beats and buzzing synths. However, the remix by Superpitcher, from the influential German label/scene Kompakt, added hazy, fuzzy synth layers and echoing bells that truly captured the dreamlike state hinted at in the lyrics. This remix became a popular electronic dance song, known for its atmospheric and dreamy soundscapes. —M.M.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Sylvester portrait, disco singer Image Credit: Getty Images
Patrick Cowley was a synth genius who became a leading innovator of Hi-NRG, a staple of gay clubs. His groundbreaking work included collaborations with Sylvester and his epic 16-minute rendition of Donna Summer’s “I Feel Love.” Cowley fell ill in November 1981, and passed away a year later at 32, just four months after the term “AIDS” was officially recognized. In his final months, Cowley worked from his studio, propped up by pillows, to finish his vibrant, synthetic grooves. “Do Ya Wanna Funk” remains a landmark – with its soaring synth riffs and Sylvester’s stratospheric falsetto. It also provided a memorable movie moment, soundtracking the party scene in Trading Places. “Do Ya Wanna Funk?” is a popular Hi-NRG dance song and a testament to Cowley’s enduring legacy. —M.M.
Funkadelic, ‘One Nation Under a Groove’ (1978)
Image Credit: Redferns
Undeniably the greatest funk track ever to feature a banjo, “One Nation Under a Groove” possesses an instantly captivating groove that propelled it to the top of the R&B singles chart for six weeks in 1978. Assigning the song to the guitar-heavy Funkadelic (rather than the horn-driven Parliament) was George Clinton’s way of adding weight: “Parliament is smashing,” he explained. “But Funkadelic is the movement.” “One Nation Under a Groove” is a popular funk dance song and a defining anthem of the genre. —M.M.
Evelyn Thomas, ‘High Energy’ (1984)
Evelyn Thomas at Limelight Disco, NYC, 1984 Image Credit: Ron Galella Collection via Getty
Released in April 1984, this track gave Hi-NRG, the synth-driven gay club sound, its very name. However, it wasn’t the first of its kind, even for its creators. Chicago singer Evelyn Thomas was signed by Manchester producer Ian Levine to Pye Records in the mid-1970s, when she was a teenager. Levine, a DJ on the Northern Soul circuit playing rare 1960s American R&B, transitioned towards disco, particularly as synths became dominant. Smash Hits noted that Levine “straddle[ed] both gay disco and old Motown – the two main Hi-NRG ingredients.” Bold, cheerful, and irresistibly cheesy, “High Energy” reached the British Top Five and remains a dance floor hit, as demonstrated by DJ-producer The Black Madonna (now The Blessed Madonna) in her Bunker Podcast. “High Energy” is a popular Hi-NRG dance song and the namesake of the genre itself. —M.M.
Daft Punk feat. Pharrell Williams and Nile Rodgers, ‘Get Lucky’ (2013)
When Pharrell Williams first met Daft Punk at a Madonna party, he expressed his desire to collaborate: “If you just want me to play a tambourine, I’ll do it.” When they met in Paris, Williams said he wanted to emulate Nile Rodgers – and the robots played him the track they had created with Rodgers. Williams recorded his smooth vocals during that visit. “You don’t need MDMA for this music, because it’s so incredibly vivid,” he enthused. “Get Lucky” is a massively popular disco-house dance song that revitalized disco for a new generation. –M.M.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson and Mat Zo collaboration, Easy song cover
“‘Easy’ in my mind is an homage to Daft Punk’s Discovery,” Porter Robinson said in 2013 of his collaborative track with Mat Zo. “It takes the disco chords of all of the early French stuff and gives it a louder, more trance-inspired feel.” It’s a masterful update, both dazzling and classic. The central synth melody evokes a Theremin as much as a Moog, and the vocal sample (from Colourblind’s NYC garage classic “Nothing Better”) carries a heart-wrenching emotion that was often absent in much of the stadium EDM of that era. “Easy” is a popular progressive house dance song that blended disco influences with modern EDM sensibilities. —M.M.
