What exactly defines a “dance song”? It’s a question that opens up a world of possibilities. In a broad sense, any song that inspires movement could be considered a dance song. From The Beatles to Slayer, countless artists across genres have created music that gets people moving. Hip-hop and reggae, in their essence, are deeply rooted in dance culture. However, when we curate a list of the Best Dance Songs Of All Time, we’re diving into a more specific and vibrant world – the world of “dance music culture.” This is a vast and evolving landscape, stretching back nearly half a century and continuously reinventing itself.
Our exploration of dance music history begins in the mid-1970s with the shimmering sounds of disco, paying tribute to James Brown, the undisputed godfather of the groove. From there, we journey into the early 80s with the emergence of club sounds like electro and Latin freestyle. Dance music experiences a powerful rebirth as disco evolves into house music in Chicago and techno in Detroit. The genre then explodes with kaleidoscopic energy in the 90s rave scene, giving birth to subgenres from jungle and trance to gabba and garage. This evolution continues into the 2000s with the rise of EDM and dubstep. While these sounds have had their moments in the mainstream spotlight, they never truly disappear. Drum ‘n’ bass, for example, is experiencing a resurgence, and contemporary house tracks continue to build upon decades of innovation.
This list doesn’t aim to capture every subtle nuance within this ocean of subgenres. Instead, we’ve focused on tracks that transcend specific trends, songs that feel universally impactful and canonical. We’ve paid particular attention to moments where dance music intersects with the wider musical world – blending 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, Shakira, and Justin Bieber alongside pioneers such as Adonis, Frankie Knuckles, Moodymann, Goldie, and SOPHIE.
If you’re curious about how we arrived at a point where mainstream artists like Drake and Beyoncé are releasing house-influenced records, this list tells that story – or at least, our version of it, highlighting some of the best dance songs of all time that paved the way.
Donna Summer, ‘Last Dance’ (1979)
Donna Summer Last Dance Image Credit Redferns
Image Credit: Redferns
The film Thank God It’s Friday might be seen as a lengthy advertisement for Casablanca Records, a powerhouse disco label, perhaps signaling disco’s peak and subsequent shift. However, “Last Dance” from the movie, undeniably earned its Oscar for Best Original Song. The track begins at a ballad tempo, making even “Three Times a Lady” seem fast-paced by comparison, before transforming into a taut and exhilarating disco anthem. The unsung hero here is Casablanca’s producer Bob Esty, who masterfully conceived the song’s dramatic tempo shift. —M.M.
Fatboy Slim, ‘The Rockafeller Skank’ (1998)
Fatboy Slim Concert Performance at Pop Music Festival Brazil Image Credit AP
Image Credit: AP
“It’s funny,” producer-DJ Norman Cook reflects on his massive 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. His signature formula of breakbeats and infectious guitar riffs was at its peak. “Skank,” with its surf-rock guitar line 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. “There were lots of jokes about ‘Frat-Boy Slim,’” Cook recalls. “I suppose ‘Rockafeller Skank’ became an anthem for that sort of beer-boyish mentality.” Despite its playful origins, it remains one of the best dance songs of all time for its sheer energy. —M.M.
Mescalinum United, ‘We Have Arrived’ (1991)
Techno’s hard-edged counterpart is “gabber,” Dutch for “buddy.” The Netherlands is the heartland of this intense music. But gabber’s primary innovator is Marc Acardipane, known by around 90 aliases. His initial strike, “We Have Arrived,” credited to Mescalinum United, remains a powerful force. Built upon relentless drums and piercing air-raid siren sounds, this track became the foundation upon which gabber was built. At Brooklyn raves hosted by Lenny Dee, whose label released the track in America, crowds would enthusiastically mosh to its intense rhythm. This track is essential listening for anyone exploring the harder side of best dance songs of all time. —M.M.
