Top 20 Best Dance Songs of the 80s

Boy George and his group Culture Club were a worldwide phenomenon, but only one of their singles topped the US Billboard chart. That song was “Karma Chameleon,” an infectious dance number with a delightfully anachronistic music video. The harmonica on the track adds a period feel to the mid-paced groove of the song. Meanwhile, Boy George’s charismatic, one-of-a-kind voice delivers the sort of chorus that’s instantly memorable. It’s approachable, catchy, and even a bit wistful at times. “Karma Chameleon” wasn’t the only hit single for Culture Club, but it’s arguably one of their very best.

The voice of Irene Cara may be gone, but her power and passion lives on forever in her music. Her theme to 1983’s “Flashdance,” is certainly indicative of some serious 1980s swagger, but we actually have another movie song in mind for our pick. “Fame” is an outstanding slice of post-disco pop with a driving rhythm, melodic hooks and an intense sense of urgency. There’s a dramatic feeling to the note choices here, and this intensity is mirrored in Cara’s passionate vocals. Her approach feels almost desperate as she sings about living forever, and wanting the world to remember her name. “Fame” ties into its cinematic source material perfectly, and we’re left with one classic slice of ‘80s pop perfection.

It’s evident right from the jump that “Relax” is going to be one epic song: the pounding bass and synth; Holly Johnson’s commanding vocals; the daring and provocative lyrics. It’s a perfect storm of 1980s drama to fill up dancefloors all over the world. Frankie Goes to Hollywood’s debut single wasn’t just a flash in the pan, either, as the group’s debut album, “Welcome to the Pleasuredome,” is chock-full of bangers. “Relax” is one lightning rod of a single, however, a statement of intent that desires to thrill and confront… perhaps in equal measure. There’s a cinematic atmosphere here that makes “Relax” feel positively otherworldly, while at the same time being imminently danceable to the max.

The early 1980s were a wide-open landscape of synthesizer experimentation. Many of these groups landed single hits on MTV and pop radio, as well. One of these artists was Soft Cell, whose cover of the Northern soul song “Tainted Love” made them a household name. There’s little of the original’s organic feel left in Soft Cell’s version, but that’s not a bad thing. Instead, the song is cold, distant and captivating. It’s the sort of pop song that’s dark, but not unapproachable. You can definitely dance to it, but it’s also interesting as a slice of musical history. Soft Cell’s “Tainted Love” grooves and hangs everything upon that earworm, “beep-boop” of the synthesizer. It’s brilliant stuff.

We’re sticking with the synth here for our next pick, the unabashedly electronic cover of “Obsession” by pop group Animotion. There’s a nice interplay between the programmed drums and cutting electric guitar that works well with the aforementioned synthesizer. It makes “Obsession” drive with a sinister and sweaty energy that makes it perfect for a dark and sexually-charged nightclub. Sure, the production and approach of Animotion instantly dates this track to the 1980s, but why shy away from that fact? “Obsession” lives and bleeds for hedonism and excess, and isn’t shy to tell you about it.

We realize Taylor Dayne has achieved a large amount of success in her career, yet we’d still argue the singer is somewhat underrated. “Tell It to My Heart” has thankfully lived on after its original chart success, and this is thanks largely to Dayne’s immense voice. The singer sounds large and in-charge on this slammin’ ‘80s track, possessing an absolutely unique charisma. “Tell It to My Heart” is aerobicise music, a hi-energy jam that’s analogous to early Madonna in style. Still, Dayne manages to stand out from the crowd, thanks to her unabashed power. She’s BELTING it all out, and never lets up for a second. Meanwhile, the synth backup to her work on the chorus just hammers home that hook in a wonderful way.

We’re glad that the Adam Sandler flick “The Wedding Singer” celebrates ‘80s music in such a big way. Perhaps that’s allowed songs like Dead or Alive’s “You Spin Me Round” a little extra lease on life. The track kicks ass regardless, of course, but it’s nice to know that something as capital-E “Eighties” as this is still well-loved. “You Spin Me Round” probably wouldn’t have endured were it not for the voice and visual presence of lead singer Pete Burns. Burns helped co-write the track, which starts off at a hundred miles-an-hour and never lets up on the gas. This is Hi-NRG to a T, and intended for one thing, and one thing only: DANCE.

The origins of New Order may lie within the 1970s post-punk of Joy Division, but “Blue Monday” is pure 1980s in the best way. The minimalism that defined the Joy Division sound is still there, but the traditional guitar-based format has been replaced with ultra-processed electronics. The end result is a song that feels of two worlds, a clash between 1970s and ‘80s culture, with the audience reaping the rewards. “Blue Monday” is robotic but insanely catchy, and has seen many remixes and cover versions over the years. It’s gothic grandeur with a polished, 1980s sheen, and certainly a mission statement for New Order’s entire career.

Can you imagine if Michael Sembello’s “Maniac” was actually used on the soundtrack to the cult horror movie that inspired its creation? Maybe, in a twisted, parallel universe, but we’re also glad that “Maniac” made it to the “Flashdance” soundtrack in this dimension. The song actually isn’t indicative of Sembello’s career as a whole, but this outlier has nevertheless gone on to define the man’s musical career. And, hey, there’s worse songs to have as a calling card, since “Maniac” uses awesome minor key phrasing and dark melodies to drive home its urgency. It fits “Flashdance” just as well as it could’ve “Maniac” the movie, while at the same time becoming a worldwide smash hit.

Where would a 1980s dance music list be without a little bit of the Purple One to bring the party? “1999” certainly brings all the feet to the dance floor, but “Let’s Go Crazy” might even be more important to Prince’s musical legacy. The song gathers together elements of rock, funk and dance music to create an infectiously potent musical cocktail. Prince was never afraid to mix disparate genres into his music, and “Let’s Go Crazy” gets people moving with both its percussive beat and red-hot guitar. All hail the King.