Justice vs. Simian, “We Are Your Friends” (2006)
Image Credit: FilmMagic
In 2003, Parisian musicians Gaspard Augé and Xavier de Rosnay entered a remix contest for British rockers Simian’s “Never Be Alone.” “You could download the separate tracks: guitar, drums, and other things,” de Rosnay told The New York Times. “But we were working without music software: just a sampler, a sequencer, and a synthesizer. So we downloaded just the voice on the chorus, because there was not space enough for more than eight seconds of sound on our sampler.” The result was a jagged, explosive track that perfectly bridged electroclash and EDM. Retitled “We Are Your Friends,” it became a hit in 2006, launching Augé and de Rosnay’s career as Justice – and inspiring Simian to transform themselves into the dance act Simian Mobile Disco. “We Are Your Friends” is a popular electro-house dance song that became an anthem of the mid-2000s. —M.M.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix performing at Coachella, 2014 Image Credit: Scott Roth/Invision/AP
Dance music is often perceived as a young person’s domain, and the early 2010s EDM boom exemplified this. Built around a swirling synth hook so catchy that crowds would chant along to it (despite the absence of lyrics), Martin Garrix’s “Animals” was released when the Dutch producer was only 18. It became an instant global phenomenon. This rapid success naturally led to skepticism. “At first, people in the industry assumed I didn’t make my own shit,” Garrix later recalled. “So I would do livestreams and production tutorials on the internet to get rid of that stigma.” “Animals” is a massively popular big room house dance song that defined the peak of the EDM boom. —M.M.
Debbie Deb, ‘Lookout Weekend’ (1984)
“As far as I know, I coined the phrase. I hadn’t heard anybody call it freestyle music prior to me coming up with the name of the group Freestyle,” Miami production pioneer Pretty Tony said in 2015. His airy, high-energy tracks bridged the gap between Miami’s musical eras of KC and the Sunshine Band and 2 Live Crew. “Lookout Weekend,” his second single with Debbie Weshoff Lopez – whom he discovered working at a record store – was freestyle at its most effervescent. Like its predecessor, “When I Hear Music,” “Weekend” achieved triple platinum status. In response, Tony said, “I bought me a Porsche. As a matter of fact, two Porsches.” “Lookout Weekend” is a popular freestyle dance song and a defining track of the Miami bass sound. —M.M.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang performing at Youtube Music Showcase, 2016 Image Credit: Redferns
Built upon a sample of Tim Trees’ Baltimore club track “Bank Roll,” then-23-year-old rapper Tate Kobang’s remix is a fitting modern tribute to Baltimore, its people, its resilience, and above all, its vibrant energy. In his final verse, he even pays homage to K-Swift, the legendary DJ who helped bring Baltimore club music into the mainstream before her untimely passing in 2008. “She was just one of those figures in our culture that was like, ‘She ain’t never going anywhere,’” Kobang has said. Just like K-Swift’s pioneering work, “Bank Rolls (Remix)” helped introduce a new audience to the underground Baltimore sound. “Bank Rolls (Remix)” is a popular Baltimore club dance song and a modern classic of the genre. —C.S.
Soft Cell, ‘Tainted Love/Where Did Our Love Go?’ (1981)
Image Credit: Redferns
“We both like Northern soul, Sixties music, and the 12-inch record,” Marc Almond explained in 1981, describing himself and Soft Cell partner David Ball. They combined these influences into one powerful track. The duo’s synth-pop rendition of Gloria Jones’ R&B stomper “Tainted Love” was a hit on its own. However, for the extended version, they seamlessly blended it with another classic from the same era, 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 liked the way it turned out and included the whole song,” Almond said. The complete nine-minute medley – New Wave disco in a nutshell – has captivated dance floors ever since. “Tainted Love/Where Did Our Love Go?” is a popular synth-pop dance song medley and a New Wave classic. —M.M.
The Orb, ‘Little Fluffy Clouds’ (1990)
Alex Paterson of The Orb portrait, 1991 Image Credit: Getty Images
One day, The Orb’s Alex Paterson received a tape from a friend with a note: “This might be a good idea for a new Orb single.” Side A contained an interview with Rickie Lee Jones, describing the stunning Arizona skies of her youth: “The most beautiful skies, as a matter of fact… purple and yellow and red and on fire.” Side B was Steve Reich’s Electric Counterpoint. When Paterson combined them, he created “Little Fluffy Clouds,” the most soothing track of the acid-house era. Reich “was very happy when he heard it,” Paterson said. “Suddenly, it was being played to the masses, and they were loving it.” “Little Fluffy Clouds” is a popular ambient house dance song and a defining track of the early 90s. —M.M.