Oliver Heldens, ‘Melody’ (2016)
Oliver Heldens DJ Portrait Image
By the mid-2010s, even DJs headlining major festivals were tiring of the predictable build-and-drop structures that had dominated the dance music scene. “Melody” signaled a significant shift. Dutch producer Oliver Heldens was just 18 when he released this track, yet its sweeping string arrangements and uplifting piano melodies possessed a classic dance music elegance. While maintaining a powerful bassline, “Melody” introduced a more refined and airy sound, marking it as one of the best dance songs of all time from the modern era. —M.M.
Kerri Chandler, ‘Rain’ (1998)
New Jersey house producer Kerri Chandler’s deeply soulful tracks are a cornerstone of his enduring influence on 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 description. Chandler’s heartfelt plea in “Rain,” each line punctuated by the repeated word “rain,” teeters on the edge of sadness. However, the music itself is more playful than melancholic, particularly the whimsical xylophone solo. “Rain” is a testament to Chandler’s ability to blend emotion and rhythm, solidifying its place among the best dance songs of all time. —M.M.
Detroit Grand Pubahs, ‘Sandwiches’ (2000)
Detroit Grand Pubahs Live Performance London England Image Credit Jim Dyson Getty Images
Image Credit: Jim Dyson/Getty Images
Andy Toth and Mack Goudy – aka 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 night, 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 suggestive lyrics about a dance-floor encounter – resulting in “Sandwiches.” This track became a defining moment in Detroit’s electro revival at the turn of the century and an instant global club sensation. Its raw energy and unexpected humor make it one of the best dance songs of all time from the electro scene. —M.M.
Black Box, ‘Everybody Everybody’ (1990)
Sometimes, great records emerge from questionable circumstances, as is 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. She was told these songs were for other singers. Instead, the tracks were released under the name Black Box, featuring her uncredited vocals. To add insult to injury, a model was hired to lip-sync Wash’s vocals in music videos. Wash sued and won, a victory for artist rights. (She took similar action against C+C Music Factory for a similar offense). Daniele Davoli of Black Box later expressed regret: “We didn’t know any better at the time. I guess we had to learn from our mistakes,” he said in 2013. Despite the controversy, “Everybody Everybody” became a massive hit, its infectious energy cementing its place among the best dance songs of all time from the early 90s house era. —M.M.
Big Freedia, ‘Azz Everywhere’ (2010)
Big Freedia Essence Festival Performance New Orleans Image Credit Amy Harris Invision AP
Image Credit: Amy Harris/Invision/AP
“I’ve traveled across the globe now, spreading the gospel of bounce and trying to get people everywhere into what’s been around for two decades,” Big Freedia shared in 2011, speaking about New Orleans bounce music. This high-energy, fast-paced club sound is the very music for which twerking was invented. “Azz Everywhere” was the track that propelled bounce into wider recognition. A whirlwind of snares, samples, and the chanted title phrase, it’s pure energy. “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 defining track in bounce music and a high-octane addition to any list of the best dance songs of all time. —M.M.
Joy Orbison, ‘Hyph Mngo’ (2009)
In the late 2000s, dubstep producers were pushing boundaries, resulting in a wave of innovative tracks. Joy Orbison’s debut, “Hyph Mngo,” became the biggest dubstep track of 2009, capturing the scene at its peak. The bassline and plastic-sounding synths create a smooth glide, while the ricocheting snare drum and fragmented vocal samples – a woman alternating between “Ooh!” and “I do” – add an unexpected emotional depth, rare for dubstep at the time. This emotional resonance helped propel it into the mainstream. “Hyph Mngo” is a landmark dubstep track and one of the best dance songs of all time from that genre. —M.M.
