What exactly defines a “dance song”? It’s a valid question. In a broad sense, any piece of music that has inspired even a single person to move rhythmically could be considered a dance song. From the infectious melodies of The Beatles to the aggressive riffs of Slayer, dance music exists across genres. Hip-hop and reggae, in their near entirety, are inherently danceable. However, when curating a definitive list of the Best Dance Songs Ever, we delve into a more specific and culturally rich realm: “dance music culture.” This is a vast and evolving world, spanning nearly half a century, constantly innovating and shaping itself from its origins to the present day and beyond.
Our exploration of dance music begins in the mid-1970s with the emergence of disco, paying tribute to James Brown, the undeniable architect of extended grooves. From there, we trace its progression into the early 1980s with the rise of club sounds like electro and Latin freestyle. Dance music experienced a powerful resurgence when disco was reimagined as house music in Chicago and techno in Detroit. This rebirth sparked rapid mutations throughout the 1990s rave scene, giving rise to diverse genres from jungle and trance to gabba and garage, eventually paving the way for the EDM and dubstep explosions of the 2000s. While each of these genres has enjoyed periods of mainstream prominence, they never truly disappear. Drum ‘n’ bass, for example, is currently experiencing a vibrant revival, and contemporary house tracks continue to emerge.
This list is not an attempt to capture every nuance within this vast ocean of subgenres. Instead, we’ve focused on tracks that possess a timeless quality, resonating universally and establishing themselves as canonical within the dance music landscape. We’ve paid particular attention to moments where dance music intersected with broader musical trends – collaborations and fusions with synth-pop, hip-hop, funk, Miami bass, R&B, indie-rock, Latin music, and 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 musical landscape where artists like Drake and Beyoncé are releasing house-infused tracks, this list tells that story – or at least, our version of it, celebrating the best dance songs ever created.
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
The film Thank God It’s Friday might be seen as a lengthy advertisement for Casablanca Records, a major disco label, perhaps signaling the genre’s peak. However, “Last Dance” rightfully earned its Oscar for Best Original Song. Beginning at a ballad tempo slower than “Three Times a Lady,” it evolves into a captivating and energetic disco masterpiece. Bob Esty, Casablanca’s in-house producer, deserves immense credit for conceiving the song’s brilliant tempo shift, making it one of the best dance songs ever from the disco era. —M.M.
Fatboy Slim, ‘The Rockafeller Skank’ (1998)
Fatboy Slim performing at Pop Music Festival in Porto Alegre, Brazil, 2011.Image Credit: AP
“It’s funny,” producer-DJ Norman Cook reflected on his biggest hit as Fatboy Slim, “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?’” Indeed, it was unmistakably Cook’s creation. His signature formula of breakbeats combined with 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”), the track quickly became ubiquitous. “There were lots of jokes about ‘Frat-Boy Slim,’” Cook noted. “I suppose ‘Rockafeller Skank’ became an anthem for that sort of beer-boyish mentality,” solidifying its place among the best dance songs ever of the late 90s. —M.M.
Mescalinum United, ‘We Have Arrived’ (1991)
Techno’s hardcore counterpart, “gabber,” translates to “buddy” in Dutch, and the Netherlands is the genre’s most devoted fanbase. However, gabber’s primary innovator is Marc Acardipane, operating under approximately 90 different aliases. His initial impact remains potent: “We Have Arrived,” credited to Mescalinum United, is built upon relentless drums and piercing air-raid sirens. This track became the foundational blueprint for gabber music. At Brooklyn raves, where Lenny Dee frequently played it – his label released the track in America – crowds would enthusiastically mosh to its aggressive sound, recognizing it as one of the best dance songs ever in the hardcore techno scene. —M.M.
Oliver Heldens, ‘Melody’ (2016)
Oliver Heldens performing.By the mid-2010s, even DJs headlining major festivals were tiring of the predictable build-and-drop structure that dominated the dance music market. “Melody” signaled a significant shift. Dutch producer Oliver Heldens, only 18 at the time of release, crafted a track with dramatic string swells and an uplifting piano melody, reminiscent of classic dance music sophistication. Yet, the bass maintained a powerful stomp, ensuring its contemporary edge. “Melody” became a defining track of its era, proving its status as one of the best dance songs ever in modern EDM. —M.M.