Polygon Window, ‘Quoth’ (1993)
Richard D. James, known as Aphex Twin, might be more recognized for dance music best enjoyed while listening, but in the early 1990s, he produced rave anthems of the highest caliber. Exhibit A: “Quoth,” a percussion-driven symphony released under the Polygon Window alias, and a true barn burner – especially for American Midwesterners of that time, who literally danced to this track in barns. “Quoth” is a popular IDM dance song with rave energy, showcasing Aphex Twin’s versatility. —M.M.
Skream, ‘Midnight Request Line’ (2005)
Skream DJing at Fabric Nightclub, London Image Credit: Universal Images Group via Getty
Shortly after London dubstep producer-DJ Skream released his playfully melancholic 12-inch “Midnight Request Line,” he recalled, “I was on a boys’ holiday with my friends. They had a DJ Magazine or a Mixmag rack up on a shelf… I looked at it, and I had Record of the Month. I was like, ‘Shit, I need to get home.’” The track, with its fluttering synth melody, smooth bass glide, and clap-heavy beat, propelled Skream and dubstep into the spotlight. “Midnight Request Line” is a popular dubstep dance song and a breakthrough track for the genre. –M.M.
Paul Johnson, ‘Feel My M.F. Bass’ (1994)
“Ghetto house” was house music’s equivalent to gangsta rap – the self-proclaimed style of a group of 1990s Chicago producers (notably those on the Dance Mania label) who created a raw, sample-based, and distinctly street-oriented style. Paul Johnson, who used a wheelchair, was the style’s most compelling artist, crafting unconventional genre pieces with a unique flair. (His DJ mixtapes, often featuring his dreamy voice-overs, were equally distinctive.) Johnson’s pinnacle was “Feel My M.F. Bass,” a blunt, forceful track with a cavernous kick drum over which the producer, who sadly passed away from Covid in August 2021, gleefully purrs, “Feel my motherfuckin’ bass in your face,” as if serenading a lover. When the kick drum returns, his intention is undeniably clear. “Feel My M.F. Bass” is a popular ghetto house dance song and a raw, influential track. —M.M.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City group portrait, 1990 Image Credit: Getty Images
“When Ten City started, I think we were both at a point where we wanted to expand the genre by writing proper songs while at the same time doing more abstract things,” said Marshall Jefferson, who produced the Chicago house vocal trio. “That’s the Way Love Is,” Ten City’s third single, perfectly captured their style – Philly-soul strings over lush love songs, topped by Byron Stingily’s soaring falsetto. It reached the UK Top 10 and Number One on the Billboard dance chart. Moreover, Jefferson noted, “people in South Africa have told us stories of how that song represents liberation for them.” “That’s the Way Love Is” is a popular vocal house dance song and a soulful classic. —M.M.
Nitzer Ebb, ‘Join in the Chant’ (1987)
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Hailing from England’s Midlands, industrial groove group Nitzer Ebb developed their danceability honestly. “The clubs we knew were disco and funk,” frontman Douglas McCarthy explained to The Guardian. “It’s in the DNA of the area.” Nitzer Ebb’s most exhilarating anthem, “Join in the Chant,” was a perfect techno crossover – particularly in Detroit, where techno artists like Carl Craig and Jeff Mills had previously made industrial music. Richie Hawtin included “Chant” in his seminal 1999 mix CD Decks, EFX & 909, while Andrew Weatherall once declared, “The closest I felt to God was listening to ‘Join in the Chant.’” “Join in the Chant” is a popular EBM/industrial dance song and a techno crossover hit. —M.M.
Bronski Beat, ‘Smalltown Boy’ (1984)
Bronski Beat band portrait
Bronski Beat’s Jimi Somerville once joked that his vocal training consisted of singing along to Donna Summer and Sylvester records. “I wanted a lot more out of life than working in a paint factory and having to accept that being gay was a nighttime occupation only,” he said. “I just had had enough of the abuse and the heartache.” He channeled that pain into “Smalltown Boy,” a poignant portrayal of alienation and escape. With its yearning vocal hook (“Run away, run away, run away”) and smooth synth backdrop, it instantly became a gay club anthem, reaching Number One on the Billboard club chart and the UK Top Three. “Smalltown Boy” is a popular synth-pop dance song and an LGBTQ+ anthem of escape and resilience. —M.M.