ESG, ‘Moody’ (1981)
ESG Moody Band Image
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 influenced by funk and disco, their minimalist sound and emphasis on percussion resonated with post-punk and no-wave clubs. This was especially true after they collaborated with Joy Division producer Martin Hannett for their debut EP. “Moody,” the EP’s centerpiece, still sounds futuristic. A slinking bassline, bongo rhythms, and Renee Scroggins’ distant vocals create an atmosphere of cool detachment. “Moody” is a quintessential post-punk dance track and a unique entry on the list of best dance songs of all time. —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 fellow Londoner Skream for not just capturing the essence of her synth-pop single “In for the Kill” in his remix, but 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 rhythm (and Kanye West’s guest rap), creating an incredibly tense atmosphere with flattened synths. He then shatters this 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 admitted. “We wanted to make a pop record and that just isn’t a pop thing, what he did to it.” Skream’s remix transformed a synth-pop track into a drum-and-bass infused dancefloor weapon, making it one of the best dance songs of all time in remix culture. —M.M.
Double 99, ‘RIP Groove’ (1997)
Double 99 DJ Duo Image
After working together as RIP in the mid-90s, London producers Tim Deluxe and DJ Omar rebranded as Double 99 to celebrate “a double-pack vinyl EP,” Omar explained. Due to time constraints in finishing the package, “we decided to make up track names and get the artwork done before the tracks had actually been made.” “RIP Groove,” 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, propelling UK garage (then called “speed garage”) into the pop charts and announcing a fresh sound. “RIP Groove” is a defining track of UK garage and a high-energy inclusion in any list of the best dance songs of all time. —M.M.
Snap!, ‘The Power’ (1990)
“The Power” embodies a classic dance-music archetype: 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. It’s picked up by a major label (Arista), and rerecorded with a new vocalist (Turbo B, an American G.I. stationed in Germany). Then, the original sampled rapper recuts that version as Power Jam feat. Chill Rob G. Both versions became 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” is a foundational Europop-dance crossover hit and a must-have on any best dance songs of all time playlist. —M.M.
DJ Frosty feat. Fatman Scoop, DJ Webstar, Young B. & Smooth, ‘Ride That Wave (Remix)’ (2010)
DJ Frosty Portrait Image
Jersey club, originating in Newark, New Jersey (originally called Brick City club), is characterized by its bristling, syncopated rhythms, clipped vocal samples, and a visceral yet non-violent energy, akin to classic hip-house in a blender. DJ Frosty’s “Ride That Wave” perfectly exemplifies this sound. A relentlessly catchy chant-along track, it emerged just as Jersey club was gaining recognition from EDM producers globally. This trend eventually led to Jersey club’s influence reaching mainstream artists like Drake on Honestly, Nevermind. The remix features Fatman Scoop, known for his 90s hip-hop cut-ups on AV8 Records, favored by DJs like Armand Van Helden and Fatboy Slim. “Ride That Wave (Remix)” is a prime example of Jersey club’s infectious energy and a worthy addition to a list of best dance songs of all time. —J.D.
Todd Terje, “Inspector Norse” (2012)
Todd Terje DJ Performance Image Credit Future via Getty Images
Image Credit: Future via Getty Images
Norwegian nu-disco producer Todd Terje didn’t expect “Inspector Norse” to become such a hit. Created entirely with a vintage ARP synthesizer, like the rest of his It’s the Arps EP, he envisioned it as a DJ-friendly track. “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 quirky, memorable melody proved irresistible. “It really helped me as a DJ in terms of popularity,” he said. “Inspector Norse” is a nu-disco gem and a surprising singalong hit, earning its spot among the best dance songs of all time. —M.M.
The Rapture, ‘House of Jealous Lovers’ (2002)
The Rapture Band Photo New York City Image Credit David Corio Redferns
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 fused edgy Gang of Four-style guitar riffs with a manic, shout-along vocal, all built upon a powerful beat and deep bass deliberately designed to be undeniable for dance DJs. It worked. 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 indie bars across the city installed DJ booths and turntables. “House of Jealous Lovers” is a defining track of dance-punk and a crucial track in the story of the best dance songs of all time. —J.D.
