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Jul 22, 2022 · Richard D. James, a.k.a. Aphex Twin, may be better known for the kind of dance music best appreciated while seated, but for a time in the early Nineties he pumped out rave bangers of the first ...
- 3 min
- Jon Dolan,Julyssa Lopez,Michaelangelo Matos,Claire Shaffer
- Todd Terje, “Inspector Norse” (2012) The sound of “Inspector Norse” is, in a word, joyous. This enduring gem is pure Todd Terje: textured, warm and swelling, with a gleaming melody and an intangible undercurrent of humor.
- Rihanna feat. Calvin Harris “We Found Love” (2012) Before 2011, pop culture’s understanding of “dance music” was fairly limited to names like Lady Gaga, Madonna, and the occasional David Guetta tune.
- Avicii, “Levels” (2011) Avicii was EDM, with his 2011 breakout single “Levels” defining the sound of the genre and the then 21 year old Swedish producer defining the ethos, lifestyle and paycheck potential of top artists in this world.
- Disclosure feat. Sam Smith, “Latch” (2012) U.K. house duo Disclosure gave listeners something to hold on to when “Latch” hit the airwaves in the early 2010s.
- Alesso feat. Zara Larsson, “Words” The creative collision of these Swedes culminated in a dance-pop single with clear staying power, so much so that it’d go on to spend 26 weeks on the Hot Dance/Electronic Songs chart—and in good company, at that.
- Alison Wonderland, “Fear of Dying” Overthinking and anticipatory grief are a paradoxically sobering cocktail; take it from Alison Wonderland. The third single from her third studio album, Loner (which debuted at No. 3 on the Top Dance/Electronic Albums chart), traces the arc of an all-consuming, anxiety-fueled panic rooted in the fear of loss.
- Aluna, Diplo & Durante, “Forget About Me” From her days singing electro-pop bursts with AlunaGeorge to demonstrating her equivalent production skills on her phenomenal 2020 debut solo LP Renaissance, Aluna’s output is vital to club culture, and in 2022 she continued that legacy via “Forget About Me.”
- Andrew Bayer & Kaleena Zanders, “Break the Rules” On “Break the Rules,” the final single from his expansive double album, Duality, Andrew Bayer taps the resplendent house vocalist Kaleena Zanders for one of her trademark anthemic performances, designed to break through even the most jaded listener’s sonic malaise.
- Yarbrough & Peoples, “Don’t Stop The Music”
- Stacey Q, “Two of Hearts”
- Brass Construction, “Movin’”
- Lisette Melendez, “Together Forever”
- Lime, “Babe, We’Re Gonna Love Tonight”
- Sounds of Blackness, “The Pressure Pt. 1
- Bedrock Featuring Kyo, “For What You Dream Of”
- Underworld, “Born Slippy .Nuxx”
- Inner City, “Good Life”
- Beyoncé Featuring Jay-Z, “Crazy in Love”
Recorded by childhood sweethearts on the cusp of taking both their careers and love lives to the next level, Calvin Yarbrough and Alisa Peoples’s “Don’t Stop the Music” is probably the most carnal, lusting set of marriage vows ever preserved on vinyl. Making Ashford and Simpson’s tasteful love songs look milquetoast in comparison, it’s a synth-grit...
Madonna copycat Stacey Q’s “Two of Hearts” was a fun, hi-NRG response to the Material Girl’s “Burning Up.” Madonna says, “Don’t put me off/’Cause I’m on fire/And I can’t quench my desire.” Stacey says, “My body’s burning/So come on heed my desire.” Neither song is empowering per se, at least in the sense that Madonna and Stacey Q hadn’t discovered ...
One of Guyanan composer-musician Randy Muller’s string of train-centric tracks (he was also the man behind the chugging string arrangements of B.T. Express), Brass Construction’s “Movin’” is eight solid minutes of concentrated disco-funk synergy that surges like a runaway locomotive. Muller lets his band cobble together the industrial jam’s rising ...
