Fill In The Blanks For These Classic '80s Song Lyrics
- by Lucas Wesley
- – on
- in Entertainment
More so than almost any other decade, many music fans retrospectively view the idea of “’80s music” as a genre in and of itself. Like any other era, countless types of music existed at the time, including the always popular rock, country, and pop, along with new styles like heavy metal, rap, and alternative slowly establishing themselves on the Billboard charts. Nonetheless, most of the biggest songs in the world during this era shared certain production qualities that were distinctly 1980s, a sound little modern music is able to capture, no matter how hard it tries.
While popular trends and fashions have evolved a whole lot in the past 30+ years, certain fans of ‘80s music would much rather listen to their old favorites than bother with the hits getting played on radio today. Even younger audiences have shown a tendency towards gravitating to the past, learning all the words to songs that were written well before they had even been born. Not that doing so is necessarily hard, with many songs from the ‘80s speaking to universal themes in such a catchy manner it only takes one or two listens to start singing along. Of course, if someone does this without actually knowing the lyrics, it can be a little bit embarrassing. To ensure that isn’t happening, keep reading and fill in the blanks on these classic ‘80s songs.
Madonna: “Cuz we are living in a _____ world, and I am a _____ girl.”
Pop music had been pushing the notion that “diamonds are a girls best friend” since well before the 1980s, so Madonna’s iconic pro-consumerist message was hardly anything new from a lyrical standpoint. That said, in many respects, it nonetheless defined the 1980s musically and thematically, with the entire world digging into her message that money and possessions were pretty much everything. No other decade would create a metaphor where the dating game and the stock market were described with the same words, and that’s exactly what the Queen of Pop did in this song.
Michael Jackson: “Just beat it! Beat it! No one wants to be _____!”
Without any question, Michael Jackson was far and away the most successful musician of the 1980s, and his rise to the top was cemented with the album Thriller. Still the highest selling record of all time to this day, what made Thriller such a huge hit was Jackson’s ability to blend genres and styles into one unified outrageously mainstream sound. No song better represented this than his hard rock inspired classic “Beat It,” which at once affronts the listener with powerful guitars while delivering a scathing message against macho violence in any form.
Prince: “Tonight I’m gonna party like it’s _____.”
Stylish, funky, and always ready to rock, Prince was the life of any party he entered. An era of nonstop excess, this made His Royal Badness a massive superstar in the 1980s, when each of the many albums he released was bound to contain at least a few huge hits. Oddly enough, the first song to truly cement Prince as an icon wasn’t about the ‘80s, but rather how the party was only going to keep getting better and better as time continued. There was one year in particular that Prince thought was prime for the greatest parties of all.
Hall & Oates: “Watch out, boy, she’ll _____ you up!”
Next to romantic songs about everlasting love, perhaps the second most popular theme in pop lyrics is the exact opposite: scathing warnings about love gone wrong. That’s the approach taken by Daryl Hall & John Oates with their ultra catchy smash hit “Maneater,” a jazzy dirge about the kind of lady that can take a man for everything he has. According to the songwriters, though, it’s actually a metaphor for New York City, which anyone who spent time in the Big Apple during the ‘80s would likely agree makes perfect sense.
Wham/George Michael: “I’m never gonna dance again. _____ feet have got no rhythm.”
While Wham were already a wildly successful duo, George Michael shot to the stratosphere of mainstream pop when he went solo with “Careless Whisper.” Strangely, the song was one of the few tunes he and former Wham partner Andrew Ridgeley wrote together, and it originally featured on their album Make It Big before Michael alone released it as his debut single. Not that any of the technical confusion changes the wistful feelings brought up by the lyrics, detailing a relationship marked with shame and regret.
U2: “All is _____ on New Year’s Day.”
From the very beginning, the ultra successful band U2 were far more activist and confrontational than the average band. Even so, their powerful sound and driving energy made them intensely successful, and the rise arguably began with “New Year’s Day,” the lead single of their third album, Boy. Originally, the song was devised as a simple love song, but as per usual, U2 injected some of their personal beliefs into the lyrics, writing a powerful anthem for Polish Solidarity. Of course, one hardly needs to understand the era to appreciate the riffs.
Queen: “This thing called love, I just can’t _____ it.”
There are literally thousands of songs about love and how absurd it can make people act at time, but only Queen were bold enough to call the very notion of romance downright crazy. At the same time, the group downplayed some of their more ostentatious qualities to create a simple rockabilly guitar lick for Freddie Mercury to sing over using his best Elvis Presley impression. That said, not even the King of Rock could quite match Freddie’s swagger, which gave the old sound a timeless quality that allowed the iconic band their first number one Billboard hit.