TNGHT, ‘Higher Ground’ (2012)
TNGHT DJ Duo Performance Image Credit Getty Images
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. Their five-song EP catapulted both artists to the center of EDM with its playful, club-focused take on trap music. “Higher Ground,” a track with a grand, almost regal stomp, is both expansive and meticulously crafted. Within a year, Kanye West enlisted TNGHT to produce “Blood on the Leaves” from Yeezus. “Higher Ground” is a pivotal track in the trap-EDM crossover and an impactful addition to any list of best dance songs of all time. —M.M.
Roni Size and Reprazent, ‘Brown Paper Bag’ (1997)
Roni Size Reprazent Brown Paper Bag Album Cover Image
In the late 90s, drum and bass was becoming increasingly fragmented and distanced from its dancehall and hip-hop roots. Bristol, England’s Roni Size and Reprazent managed to create drum and bass that felt both exploratory and grounded, fusing frenetic beats with warm, organic jazz-funk influences. “It’s funny how ‘Brown Paper Bag’ split people,” Size reflected in 2018, referring to their biggest 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” bridged genres and audiences, becoming a standout drum and bass track and one of the best dance songs of all time from the 90s. —J.D.
Soul II Soul, ‘Back to Life (However Do You Want Me)’ (1989)
Led by the charismatic DJ-producer Jazzie B and, for 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 80s, their smooth grooves seamlessly blended both genres. Initially, their tracks were intended only for Soul II Soul’s 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 everyone became interested in them. “Back to Life” reached Number One on the Billboard R&B chart and Top Five on the Hot 100, showcasing their unique sound to a global audience. “Back to Life” is a groundbreaking blend of soul and dance rhythms, and an essential track on any best dance songs of all time list. —M.M.
Felix da Housecat, ‘Silver Screen Shower Scene’ (2001)
Felix Da Housecat DJ Portrait Image
Felix Stallings Jr. is a Chicago house veteran, having created the acid house classic “Fantasy Girl” as Pierre’s Pfantasy Club with DJ Pierre in 1987 while still in high school. His career went global in the 2000s with the album Kittenz and Thee Glitz. This project brought together 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 electro-infused music seemed to define the electroclash era. Jacques Lu Cont’s “Thin White Duke Remix” gained even more popularity among DJs. “Silver Screen Shower Scene” is an electroclash classic and a sharp, satirical inclusion among the best dance songs of all time. –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,” aka 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 this dream 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 Superpitcher remix, from the influential German label Kompakt, transformed the track. Foggy, layered synths and ricocheting bell sounds created a dreamlike state that the lyrics only hinted at. This remix elevates the original into a dreamy, atmospheric dance track, earning it a place among the more introspective best dance songs of all time. —M.M.
Patrick Cowley feat. Sylvester, ‘Do Ya Wanna Funk?’ (1982)
Patrick Cowley and Sylvester Portrait Image Credit Getty Images
Image Credit: Getty Images
Patrick Cowley, a synth wizard, became a key innovator of Hi-NRG, a staple of gay clubs. His work with Sylvester and his extended 16-minute version of Donna Summer’s “I Feel Love” are legendary. Cowley fell ill in November 1981, and passed away a year later at 32, just months after AIDS was officially named. In his final months, Cowley worked from his studio, propped up by pillows, to complete his futuristic grooves. “Do Ya Wanna Funk?” stands as a testament to his talent – soaring synth riffs and Sylvester’s stratospheric falsetto. The song also provided a memorable movie moment in the party scene of Trading Places. “Do Ya Wanna Funk?” is a Hi-NRG masterpiece and a poignant reminder of Cowley’s legacy, securing its place among the best dance songs of all time. —M.M.