LFO, ‘LFO (Leeds Warehouse Mix)’ (1990)
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LFO were the pioneers of Sheffield, England’s “bleep” scene – Warp Records’ original signature sound, which sounds exactly as the name suggests. However, as Warp’s Steve Beckett explained, “it had nothing to do with the bleeps for the people making it – for them it was all about the bass.” The track that secured LFO’s record deal was their self-titled number. Icy synth chords and quirky bleeps set the stage for layers of low end – the bassline compels movement, while the sub-bass can shake city blocks. “LFO (Leeds Warehouse Mix)” is a popular bleep techno dance song, renowned for its groundbreaking bass. —M.M.
Drake, ‘Sticky’ (2022)
Drake Sticky song cover
As the title suggests, Drake’s foray into dance music – Honestly, Nevermind – feels intentionally understated, casually drawing from Jersey and Baltimore club music and various deep house styles. The standout track is “Sticky,” produced by Gordo and Ry X. Drake departs from the low-key vocals prevalent on the rest of the album and raps about subjects close to him, such as the release of Young Thug and the passing of Virgil Abloh. It’s a prime example of a superstar venturing into a subculture and emerging with a refined version of their own sound. “Sticky” is a popular house-influenced dance song showcasing Drake’s genre exploration. —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 recalled, referring to the Newark, New Jersey, club where Tony Humphries held a legendary DJ residency. This anthem clearly demonstrates the depth of his passion. Over lively kicks and hi-hats and a swirling electric keyboard melody, Clark delivers a spoken word monologue that captures a transcendent dance floor moment – “All the sweat just goes down my face/And I pretend that there’s nobody there but me in this place.” Clark also included the a cappella version on the 12-inch, which was later sampled by Fatboy Slim on his third album, Halfway Between the Gutter and the Stars. “I Get Deep (Shelter Mix)” is a popular vocal house dance song and an anthem of dance floor immersion. —M.M.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us Follow Me song cover
Early house music often had a raw, unpolished quality – and this handmade feel was a significant part of its appeal. This is particularly true of “Follow Me,” an uplifting anthem with a gospel-like message (“We must stop fighting/To achieve the peace”) from a New Jersey vocal trio who recorded it in a basement on a four-track recorder. Its lo-fi rawness, along with the occasional sharpness in the vocal harmonies, only amplify the song’s urgency. “Follow Me” is a popular deep house dance song and an early house classic with a raw, soulful energy. —M.M.
George McCrae, ‘Rock Your Baby’ (1974)
Image Credit: Redferns
In the summer of 1974, two songs that had initially gained popularity in clubs reached Number One on the Billboard Hot 100. One was Hues Corporation’s “Rock the Boat,” and the other was this smooth classic. These were the first disco hits to achieve mainstream pop success. The shimmering instrumental track for “Rock Your Baby” was created by keyboardist Henry Wayne Casey, drummer and bassist Richard Finch, and guitarist Jerome Smith. McCrae was added because he was at the TK Records offices: “I think they gave me ‘Rock Your Baby’ to get me out of their hair,” he joked. After the record became a hit, Casey, Finch, and Smith formed the core of KC and the Sunshine Band. “Rock Your Baby” is a popular disco dance song and one of the first major disco hits to cross over to pop charts. —M.M.
El General, ‘Perezosa’ (1995)
El General portrait
Panamanian pioneer El General established the blueprint for reggaeton when he started creating massive international hits using reggae rhythms in the 1980s and 1990s. However, his experimental nature and broad influence on club music are often overlooked. One undeniable example of his range is “Perezosa,” a booming and empowering dance anthem from his album Club 555. The album was packed with high-voltage electronic sounds that captured the energy of the most vibrant parties across Latin America. “Perezosa” is a popular reggaeton dance song and showcases El General’s pioneering sound. —J.L.