Billy Joel: “Next phase, _____, dance craze, anyways, it’s still rock and roll to me.”
As this quiz will make clear time and again, the 1980s were a time when almost anything could creep it’s way up to the top of the Billboard charts. While this was great for musicians and fans with diverse tastes and interests, not everyone was particularly happy about this trend, eternally preferring that old fashioned rock and roll to the changing styles of the era. Billy Joel would eventually dabble in plenty of different genres himself, yet he was once one of the many people pining for the good old days with “It’s Still Rock and Roll to Me.”
Blondie: “Color me your color, baby, color me your _____.”
Before Madonna took over the scene, it’s hard to think of a more stylish pop star than Blondie’s front woman, Debbie Harry. Well, aside from the fact she wasn’t exactly a “pop star” per se, with the band blending themes of pop, rock, punk, and new wave into a decidedly ‘80s mixture, leading to some serious fame. “Call Me” was one of their biggest hits of all, elevated by its status as the theme song to Richard Gere’s blockbuster film American Gigolo. In hindsight, though, far less people remember Gere’s dramatic performance than do Harry’s powerful song about it.
Michael Jackson: “Billie Jean is not my _____.”
Every song on Thriller contributed to Michael Jackson selling hundreds of millions of copies. That said, when it comes to bringing him international acclaim and respect as the greatest all around entertainer of his era, no one song was more important than “Billie Jean.” Every last sound on the record compliments one another, altogether forming a sublime piece of music history. Not only was Jackson looking to please audiences’ ears, but he also offered an incredibly show visually, through the song’s iconic music video and his new dance move the Moonwalk.
Rick Springfield: “You know, I wish that I had _____ girl.”
The only thing worse than unrequited love is being forced to witness the object of one’s affections achieve happiness with someone else right in front of their eyes. That’s the pain felt by Rick Springfield in his most iconic hit, detailing how the girl of his dreams is dating his best friend. It’s clear from the start she has no interest in the rock star, and there’s really nothing he can do to change this without ruining his friendship. Well, except for write a number one hit about how he felt.
The J. Geils Band: “My blood runs cold, my _____ has just been sold.”
High school students can never really be all that sure about what will happen to their classmates in later years. That sweet innocent stranger that everyone seemed to have a crush on might be living a shocking double life, as happened to The J. Geils Band in their seminal hit “Centerfold.” After years of pining on a beautiful young woman from afar, the singer is shocked to discover photos of her in some sort of disreputable magazine. Heartbroken as he is, though, he still buys a copy to check it out.
George Michael: “It takes a _____ man, baby, but I’m showing you the door.”
Nearly every singer who writes a song about love and romance is looking for the same thing, but not all of them are straightforward in expressing it. Getting right to the point, George Michael’s first studio album used the keyword to lasting love as its title: Faith. Fun as a fling can be, when romantic partners can’t truly trust one another and believe they have both party’s best interests at heart, things are doomed to last from the start. If that faith isn’t there, George Michael knows exactly what to do.
Survivor: “It’s the eye of the _____, it’s the thrill of the fight.”
Such was the power of ‘80s excess that even an underdog hero who rose his way up from the bottom could suddenly give in to the craziness of the decade. Less than a decade after being plucked from obscurity and going the distance against Apollo Creed, Rocky Balboa was boxing’s reigning world champion, and his newest competitor was Clubber Lang. Aside from boxing and high drama, the Rocky series is perhaps best known for the searing anthems that soundtrack the champ’s training montages, and the third go around had one of the catchiest they ever wrote.
Queen: “Another one down, another one down, another one bites the _____.”
With the sheer number of hit songs some bands on this quiz were able to write, the process might eventually feel almost routine. Queen were starting to experience that status with their second number one hit, as predicted by the song’s lyrics. Of course, it doesn’t sound like Freddie was singing about his writing process, in reality telling a story about a criminal getting ready to pull off a major crime. Either way, few people pay attention to the lyrics anyway, too busy dancing to the bass line.
The Police: “My poor _____ aches with every step you take.”
Easily one of the most misinterpreted songs in history, the deceptive soft ballad “Every Breath You Take” is actually extremely creepy from a lyrics perspective. Obviously, the singer and songwriter Sting was abundantly aware of this fact, intentionally aiming for a dirge about a literally obsessed man and the danger he presents to the woman he can’t stop thinking about. Thanks to his smooth voice and the soothing backgrounds, though, it gets played at weddings and dances worldwide to this day. In Sting’s words, “well, good luck.”