Kerri Chandler, ‘Rain’ (1998)
New Jersey house producer Kerri Chandler’s deeply soulful and uplifting tracks are a key reason why his work is highly 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 verge of sadness, yet the music itself is more playful than melancholic, especially the whimsical xylophone solo. “Rain” showcases Chandler’s unique storytelling through sound, marking it as one of the best dance songs ever in soulful house music. —M.M.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
Paris the Black Fu of 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 recalled. One night, Toth programmed a vibrant and incredibly flexible electro track. 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 suggestive lyrics about a dance-floor threesome. This impromptu recording became a defining moment of Detroit’s turn-of-the-century electro revival, achieving global club hit status. “Sandwiches” is a testament to spontaneous creativity and raw energy, securing its place among the best dance songs ever in electro. —M.M.
Black Box, ‘Everybody Everybody’ (1990)
Sometimes, exceptional records emerge from questionable beginnings, as is the case with “Everybody Everybody.” Martha Wash of the Weather Girls was hired in 1989 to record demos for a trio of Italian house producers calling themselves Groove Groove Melody. She was told these recordings would be presented to other singers. However, the tracks were released under the name Black Box, featuring her uncredited vocals. Adding insult to injury, a model was hired to lip-sync Wash’s vocals in music videos. 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 an undeniable anthem, cementing its place among the best dance songs ever of the early 90s house scene. —M.M.
Big Freedia, ‘Azz Everywhere’ (2010)
Big Freedia performing at Essence Festival in New Orleans, 2019.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 stated in 2011, referring to New Orleans’ energetic and chaotic homegrown club sound – the very music for which twerking was invented. “Azz Everywhere” was the track that propelled this sound into wider recognition. It’s a sonic explosion of snares, samples, and the repeated, shouted title phrase. “We hold classes on the road sometimes at performing venues and different colleges to teach about the history of bounce music,” Big 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 a quintessential bounce track, solidifying its spot as one of the best dance songs ever in the genre. —M.M.
Joy Orbison, ‘Hyph Mngo’ (2009)
In the late 2000s, dubstep producers were pushing creative boundaries, resulting in a wave of experimental tracks. Joy Orbison’s debut, “Hyph Mngo,” became the definitive dubstep track of 2009, capturing the scene at its peak. The bassline and synthetic textures create a smooth, gliding feel, while the ricocheting snare drum and fragmented vocal samples – a woman alternating between “Ooh!” and “I do” – impart an unexpected emotional depth rare in dubstep. This emotive quality helped propel “Hyph Mngo” into the mainstream, making it one of the best dance songs ever to bridge underground dubstep with wider audiences. —M.M.
ESG, ‘Moody’ (1981)
ESG MoodyThe Scroggins sisters from the South Bronx left an undeniable mark on New York dance music when they formed ESG in the late 1970s. While their grooves drew from funk and disco, their minimalist sound and emphasis on percussion resonated with post-punk and no-wave club scenes, particularly after collaborating with Joy Division producer Martin Hannett for their debut EP. “Moody,” the EP’s centerpiece, remains futuristic. A simmering blend of bass, bongo drums, and Renee Scroggins’ distant vocals cutting through the sonic texture, “Moody” is a landmark of minimalist dance music and one of the best dance songs ever to emerge from the post-punk era. —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. However, La Roux’s Elly Jackson credited London producer Skream with not only capturing the essence of her synth-pop single “In for the Kill” in his remix, but also for “regav[ing] birth to the real meaning and atmosphere of the song as we wrote it.” Skream’s remix discards the original’s upbeat tempo (and Kanye West’s guest rap), creating an intensely tense atmosphere with flattened synths, then shattering that tension with explosive drum-and-bass breaks. “What he did with the song is what we would have done if we’d been brave enough,” Jackson continued. “We wanted to make a pop record and that just isn’t a pop thing, what he did to it.” Skream’s “Let’s Get Ravey Remix” transformed the original, creating a powerful, rave-infused version that stands as one of the best dance songs ever remixed. —M.M.