Tom and Jerry, ‘Maximum Style’ (1994)
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4Hero – Marc Mac and Dego MacFarlane – are drum and bass stalwarts, consistently creating hits throughout the genre’s evolution from early 90s UK hardcore to late 90s neo-fusion, often under various aliases. Tom and Jerry was one of these aliases, credited with this gem released as jungle’s popularity surged in the UK. The effortlessly smooth stepper, featuring a captivating, piercing guitar melody and occasional cartoon sound effects, maintained a playful vibe while delivering a seriously infectious groove. “Maximum Style” is a popular jungle dance song and a playful yet potent track from the era. —M.M.
LCD Soundsystem, ‘Losing My Edge’ (2002)
LCD Soundsystem performing live, 2002 Image Credit: Redferns
The debut single by James Murphy’s LCD Soundsystem is both a killer dance track and a brilliant stand-up comedy routine. It’s a burst of wry irony that also helped ignite the New York dance-punk scene of the early 2000s. Murphy plays an aging hipster watching his relevance fade as a new generation of cool kids emerges, making him feel obsolete, even though he “was there, at the first Can show in Cologne,” and was the first “to play Daft Punk to the rock kids.” “Losing My Edge” makes you laugh and dance simultaneously, and even if you’ve never been part of any scene, its FOMO theme remains universally relatable. “Losing My Edge” is a popular dance-punk song, known for its humor and danceable irony. —J.D.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
Image Credit: ASSOCIATED PRESS
Pablo Flores is considered a hidden architect of Latin pop. The Puerto Rican DJ spent years working with major artists associated with Emilio Estefan, including Gloria Estefan and Ricky Martin. When he was introduced to a relatively unknown Colombian singer named Shakira in the 1990s, he and his music partner, Javier Garza, helped her create “Ojos Asi.” This prescient song honored her Lebanese heritage while foreshadowing the boundary-pushing, global sound of future Latin music. His extended remix amplified these ideas with masterful production that appealed to dance floors worldwide. “Ojos Asi (Thunder Mix)” is a popular Latin pop dance song remix and a global dance floor hit. —J.L.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher performing live in Nottingham, 2013 Image Credit: Redferns via Getty Images
Recording as Squarepusher in the mid-1990s, Tom Jenkinson twisted drum and bass’s frantic energy into complex sonic puzzles, making it intentionally undanceable and imbuing it with a sense of intellectual superiority. “Basically, I was beginning to stare up my own ass,” he later admitted. As a result, “I wanted to shake things up and make music in a more spontaneous, almost flippant way.” However, the fragmented vocals and glitch-heavy production of “My Red Hot Car” are not mere abstractions. The flickering complexity alternates with clever negative space, all outlining a groove that still moves crowds, featuring Jenkinson’s most playful bassline – irresistible to adventurous DJs. “My Red Hot Car” is a popular experimental electronic dance song and a showcase of Squarepusher’s innovative sound. —M.M.
Moloko, ‘Sing It Back (Boris Musical Mix)’ (1997)
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Featuring Róisín Murphy’s vocals, which her partner Mark Brydon memorably described as “Peggy Lee on mescaline,” Moloko’s 1998 single “Sing It Back” was moody, downtempo, and expansive. It initially underperformed. Then, Belgian house producer Boris Dlugosch sent them his remix – a crisp house groove in the style of Chic, with a captivating rhythm guitar and playful bassline. This remix reached the UK Top Five and became a launching pad for Murphy’s adventurous and often danceable solo career. “Sing It Back (Boris Musical Mix)” is a popular house dance song remix and a breakthrough hit for Moloko. —M.M.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League band portrait, Don't You Want Me song cover
“Phil [Oakey] had this lyrical idea for this song: a story within the song that’s very much A Star Is Born [and] My Fair Lady – the impresario who takes an ordinary person and transforms her into a superstar that outshines himself,” Human League keyboardist Jo Callis said of “Don’t You Want Me,” which Callis co-wrote. The group initially didn’t think much of the song – even though its he-said-she-said structure and persistent riff were as catchy as the massive chorus. The song became the group’s first Number One in both the UK and US, and a Top Three hit on the Billboard Dance Club chart. This made it a pivotal moment in the fusion of UK synth-pop, club music, and Top 40 radio. “Don’t You Want Me” is a popular synth-pop dance song and a defining track of the early 80s New Wave era. —M.M.