What better way to convey Latin freestyle’s telenovela-esque big, broad emotions than with a big, broad stream of clichés? (“Together forever, yours/Together forever, mine/Facing what we feel inside/Ready to stand the test of time,” goes the chorus.) It’s delivered by East Harlem native Lisette Melendez, whose nasal voice wasn’t nearly as heinous o...
The hi-NRG “Babe, We’re Gonna Love Tonight” is all tease. Its infectious intro melody suggests a na-na-na-na-na-na schoolyard taunt, and every subsequent beat ladled on top evokes a teasing tickle or poke. With her giddy, Minnie Riperton-esque vocal, Joy Dorris gets to play out a shy creature pulling away from busy hands. It sounds ridiculous, but ...
R&B’s gospel influence is so vast, it barely needs explaining. Because so much of house is derived from disco, which itself came from soul, the combination of full-on gospel elements (gigantic choirs, never-ceasing organs, Jesus praisin’) with house seems like a no-brainer. Jimmy Jam and Terry Lewis didn’t get that the first time around (they servi...
A grandiose, perpetually oscillating stream of synthesized sounds and thumping bass, Bedrock’s prog house anthem “For What You Dream Of” is impressive not only for its many unpredictable ups and downs but also for the sheer force of its soulful vocal (by ex-Staxx of Joy singer Carol Lemming, appearing here as KYO), which posits dance as a form of s...
Who’s that boy? He’s dirty and numb but also capable of angelic poses. He’s also terribly fond of lager, chemicals, and blondes. Sounds a bit like the libidinous bugger Ewan McGregor played in Danny Boyle’s Trainspotting, the film that made this dark, long, chest-puffing techno anthem ubiquitous for a hot second back in 1996. Like Benton’s craving ...
Before techno was “techno” (thanks to Juan Atkins’s sci-fi theorizing and subsequent dubbing), it was known as Detroit house, and before house was house, it was disco. But if distinctions were made to be blurred, consider Kevin Saunderson a supreme smear on the dance music landscape. Inner City’s “Good Life” clanks like techno, pumps like house, an...
Beyoncé’s simultaneously calculated and fresh “Crazy In Love” made producer Rich Harrison the go-to boy for urban crossover success in the mid-aughts. Harrison composed similar-sounding tracks for the likes of Jennifer Lopez and protégé Amerie but failed to match the across-the-board sensation that was Bey’s breakout solo smash. A slice of retro-st...
- Bebe Rexha & David Guetta, “One in a Million” Between revamping classics by Supertramp, Haddaway and Eiffel 65, this year David Guetta specialized in bringing nostalgia to dance floors and dance charts.
- Becky Hill and Chase & Status, "Disconnect" If Kenya Grace pushed the low-key simmer style of drum’n’bass further into the mainstream this year with “Strangers,” Becky Hill used “Disconnect” to remind the masses that the genre can also fully wallop.
- The Blessed Madonna with JOY (Anonymous) & Danielle Ponder, “Carry Me Higher“ “Carry Me Higher” is the kind of house record that takes dancefloors from bubbling to boiling over: Slow builds from bubbling drums to bumping basslines, crisp snaps to sizzling hi-hats and string plucks to synth transcendence, with brief breakdowns like taking a lid off the pot to release pent-up steam.
- Calvin Harris & Ellie Goulding, “Miracle” As niche electronic styles like drum’n’bass are having a mainstream moment, Scottish producer and perennial summer hit-maker Calvin Harris brought trance to the metaphorical and literal party when he performed his collaboration with Ellie Goulding at Coachella this past April.
10. ‘Celebration’ by Kool and the Gang. As long as the good times keep going, so will the party, and nothing lights up a dance floor quite like a little disco (mirror ball included). So find ...
100 Best Dance Songs of All Time · Playlist · 95 songs · 10.1K likes
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