Double 99, ‘RIP Groove’ (1997)
Double 99After 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 assembling the package, “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,” along with Kenny Dope and singer Tina Moore. Created in just three hours, it became a massive hit in 1997, introducing UK garage (then called “speed garage”) to the pop charts and heralding a new sound. “RIP Groove” is a defining track of UK garage and undoubtedly one of the best dance songs ever from the 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) and an American R&B diva (Jocelyn Brown) to create a club hit. Major label Arista picked it up and re-recorded it with a new vocalist (Turbo B, an American G.I. stationed in Germany). The originally sampled rapper then re-recorded that version under the name Power Jam feat. Chill Rob G. Both versions became club hits, but “The Power” transcended club status, 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” is a groundbreaking track, influential in shaping Europop and recognized as one of the best dance songs ever for its impact. —M.M.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ FrostyOriginating in Newark, New Jersey (initially known as Brick City club), Jersey club is characterized by sharp, syncopated rhythms, clipped vocal samples, and a visceral yet non-violent energy, reminiscent of classic hip-house in a blender. DJ Frosty’s “Ride That Wave” perfectly exemplifies these elements. A relentlessly catchy and chant-driven track, it emerged as Jersey club began gaining 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, among others, Fatman Scoop, whose 90s hip-hop cut-ups on AV8 Records were favorites of DJs like Armand Van Helden and Fatboy Slim. “Ride That Wave (Remix)” is a standout example of Jersey club and one of the best dance songs ever to showcase the genre’s energy. —J.D.
Todd Terje, “Inspector Norse” (2012)
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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 appeal. “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 confessed. However, the track’s infectious melody proved irresistible. “It really helped me as a DJ in terms of popularity,” he acknowledged. “Inspector Norse” is a nu-disco gem, unexpectedly popular for its melody and groove, solidifying its place among the best dance songs ever of the 2010s. —M.M.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture performing in New York City, 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 a frantically catchy shout-along vocal with a powerful beat and deep bass, intentionally designed to be irresistible to dance DJs. It succeeded. The song became the pinnacle of the early 2000s “dance-punk” movement. 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” is a defining track of dance-punk, and one of the best dance songs ever to bridge rock and dance music. —J.D.
TNGHT, ‘Higher Ground’ (2012)
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“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. This five-song EP propelled both artists to the forefront of EDM with its playful, floor-focused take on trap music. “Higher Ground,” a majestic and detailed track with an almost elephantine stomp, is both cavernous and intricate. Within a year, Kanye West enlisted TNGHT to produce “Blood on the Leaves” from Yeezus. “Higher Ground” is a landmark trap track, influential in EDM and recognized as one of the best dance songs ever for its innovative sound. —M.M.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size Reprazent Brown Paper BagIn the late 1990s, drum and bass became increasingly fragmented and distanced from its dancehall and hip-hop roots. Bristol, England, crew Roni Size and Reprazent managed to create drum and bass that was both exploratory and expansive while retaining its Black musical foundations. They achieved this by fusing frenetic beats with warm, organic jazz-funk elements. “It’s funny how ‘Brown Paper Bag’ split people,” Size remarked in a 2018 interview, referring to the group’s 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 groundbreaking drum and bass track, celebrated for its jazz fusion and considered one of the best dance songs ever in the genre. —J.D.