Funkadelic, ‘One Nation Under a Groove’ (1978)
Funkadelic Band Performance Image Credit Redferns
Image Credit: Redferns
“One Nation Under a Groove” is arguably the greatest funk track ever to feature a banjo. Its irresistible groove 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 and power. “Parliament is smashing,” he explained. “But Funkadelic is the movement.” “One Nation Under a Groove” is a funk anthem with undeniable dancefloor appeal and a cornerstone of any best dance songs of all time collection. —M.M.
Evelyn Thomas, ‘High Energy’ (1984)
Evelyn Thomas Limelight Disco New York City Image Credit Ron Galella Ron Galella Collection via Getty
Image Credit: Ron Galella Collection via Getty
Released in April 1984, “High Energy” gave the synthed-up gay club sound Hi-NRG 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-70s as a teenager. Levine, a DJ in the Northern Soul scene who played 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.” Brash, cheerful, and undeniably cheesy, “High Energy” reached the UK Top Five and remains a dancefloor staple. DJ-producer Black Madonna (now the Blessed Madonna) featured it in her Bunker Podcast. “High Energy” is a quintessential Hi-NRG track and a fun, energetic addition to any list of best dance songs of all time. —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 shared his desire to channel Nile Rodgers. The robots 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 enthused. “Get Lucky” is a modern disco masterpiece, effortlessly blending funk, pop, and electronic elements, and a guaranteed inclusion on any best dance songs of all time playlist. –M.M.
Mat Zo and Porter Robinson, ‘Easy’ (2013)
Porter Robinson Matt Zo Easy Album Art Image
“‘Easy’ in my mind is an homage to Daft Punk’s Discovery,” Porter Robinson said in 2013 about 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.” “Easy” is a masterful update, both shimmering and classic. The central synth line evokes both a Theremin and a Moog, while the vocal sample (from Colourblind’s NYC garage classic “Nothing Better”) carries an emotional depth often missing in stadium EDM of that era. “Easy” is a sophisticated and emotionally resonant EDM track, and a deserving inclusion among the best dance songs of all time. —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 contest to remix 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 and launched Augé and de Rosnay’s career as Justice. It also prompted Simian to transform into the dance act Simian Mobile Disco. “We Are Your Friends” is a genre-bending anthem and a pivotal track in the electroclash to EDM transition, making it one of the best dance songs of all time. —M.M.
Martin Garrix, ‘Animals’ (2013)
Martin Garrix Coachella Music Festival Performance Image Credit Scott Roth Invision AP
Image Credit: Scott Roth/Invision/AP
Dance music often favors youth, and the early 2010s EDM boom exemplified this. “Animals,” built around a catchy synth riff so memorable people chanted along to it (despite having no lyrics), was released when Dutchman Martin Garrix was only 18. It became an instant global smash. This success sparked suspicion. “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 and a testament to Garrix’s early talent, securing its place among the best dance songs of all time. —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 KC and the Sunshine Band and 2 Live Crew. “Lookout Weekend,” his second single with Debbie Weshoff Lopez (whom he recruited while she worked at a record shop), was freestyle at its most exuberant. Like its predecessor, “When I Hear Music,” “Weekend” went triple platinum. In response, Tony said, “I bought me a Porsche. As a matter of fact, two Porsches.” “Lookout Weekend” is a freestyle classic and a vibrant, feel-good addition to any best dance songs of all time list. —M.M.
Tate Kobang, ‘Bank Rolls’ (2015)
Tate Kobang Youtube Music Showcase Austin Texas Image Credit Thomas M Jackson Redferns
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 modern tribute to Baltimore club music. It celebrates the city, 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 to the mainstream before her untimely passing in 2008. “She was just one of those bodies in our culture that was like, ‘She ain’t never going anywhere,’” Kobang has said. Like K-Swift’s work, “Bank Rolls (Remix)” introduced a new audience to the underground Baltimore sound. “Bank Rolls (Remix)” is a Baltimore club anthem and a powerful representation of regional dance music culture in a list of best dance songs of all time. —C.S.