Early hip hop hits often doubled as huge dance smashes, and this next entry is no exception. “It Takes Two” samples the James Brown and Lyn Collins song “Think (About It)” to great effect, amping up the drum break to drive home a relentless groove to the dancefloor. Meanwhile, Rob Base hits the microphone with a smooth flow that creates a perfect balance. “It Takes Two” isn’t the most complex track in the world, but it doesn’t really need to be. Instead it’s just an ‘80s dance classic that’s lasted the test of time.

Think disco was dead in 1980? Think again. The 1970s phenomenon was still very big business throughout the early part of the following decade, thanks in part to hits like this one. “Funkytown” is an expertly-crafted jigsaw puzzle of melodic hooks and earworm ideas that burrow their way into our brains and live there forever, rent-free. There’s a certain European flare to “Funkytown” that makes it feel… well, sort of weird. This isn’t a bad thing, of course, and Lipps Inc. know well enough to utilize sting sections and synth stabs atop that bubbling bass guitar. “Funkytown” may have been written in ’79, but its 1980 release date as a single means that it slides on into this list with a top-tier spot.

Salt-N-Pepa are absolute queens of the hip hop world, and have graced the genre with numerous, culturally definitive hits. We admit we’re partial to the 1980s energy of “Push It,” however, a joyous track that always makes us smile ear-to-ear on the dancefloor. And why not? Salt-N-Pepa are absolutely infectious on “Push It,” boasting confidence, swagger and sexiness in equal measure. Meanwhile, the song’s synth melody is absolutely HUGE with a hook that’s undeniable. “Push It” is a perfect storm of cheeky lyrics, a driving beat and superlative charm. It’s an absolute classic.

We mentioned the European feel of “Funkytown” earlier on, and that sentiment can be doubled here with Belgium’s Technotronic. The group’s “Pump Up the Jam” showed up late in the decade, and combines proto-techno with electronic dance music and Hi-NRG in a great way. There’s absolutely nothing organic going on here, but that isn’t really the point. Instead, Technotronic feel like scientists in a lab, attempting to perfect their formula to make the people move. “Pump Up the Jam” certainly succeeds in that aim, an EDM staple that still gets played at retro nights to this day.

It may be hard to believe that Kool & the Gang have only managed to top US Billboard charts once with a #1 single, but it’s true… and here it is. Honestly, there are worse songs to have held as one of your stylistic calling cards, because “Celebration” has definitely endured to the modern day. It’s a wedding reception staple, sure, but “Celebration” is also a super-fun slice of disco-inflected funk. The band dynamic of Kool & the Gang is set on full display, bringing together their soul and dance influences in marvelous fashion. The singing is super melodic, the musicality 100% on point, and the composition tight and to the point. “Let’s celebrate,” indeed.

The great Cyndi Lauper is thankfully lauded as one of the ‘80s’ definitive performers, but let’s not forget that the woman also has a GREAT voice. It’s just so totally unique, and “Girls Just Want to Have Fun” is an awesome example of that fact. The song is actually a reimagined cover of an original by Robert Hazard, but there’s no denying Lauper makes the song hers, one hundred percent. Lauper’s range is seriously impressive, and her performance is crystal clear. Meanwhile, the instrumentation of “Girls Just Want to Have Fun” is quirky, light-hearted and fun. Plus, you can dance to it! What more could you need?

Whitney Houston was a generational talent. A voice that could not be contained, and whose pop presence is most definitely missed. Still, as sad as it is that Houston is no longer with us, at least we have songs like this one by which to remember her talent. “I Wanna Dance with Somebody (Who Loves Me)” is one of those once-in-a-lifetime songs that transcends genre to become something of a national treasure. It doesn’t matter whether you’re into heavy metal, hip-hop or country music, a good song is a good song. “I Wanna Dance with Somebody” is compositional brilliance that also happens to have one of the greatest singers EVER at the helm. It’s just unstoppable.

Move over, Meghan Trainor, because it’s really Rick James that’s all about that bass. The kind of bass hook that’s gone on to enjoy its own little slice of the pop culture pantheon. Sure, “Give It to Me Baby” is a worthy James jam, but it’s “Super Freak” that really gets us going. This is some nasty funk, the sort of shameless song that’s going to do all the bad things, twice over, and ask for more. James was extremely accomplished as a writer, performer and producer, and “Super Freak” makes the most of these talents. The pre-chorus is money, the verse is iconic, the chorus classic. ”Super Freak” just rules, plain and simple.

Remember how we mentioned the “aerobicise” period of Madonna? Well, this early hit for the Material Girl definitely fits that bill, and we love the song for it. “Holiday” was Madonna’s third single from her debut album, and it’s clear right away that this is something special. The pop icon would later release equally danceable classics like “Dress You Up” but “Holiday” possesses a certain innocence that’s difficult to beat. There’s a hunger to stick out from the crowd that’s palpable in Madonna’s voice, while her visual style would go on to influence generations in her wake. “Holiday” still absolutely kills it.

He wasn’t called the King of Pop for nothing. The legacy of Michael Jackson has certainly seen its complexities rise in the years since the icon’s death. The quality of his music, however, has never been in question. Jackson’s discography is like no other, and “Billie Jean” is testament to the man’s world-changing power. It’s not only MJ’s cult of personality that makes this song so good, it’s just impeccably written. The bassline is perfect, while the dance-friendly, post-disco beat allows Jackson’s vocals to shine. And shine they do, as he sings with abandon, while audiences around the world sit up and pay attention.