Soul II Soul, ‘Back to Life (However Do You Want Me)’ (1989)
Led by charismatic DJ-producer Jazzie B and, for two albums, co-producer Nellee Hooper, Soul II Soul started as a London sound system specializing in reggae and soul. When they began 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, everyone became 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” is a defining track of the late 80s soul and R&B infused dance scene, recognized as one of the best dance songs ever to cross genres. —M.M.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix Da HousecatFelix Stallings Jr. is a Chicago house music veteran. He 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 the 2000 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 artifice. “Silver Screen Shower Scene” became an instant anthem. Its celebrity-mocking lyrics and music seemed to encapsulate the entire electroclash era. Jacques Lu Cont’s “Thin White Duke Remix” gained even greater popularity among DJs. “Silver Screen Shower Scene” is an electroclash anthem and one of the best dance songs ever to define the genre. –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 transformed 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 Kompakt, featured hazy synth layers and ricocheting bells, perfectly capturing the dreamlike state hinted at in the lyrics. “(This Is) The Dream of Evan and Chan (Superpitcher Kompakt Remix)” is a remix that elevates the original, creating a dreamy and atmospheric track considered one of the best dance songs ever remixed. —M.M.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Portrait of Sylvester James, disco singer, circa 1980.Image Credit: Getty Images
Patrick Cowley was a synth virtuoso who became a key innovator of Hi-NRG, a staple of gay clubs, through his solo work, collaborations with Sylvester, and his epic 16-minute extension of Donna Summer’s “I Feel Love.” Cowley became ill in November 1981, and when he passed away a year later at 32, the term “AIDS” was only four months old. In his final months, Cowley persevered in the studio to complete his energetic grooves. “Do Ya Wanna Funk” remains a landmark – with 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 Hi-NRG classic, and one of the best dance songs ever to emerge from the genre, carrying a poignant history. —M.M.
Funkadelic, ‘One Nation Under a Groove’ (1978)
Image Credit: Redferns
Undoubtedly the greatest funk track ever led by a banjo, “One Nation Under a Groove” possesses an instantly captivating rhythm that propelled it to the top of the R&B singles chart for six weeks in 1978. Assigning the song to the guitar-driven Funkadelic (as opposed to the horn-heavy Parliament) was George Clinton’s way of imbuing it with greater impact: “Parliament is smashing,” he explained. “But Funkadelic is the movement.” “One Nation Under a Groove” is a funk masterpiece, driven by a banjo and infectious groove, securing its place as one of the best dance songs ever in funk. —M.M.
Evelyn Thomas, ‘High Energy’ (1984)
Evelyn Thomas at Limelight Disco in New York City, 1984.Image Credit: Ron Galella Collection via Getty
Released in April 1984, this track gave Hi-NRG, the synth-heavy gay club genre, its 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 as a teenager. Levine, a DJ on the Northern Soul circuit playing rare 60s American R&B, transitioned towards disco, especially 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 UK Top Five and remains a dance floor hit, as demonstrated by The Blessed Madonna on her Bunker Podcast. “High Energy” is a defining Hi-NRG track, and one of the best dance songs ever to embody the genre’s spirit. —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 mentioned wanting to channel Nile Rodgers. The robots then played him a track they had already 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 enthusiastically stated. “Get Lucky” is a modern disco masterpiece, blending Daft Punk’s robotic funk with Pharrell’s smooth vocals and Nile Rodgers’ signature guitar, making it one of the best dance songs ever of the 21st century. –M.M.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson and Mat Zo – Easy“‘Easy’ in my mind is an homage to Daft Punk’s Discovery,” Porter Robinson said in 2013 about 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 shimmering and classic in its approach. The central synth line evokes a Theremin as much as a Moog, and the vocal sample (from Colourblind’s NYC garage classic “Nothing Better”) conveys an emotional vulnerability absent in much of the stadium EDM of that era. “Easy” is a modern trance-infused dance anthem, paying homage to Daft Punk while forging its own identity as one of the best dance songs ever in EDM. —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, powerful 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 prompting Simian to reinvent themselves as the dance act Simian Mobile Disco. “We Are Your Friends” is a remix that became iconic, launching Justice’s career and solidifying its place as one of the best dance songs ever to emerge from a remix contest. —M.M.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix performing at Coachella Music Festival, 2014.Image Credit: Scott Roth/Invision/AP
Dance music is often a young person’s domain, and the early 2010s EDM boom exemplified this. Built around a swirling synth riff so catchy that crowds chanted along (despite no lyrics), Martin Garrix’s “Animals” was released when the Dutch producer was only 18. It became an instant global phenomenon. This rapid success naturally aroused skepticism. “At first, people in the industry assumed I didn’t make my own shit,” Garrix later admitted. “So I would do livestreams and production tutorials on the internet to get rid of that stigma.” “Animals” is a defining track of the EDM boom, remarkable for its catchy synth riff and Martin Garrix’s young age, solidifying its position as one of the best dance songs ever in big room house. —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 stated in 2015. His airy, energetic tracks bridged the gap between local Miami sounds like 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 exuberant. 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 freestyle classic, defining the genre’s upbeat and romantic sound, recognized as one of the best dance songs ever in freestyle music. —M.M.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang performing in Austin, TX, 2016.Image Credit: Redferns
Built around 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 energy. In his final verse, he even shouts out K-Swift, the legendary DJ who helped bring Baltimore club music into the mainstream before her tragic passing in 2008. “She was just one of those bodies in our culture that was like, ‘She ain’t never going anywhere,’” Kobang stated. Just like K-Swift’s pioneering work, “Bank Rolls (Remix)” introduced a new audience to the underground Baltimore sound. “Bank Rolls (Remix)” is a Baltimore club anthem, paying tribute to the city’s sound and legacy, and stands as one of the best dance songs ever to represent the genre. —C.S.