Soft Cell, ‘Tainted Love/Where Did Our Love Go?’ (1981)
Soft Cell Band Photo Image Credit Redferns
“We both like Northern soul, Sixties music, and the 12-inch record,” Marc Almond explained in 1981, referring to himself and Soft Cell partner David Ball. They combined these loves into one iconic track. The duo’s synth-pop version of Gloria Jones’ R&B stomper “Tainted Love” was a hit on its own. But for the extended version, they seamlessly merged it with The Supremes’ classic “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. “Tainted Love/Where Did Our Love Go?” is a synth-pop masterpiece and a timeless dancefloor filler, solidifying its spot as one of the best dance songs of all time. —M.M.
The Orb, ‘Little Fluffy Clouds’ (1990)
The Orb Alex Paterson Portrait London Image Credit Martyn Goodacre Getty Images
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 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, Paterson created “Little Fluffy Clouds,” the most mellow 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 and a surprisingly catchy track that earns its place among the best dance songs of all time for its unique atmosphere. —M.M.
Polygon Window, ‘Quoth’ (1993)
Richard D. James, aka Aphex Twin, is often associated with more cerebral electronic music. However, in the early 90s, he created rave anthems of the highest order. “Quoth,” released under the Polygon Window moniker, is Exhibit A. A percussion symphony, it was a true rave banger – especially for American Midwesterners of that era, who danced to it in actual barns. “Quoth” is a standout track from Aphex Twin’s early rave period and a high-energy inclusion in any best dance songs of all time list. —M.M.
Skream, ‘Midnight Request Line’ (2005)
Skream DJ Performance Fabric Nightclub London Image Credit PYMCA Universal Images Group via Getty
Image Credit: Universal Images Group via Getty
Shortly after London dubstep producer-DJ Skream released his atmospheric 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 line, gliding bass, and heavy claps, catapulted Skream and dubstep into the spotlight. “Midnight Request Line” is a landmark dubstep track and a pivotal moment in the genre’s rise, making it one of the best dance songs of all time. –M.M.
Paul Johnson, ‘Feel My M.F. Bass’ (1994)
“Ghetto house” was house music’s equivalent to gangsta rap – a raw, street-oriented style pioneered by 90s Chicago producers, notably on the Dance Mania label. Wheelchair-bound Paul Johnson was a leading figure, creating unconventional genre pieces with a unique flair. (His DJ mixtapes, featuring his dreamy voice-overs, are also notable). Johnson’s peak was “Feel My M.F. Bass,” a blunt-force track with a cavernous kick drum. Over this, Johnson, who sadly passed away from Covid in August 2021, gleefully taunts, “Feel my motherfuckin’ bass in your face,” almost like a lover’s whisper. When the kick drum returns, the message is clear. “Feel My M.F. Bass” is a ghetto house masterpiece and a raw, powerful inclusion among the best dance songs of all time. —M.M.
Ten City, ‘That’s the Way Love Is’ (1989)
Ten City Band Portrait London Image Credit Martyn Goodacre Getty Images
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 said, “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 with global resonance and a must-have on any best dance songs of all time list. —M.M.
Nitzer Ebb, ‘Join in the Chant’ (1987)
Nitzer Ebb Band Performance Image Credit Getty Images
Image Credit: Getty Images
Industrial groove unit Nitzer Ebb, hailing from England’s Midlands, had a genuine dancefloor connection. “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 mixed “Chant” into his influential 1999 mix CD Decks, EFX & 909, while Andrew Weatherall famously said, “The closest I felt to God was listening to ‘Join in the Chant.’” “Join in the Chant” is an industrial-techno crossover anthem and a powerful, rhythmic addition to any best dance songs of all time collection. —M.M.