David Bowie: “Put on your _____ shoes and dance the blues.”
Long considered the chameleon of rock and roll, it was only a matter of time before David Bowie released a disco song. The progenitor of glam, in many respects, Bowie had been well on his way to the dance floor for years, finally diving face first into crystal balls and driving synthesizers with his 1983 hit “Let’s Dance.” Everyone already knew Bowie had style, so it didn’t take much convincing to join him as he gave in to the decade’s trademark excess once more. His only request was that audiences don the proper footwear.
Van Halen: “I got my back against the _____ machine.”
While the 1980s was in many respects the decade when heavy metal became completely mainstream, one of the first hard rock bands to land a number one hit did so by temporarily putting down the guitars in favor of bouncing synthesizers. Despite this, the rock and roll spirit was definitely present in David Lee Roth’s voice as he shouted to apprehensive souls that they should just “Jump” and take a chance on beautiful strangers with whom they lock eyes across a crowded dance floor. And don’t worry, rockers, there was still a guitar solo.
Hall & Oates: “You can’t _____ my private eyes. They’re watching you.”
“Every Breath You Take” wasn’t the only song on the charts that blended stalking and romance to a disturbing middle ground most of the public failed to a notice. A few years earlier, Hall & Oates had a similar hit with “Private Eyes,” though they at least had the courtesy to send up this fact with the music video, dressing up like traditional gumshoes as they sang about obsessed surveillance of a loved one. After topping the charts in the ‘80s, nowadays, the song can be heard as the theme tune to a detective show with the same name.
Eurythmics: “I travel the world and the _____ seas.”
In one way or another, a solid half of pop songs probably describe one sort of dream or another. Eurythmics took this fact to a literal degree, albeit with a healthy dose of ‘80s irony that blended the line between an actual dream and a nightmare. Described by the songwriter as “hopeless and nihilistic,” the dark atmosphere Annie Lennox and David A. Stewart created was nonetheless energetic and rhythmic, inspiring countless equally disaffected ‘80s youths to flood the dance floors every time it played.
Dexys Midnight Runners: “You in that dress, my thoughts I confess verge on _____.”
Even in the 1980s, the fact a massive pop single featured elements borrowed from traditional Irish folk songs was pretty surprising. That the “too ra loo rye ay” section would be one of the track’s catchiest elements was even less predictable. Then again, listening to “Come on Eileen,” there’s nothing shocking about the fact fans would latch on to any part of it they could sing along to. Ultimately, the lyrics are secondary to the incredible horn section, which blend shockingly well with all the banjos and fiddles.
John Cougar: “Life goes on long after the _____ of living is gone.”
Try as John Mellencamp may to shed the youthful connotations of his early name, chances are he’ll always be Johnny Cougar to fans who first heard him sing in the ‘80s (or earlier). Ironically, the biggest hit he recorded under that title was all about the fleeting nature of youth most non-famous people are forced to experience, with childhood hopes and dreams repeatedly dashed as we move into life as adults. Nonetheless, “life goes on,” and based on the examples of Jack & Diane, there’s still hope for happiness despite the disappointments life can bring.
U2: “What more in the name of _____?”
Never afraid to wear their hearts on their collective sleeves, one of U2’s earliest hits was unquestionably powerful in nature, celebrating the life and times of Martin Luther King, Jr. in very direct fashion. From a critical standpoint, some people felt the message was a bit poorly formed, but audiences were nonetheless so overwhelmed by the subject matter that clunky lyrics weren’t going to stop “Pride” from becoming a massive hit. To this day, it remains an anthem for hope worldwide, subtly keeping Dr. King’s message in the public light.
Toto: “I bless the _____ down in Africa.”
With an increasing number of political songs reaching the pop charts during the ‘80s, a growing criticism was that certain acts were writing songs about subjects they knew little about. Recognizing this issue, Toto’s iconic hit “Africa” is all about how they love the continent and what it stands for despite having mostly experienced it through pictures. Additionally, beautiful as the nature can be, said imagery revealed how terrible the conditions were for some people living there, leading to a positive message of hope in the powerful chorus.
Bonnie Tyler: “Turnaround _____ eyes, every now and then I fall apart.”