Soft Cell, ‘Tainted Love/Where Did Our Love Go?’ (1981)
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“We both like Northern soul, Sixties music, and the 12-inch record,” Marc Almond explained in 1981 about himself and Soft Cell partner David Ball. They combined these influences into a powerful track. The duo’s synth-pop rendition of Gloria Jones’ R&B stomper “Tainted Love” was a hit on its own. For the extended version, they seamlessly merged it with another classic from the same era by The Supremes. “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 recalled. The resulting nine-minute medley – New Wave disco in a nutshell – has captivated dance floors ever since. “Tainted Love/Where Did Our Love Go?” is a synth-pop masterpiece, blending Northern soul and disco influences into a timeless medley, making it one of the best dance songs ever for its innovative fusion. —M.M.
The Orb, ‘Little Fluffy Clouds’ (1990)
Alex Paterson of The Orb, London, 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 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 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 an ambient house classic, blending spoken word and minimalist composition into a peaceful and iconic track, recognized as one of the best dance songs ever in ambient house. —M.M.
Polygon Window, ‘Quoth’ (1993)
Richard D. James, also known as Aphex Twin, is perhaps better known for dance music suited for seated listening. However, in the early 90s, he produced rave anthems of the highest caliber. Exhibit A: “Quoth,” a percussion symphony released under the Polygon Window moniker, is a true barn burner – particularly for American Midwesterners of that period, who indeed danced to it in barns. “Quoth” is a rave classic from Aphex Twin’s Polygon Window alias, known for its complex percussion and energy, solidifying its place as one of the best dance songs ever in intelligent dance music. —M.M.
Skream, ‘Midnight Request Line’ (2005)
Skream at Fabric Nightclub, London.Image Credit: Universal Images Group via Getty
Shortly after London dubstep producer-DJ Skream released his playfully brooding 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, featuring a fluttering synth line, smooth bass glide, and clap-heavy beat, propelled Skream and dubstep into the spotlight. “Midnight Request Line” is a pivotal dubstep track, known for its atmospheric synths and driving beat, marking its significance as one of the best dance songs ever in dubstep. –M.M.
Paul Johnson, ‘Feel My M.F. Bass’ (1994)
“Ghetto house” was house music’s equivalent to gangsta rap – a self-defined style from a group of 90s Chicago producers (notably those on Dance Mania label) who created a raw, sample-based, street-oriented style. Paul Johnson, who used a wheelchair, was a leading figure in this style, creating unconventional genre pieces with unique flair (as well as his DJ mixtapes, often featuring his dreamy voice-overs). Johnson’s peak achievement was this direct and powerful track. A cavernous kick drum provides the foundation over which Johnson, 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, the intent is clear. “Feel My M.F. Bass” is a ghetto house anthem, raw and energetic, and a testament to Paul Johnson’s unique style, securing its position as one of the best dance songs ever in ghetto house. —M.M.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City group portrait, London, 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, crystallized 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 soulful house classic, blending Philly soul and Chicago house elements, and is recognized as one of the best dance songs ever for its uplifting message and sound. —M.M.