Bronski Beat, ‘Smalltown Boy’ (1984)
Soft Cell Band Photo Image Credit Redferns
Bronski Beat’s Jimi Somerville 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 poured that angst into “Smalltown Boy,” a searing portrait of alienation and escape. With its haunting vocal hook (“Run away, run away, run away”) and smooth synth backdrop, it became an instant gay club anthem, reaching Number One on the Billboard club chart and the UK Top Three. “Smalltown Boy” is a poignant and powerful synth-pop anthem with lasting impact, making it a crucial inclusion among the best dance songs of all time. —M.M.
LFO, ‘LFO (Leeds Warehouse Mix)’ (1990)
LFO Band Performance Image Credit PYMCA Universal Images Group Getty Images
Image Credit: PYMCA/Universal Images Group/Getty Images
LFO were pioneers of Sheffield, England’s “bleep” scene – Warp Records’ original signature sound, which is exactly what it sounds like. 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 got LFO signed was their self-titled number. Icy synth chords and squiggly bleeps set the stage for layers of low end. The bassline makes you move, while the sub-bass can shake a city block. “LFO (Leeds Warehouse Mix)” is a bleep techno classic and a bass-heavy track that earns its place among the best dance songs of all time. —M.M.
Drake, ‘Sticky’ (2022)
Drake Sticky Album Art Image
As the album title Honestly, Nevermind suggests, Drake’s foray into dance music feels intentionally low-key, drawing casually from Jersey and Baltimore club music and various deep-house styles. The highlight is “Sticky,” produced by Gordo and Ry X. Drake steps away from the subdued vocals that dominate the album to rap about his familiar themes – the release of Young Thug and the passing of Virgil Abloh. “Sticky” is a notable example of a superstar exploring a subculture and emerging with a compelling new sound, making it a relevant contemporary addition to a list of best dance songs of all time. —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. “I Get Deep (Shelter Mix)” makes his passion evident. Over driving kicks, hi-hats, and a swirling keyboard line, Clark delivers a monologue capturing a euphoric dancefloor 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 on the 12-inch, which was later sampled by Fatboy Slim on his album Halfway Between the Gutter and the Stars. “I Get Deep (Shelter Mix)” is a soulful house anthem and a powerful expression of dancefloor immersion, earning its spot among the best dance songs of all time. —M.M.
Aly-Us, ‘Follow Me’ (1992)
Aly-Us Follow Me Album Art Image
Early house music often had a raw, imperfect quality, which was a significant part of its charm. This is especially true of “Follow Me,” an uplifting anthem, both gospel-inspired in form and message (“We must stop fighting/To achieve the peace”), from a New Jersey vocal trio. They recorded it in a basement with a four-track recorder. Its lo-fi sound and slightly off-key vocals only enhance the song’s urgency and sincerity. “Follow Me” is a classic example of early soulful house and a testament to the genre’s raw energy and emotion, securing its place among the best dance songs of all time. —M.M.
George McCrae, ‘Rock Your Baby’ (1974)
Image Credit: Redferns
In the summer of 1974, two songs that first broke in clubs reached Number One on the Billboard Hot 100. One was Hues Corporation’s “Rock the Boat,” the other was “Rock Your Baby.” These were among the first true disco hits. The shimmering 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 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 and a crucial song in the history of dance music, solidifying its position among the best dance songs of all time. —M.M.
El General, ‘Perezosa’ (1995)
El General Portrait Image
Panamanian pioneer El General laid the groundwork for reggaeton by creating massive international hits using reggae rhythms in the 80s and 90s. His experimental approach and broader influence on club music are often overlooked. “Perezosa,” a booming and empowering dance anthem from his album Club 555, exemplifies his range. The album was packed with high-voltage electronic sounds that captured the energy of vibrant parties across Latin America. “Perezosa” is a reggaeton innovator and a powerful representation of Latin dance music in a list of best dance songs of all time. —J.L.
