Most songs written in the last fifty years follow a similar structure: verse – chorus – verse – chorus – bridge – chorus. We’re all used to hearing music like this. Sometimes I even think our brains have an innate affinity for an A-B-A-B-C-B structure (doesn’t this pattern show up all over the world independently?). But not all music follows that arrangement. Jazz fans are used to hearing a 64-bar improvisation in the middle of a song. And people who listen to jam bands are used to the whole, err, jammy-ness of them. Dance music is a little different, too.

At this point it’s probably better to distinguish between two different subsets of dance music: “songs” and “tracks.” The distinction is arbitrary, but I’ll use it for simplicity. Songs follow the same verse-chorus structure outlined above (but they’re got a BPM high enough to make the listener move). Dance tracks are structured something like this: intro, build, drop, bridge, build, drop, outro. They oscillate periodically and are built around escalation and release.

Tracks aren’t made for top 40 radio station, they’re made for DJs to mix into the middle of a set. That should explain 32 bars of drums at the beginning and end. The intro/outro makes blending one track into another much easier (especially if you’re using real vinyl). Sure, you can listen to tracks on their own; I always do. But most people don’t want thirty seconds of drums at the beginning of every song. That’s why there’s often a “Radio Version” on the b-side of a twelve inch. DJ’s use one side for mixing into a set, radio stations use the other. Form follows function.

So if you’re going to “get into” dance music you’ll have to re-train your ear for a different song structure. How do you do that? I’ll repeat: listen to a lot of dance music. And don’t fast-forward through those drums at the beginning. The intro is there for a reason.

This old house track from Phortune is a good example. It doesn’t have a verse or chorus. It’s just one catchy loop and some simple drums that periodically change. A variation on a theme, if you will. And it’s got an intro and an outro designed to facilitate a smooth crossfade.

Phortune – String Free

This track from Louis La Roche works, too. To visualize what I’m talking about, I’ve included a waveform graphic of the tracks’s first 36 bars. Try to “follow along” with the picture underneath while you listen. It’ll all make sense.

Louis La Roche – Sunshine Hotel (Original Mix)

Now considering you’ve probably, within the last fifteen seconds, decided that you know exactly what it is you’ll be doing tonight, I’ll post a few of Rewind’s highlights and get out of your way.

NWA – Fuck tha Police (Trash Yourself remix)
I’ve been looking for a way to throw NWA into disco sets for quite some time, and oh God did I find what I was looking for. Not only has Trash Yourself shown us some incredible mixing skills, but they’ve also picked quite possibly the best song to demo them on.

A Ha – Hunting High and Low (Louis la Roche remix)
Glitch meets 80′s. Give it a minute, and boy does it get heavy, thanks to Loui la Roche. If only A Ha had known…
(And don’t worry. I know how disappointed you were when you saw that the A Ha cover wasn’t the infamous “Take On Me”, and I’m glad to assure you that that particular song, has also been given special attention. All the more reason to check out the Rewind site.)

Adam & the Ants – Stand and Deliver (Royal Rumble remix)
And finally, a bit of that frumpy ‘ol Royal Rumble goodness. (Yes, I think that’s what I’m going to call it from now on .. frumpy… there just isn’t a better way to describe their itchy skippy style)
Children, this is only the beginning. ‘twould be foolish not to scramble for every last track.