Nitzer Ebb, ‘Join in the Chant’ (1987)
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Hailing from England’s Midlands, industrial groove unit Nitzer Ebb’s danceability was authentic. “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 rousing anthem, “Join in the Chant,” was a perfect techno crossover, particularly in Detroit, where techno artists like Carl Craig and Jeff Mills had once embraced industrial music. Richie Hawtin included “Chant” in his seminal 1999 mix CD Decks, EFX & 909. Andrew Weatherall famously stated, “The closest I felt to God was listening to ‘Join in the Chant.’” “Join in the Chant” is an industrial dance anthem, bridging industrial and techno genres, and is considered one of the best dance songs ever for its raw energy and impact. —M.M.
Bronski Beat, ‘Smalltown Boy’ (1984)
Bronski BeatBronski 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 this 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 immediately became a gay club anthem, reaching Number One on the Billboard club chart and the UK Top Three. “Smalltown Boy” is a synth-pop anthem with a powerful message of alienation and escape, becoming a gay club classic and one of the best dance songs ever for its emotional resonance and social impact. —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 implies. However, as Warp’s Steve Beckett put it, “it had nothing to do with the bleeps for the people making it — for them it was all about the bass.” The track that got LFO signed was their self-titled number. Icy synth chords and squiggly bleeps create the framework for layers of low end. The bass line makes you move, while the sub-bass can shake city blocks. “LFO (Leeds Warehouse Mix)” is a bleep techno classic, known for its innovative use of bass and minimal sound design, and is recognized as one of the best dance songs ever in bleep techno. —M.M.
Drake, ‘Sticky’ (2022)
Drake StickyAs the title suggests, Drake’s foray into dance music – Honestly, Nevermind – feels intentionally understated, casually incorporating Jersey and Baltimore club music and various deep house influences. The standout track is “Sticky,” produced by Gordo and Ry X. Drake steps away from the low-key vocals that dominate the rest of the album and raps about personal topics, such as the release of Young Thug and the passing of Virgil Abloh. It’s a prime example of a megastar venturing into a subculture and emerging with a refined and improved sound. “Sticky” is a standout track from Drake’s dance album, blending hip-hop with Jersey and Baltimore club influences, showcasing his ability to adapt and innovate, and is considered one of the best dance songs ever to bridge mainstream and underground sounds. —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, New Jersey, club where Tony Humphries had a legendary DJ residency. This anthem makes his passion clear. Over lively kicks and hats and a swirling keyboard melody, Clark delivers a monologue capturing a transcendent dance floor experience – “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 deep house anthem, capturing the essence of a transformative dance floor experience, and is recognized as one of the best dance songs ever for its evocative atmosphere. —M.M.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us Follow MeEarly house music often had a raw, imperfect quality, which was a significant part of its charm. This is especially true of this uplifting anthem. A gospel-inspired track in form and feeling (“We must stop fighting/To achieve the peace”) from a New Jersey vocal trio who recorded it in a basement using a four-track recorder. Its lo-fi roughness, along with occasional vocal imperfections, only enhance the song’s sense of urgency. “Follow Me” is an early house classic, with a gospel-infused message and raw production, adding to its emotional impact and solidifying its place as one of the best dance songs ever in early house. —M.M.
George McCrae, ‘Rock Your Baby’ (1974)
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In the summer of 1974, two songs that first 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. 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 as he was present at the TK Records offices: “I think they gave me ‘Rock Your Baby’ to get me out of their hair,” he recalled. After the record became a hit, Casey, Finch, and Smith formed the core of KC and the Sunshine Band. “Rock Your Baby” is a foundational disco track, smooth and groundbreaking, marking the beginning of disco’s mainstream dominance and its recognition as one of the best dance songs ever in disco. —M.M.