Tom and Jerry, ‘Maximum Style’ (1994)
Image Credit: Naki/Redferns/Getty Images
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 was one such alias, credited with “Maximum Style.” Released as jungle’s popularity surged in the UK, this easy-gliding stepper, with its enchanting guitar riff and playful cartoon sound effects, maintained a lighthearted feel while delivering a seriously infectious groove. “Maximum Style” is a jungle gem and a playful yet powerful addition to any best dance songs of all time playlist. —M.M.
LCD Soundsystem, ‘Losing My Edge’ (2002)
LCD Soundsystem Band Performance Bowery Ballroom NYC Image Credit David Corio Redferns
Image Credit: Redferns
The debut single by James Murphy’s LCD Soundsystem, “Losing My Edge,” is both a killer dance track and a brilliant comedic monologue. It’s a burst of wry irony that helped ignite the New York dance-punk scene of the early 2000s. Murphy embodies an aging hipster watching his relevance fade as a younger generation 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” makes you laugh and dance simultaneously. Its FOMO-driven humor remains universally relatable. “Losing My Edge” is a dance-punk landmark and a witty, self-aware addition to a list of best dance songs of all time. —J.D.
Shakira, ‘Ojos Asi (Thunder Mix)’ (1999)
Shakira Performance Image Credit ASSOCIATED PRESS
Image Credit: ASSOCIATED PRESS
Pablo Flores is considered a key architect of Latin pop. This Puerto Rican DJ worked extensively with major artists associated with Emilio Estefan, including Gloria Estefan and Ricky Martin. When introduced to a then lesser-known Colombian singer Shakira in the 90s, he and his partner Javier Garza helped her create “Ojos Asi.” This prescient song honored her Lebanese roots and foreshadowed the boundary-pushing, global sound of Latin music to come. His extended remix, “Thunder Mix,” amplified these ideas with masterful production that resonated on dance floors worldwide. “Ojos Asi (Thunder Mix)” is a Latin pop-dance fusion masterpiece and a significant track in Shakira’s rise to global stardom, deserving its place among the best dance songs of all time. —J.L.
Squarepusher, ‘My Red Hot Car’ (2001)
Squarepusher Live Performance Nottingham UK Image Credit Ollie Millington Redferns via Getty Images
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 a sense of intellectualism. “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 glitch-heavy production of “My Red Hot Car” are not purely abstract. Flickering sonic trickery alternates with clever negative space, all outlining a groove that adventurous DJs find irresistible. The track features Jenkinson’s most playful bassline. “My Red Hot Car” is an experimental drum and bass track that challenges conventions yet remains danceable, earning its place among the more avant-garde best dance songs of all time. —M.M.
Moloko, ‘Sing It Back (Boris Musical Mix)’ (1997)
Image Credit: Getty Images
With Róisín Murphy’s vocals, described by partner Mark Brydon as “Peggy Lee on mescaline,” Moloko’s 1998 single “Sing It Back” was atmospheric, downtempo, and expansive. It initially underperformed. Then, Belgian house producer Boris Dlugosch sent them his remix – a crisp house groove built on a Chic-like foundation. The rhythm guitar is alluring, and the bass is playfully quirky. This remix reached the UK Top Five and launched Murphy’s adventurous and often danceable solo career. “Sing It Back (Boris Musical Mix)” is a transformative remix that turned a downtempo track into a house classic, making it one of the best dance songs of all time in remix history. —M.M.
The Human League, ‘Don’t You Want Me’ (1981)
The Human League Band Photo Image
“Phil [Oakey] had this lyrical idea 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 explained about “Don’t You Want Me,” which he co-wrote. The group initially didn’t think much of the song. However, its he-said-she-said structure and catchy riff proved undeniably hooky. 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. It marked a key moment in the fusion of UK synth-pop, club music, and Top 40 pop. “Don’t You Want Me” is a synth-pop classic and a pivotal track in the crossover of synth-pop into mainstream dance culture, securing its place among the best dance songs of all time. —M.M.