El General, ‘Perezosa’ (1995)
El GeneralPanamanian pioneer El General established the blueprint for reggaeton when he began creating massive international hits using reggae rhythms in the 80s and 90s. Often overlooked is his experimental nature and his broader influence on club music. “Perezosa,” a powerful and empowering dance anthem featured on his album Club 555, packed high-voltage electronic sounds that captured the energy of the most vibrant parties across Latin America. “Perezosa” is a reggaeton pioneer track, showcasing El General’s experimental sound and influence on Latin club music, and is recognized as one of the best dance songs ever in reggaeton. —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 throughout the genre’s evolution from early 90s UK hardcore to late 90s neo-fusion, sometimes under different aliases. Tom and Jerry is one such alias, credited with this gem, released as jungle’s popularity was exploding in the UK. This smooth stepper, featuring a captivating, needling guitar riff and occasional cartoon sound effects, maintained a playful vibe while delivering a seriously potent groove. “Maximum Style” is a jungle classic from Tom and Jerry (4Hero), blending playful elements with a serious groove, and is considered one of the best dance songs ever in jungle music. —M.M.
LCD Soundsystem, ‘Losing My Edge’ (2002)
LCD Soundsystem performing in New York City, 2002.Image Credit: Redferns
The debut single by James Murphy’s LCD Soundsystem is both a killer groove and a brilliant comedic performance. A burst of wry irony that also ignited 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 if he “was there, at the first Can show in Cologne” or was the first “to play Daft Punk to the rock kids.” “Losing My Edge” made you laugh and dance simultaneously. Even if you’ve never been part of any scene, its fear of missing out remains universally relatable. “Losing My Edge” is a dance-punk anthem, blending humor and social commentary with a killer groove, and is recognized as one of the best dance songs ever for its unique voice. —J.D.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
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Pablo Flores is considered a secret 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 90s, he and his music partner, Javier Garza, helped her create “Ojos Asi.” This prescient song honored her Lebanese heritage while foreshadowing boundary-pushing, global Latin music. His extended remix amplified these ideas with masterful production that resonated on dance floors worldwide. “Ojos Asi (Thunder Mix)” is a Latin pop remix that expanded Shakira’s global appeal, blending Latin and Arabic influences, and is recognized as one of the best dance songs ever remixed for its cross-cultural impact. —J.L.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher performing in Nottingham, UK, 2013.Image Credit: Redferns via Getty Images
Recording as Squarepusher in the mid-90s, Tom Jenkinson twisted drum and bass’s frenetic energy into complex, almost undanceable structures, infused with an intellectual air. “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 cut-up vocals and glitchy production of “My Red Hot Car” are not mere abstraction. The flickering complexity alternates with cunning negative space, all outlining a crowd-moving groove featuring Jenkinson’s playful bass line, irresistible to adventurous DJs. “My Red Hot Car” is an IDM track from Squarepusher, blending complexity and groove, appealing to adventurous DJs and solidifying its place as one of the best dance songs ever in experimental electronic music. —M.M.
Moloko, ‘Sing It Back (Boris Musical Mix)’ (1997)
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With Róisín Murphy’s vocals, memorably described by her partner Mark Brydon 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 inspired by Chic, with a captivating rhythm guitar and playful bassline. This remix reached the UK Top Five and launched Murphy’s adventurous and frequently danceable solo career. “Sing It Back (Boris Musical Mix)” is a remix that transformed Moloko’s original track into a house anthem, launching Róisín Murphy’s solo career and becoming one of the best dance songs ever remixed for its transformative power. —M.M.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League Don't You Want Me“Phil [Oakey] had this idea lyrically for this song: a story in the song which is very much A Star Is Born [and] My Fair Lady — the impresario who takes an everyday person and transforms her into a superstar that outshines himself,” Human League keyboardist Jo Callis said of “Don’t You Want Me,” which Callis co-wrote. The group initially underestimated the song, despite its he-said-she-said structure and catchy riff matching the huge chorus in hookiness. The song became the group’s first Number One in both the UK and US, as well as a Top Three hit on the Billboard Dance Club chart. This marked a pivotal moment in the fusion of UK synth-pop, club music, and Top 40 charts. “Don’t You Want Me” is a synth-pop classic, blending storytelling and catchy hooks, marking a key moment in synth-pop’s crossover into mainstream dance music and its recognition as one of the best dance songs ever in synth-pop. —M.M.