The only thing bigger than Bonnie Tyler’s hair were the bombastic lifting chords accompanying her best remembered hit, “Total Eclipse of the Heart.” Written by Jim Steinman of Meat Loaf fame, the power ballad feels grandiose and epic from the moment it begins, only getting stronger and louder as the tune continues. Even the softer repetitive parts have an air of importance, sung wistfully in the background, like a choir of angels. It’s enough to make Tyler’s words feel as powerful as the natural occurrence she’s singing about.
Billy Idol: “If I had the chance, I’d ask the _____ to dance.”
Theoretically, the goal of most pop songs probably involves getting the audience to dance in one way or another. However, hardened rock stars like Billy Idol know that isn’t always going to happen, and sometimes people will simply be confined to celebrating entirely by themselves. If anything can help a person power through loneliness, it’s the driving energy of rock. Originally, Idol recorded the song with his punk band Generation X, but it was the more pop influenced solo version that gave him his first hit.
Kenny Rogers and Dolly Parton: “No one in between. How can we be _____?”
Popular as country music has always been in America, only select artists managed to crossover and dominate the pop charts. Kenny Rogers and Dolly Parton both achieved this feat more than once, so when the two combined for “Islands in the Stream,” there were no surprises that they pulled it off again. Written by the Bee Gees, the romantic duo could have been a huge hit in any genre, but few singers could have handled it with the grace of these two country icons.
Kenny Loggins: “Gotta cut loose. Footloose, kick off the _____ shoes.”
Listening to any one of the songs on this quiz could suddenly become a borderline crime in a town where dancing is illegal. That’s the terrible fate experienced by the youths of Footloose, when a misguided preacher starts blaming loud music and the rhythmic movement it causes for the moral decay he sees infecting his town. Luckily, a brash young outsider refuses to play by these rules, and emboldened by Kenny Loggins singing the massive hit theme song, nothing will stop him from cutting loose.
Prince: “This is what it sounds like when _____ cry.”
Wild and unforgettable as the film Purple Rain was, the soundtrack it featured was even better, truly sending Prince into the stratosphere of popular music. Each track was a classic in it’s own right, yet it was this iconic single that gave him his biggest hit, and according to Billboard, the overall best selling single of the year 1984. This made Prince the first artist in history to simultaneously have the number one album, song, and film in America, a status he’d attempt reclaiming several times over with future movies to less success.
Ray Parker, Jr.: “If there’s something _____ in your neighborhood, who you gonna call?”
Only in the 1980s could four off-kilter heroes who dedicated their lives to fighting ghosts became international sensations. Then again, the Ghostbusters remain iconic figures in pop culture to this day, so it’s not like their fame disappeared like the poltergeists they chase once the decade ended. On the other hand, it’s really hard to imagine a theme song about comedy superheroes topping the pop charts in the modern era, but that’s exactly what happened when Ray Parker, Jr. told the world who to call in case of supernatural disturbances.
Poison: “Just like like every _____ sings his a sad, sad song.”
Although the 1980s were the decade when hair metal broke into the mainstream, it was a soft rock ballad that brought the genre’s forbearers Poison their biggest hit song. It was clear from the title that Poison were aware “Every Rose Has It’s Thorn” wouldn’t quite fit their image as hardened partiers, but they also knew this dichotomy was entirely appropriate given the lyrics. Beautiful things can be dangerous, and people pretending to be tough and emotionless are still able to cry. And, in rare occasions, metal bands could make number one hit songs.
Bobby McFerrin: “Don’t worry, be _____.”
Fun as the music could be, some felt the 1980s weren’t the best time to be alive from a political standpoint. Granted, the deeper one looks into any era, the more likely they are to find issues revealing the world was never perfect. Rather than focus on these sort of negatives, Bobby McFerrin borrowed a phrase from Meher Baba and wrote the only number one hit a cappella song in Billboard history. In addition to the lack of instruments, the song was unique for blending reggae and jazz, two styles that similarly get little recognition on the mainstream charts.
Michael Jackson: “If you want to make the world a better place, take a look at yourself and then make a _____.”
Plenty of musicians talk about healing the world and making it a better place, yet only a select few of them actually make a continued effort at achieving this goal. For all his quirks, Michael Jackson always made it clear he genuinely cared about spreading love to society at large, though he realized it wasn’t always the easiest thing to do. After firmly establishing himself as the King of Pop, Jackson would acknowledge that true progress starts from within by topping the charts with a pseudo-gospel song about looking at the “Man in the Mirror.”
George Michael: “I will be your father figure, put your _____ hand in mine.”
When the lead singer of Wham, George Michael would occasionally write a slower song like “Careless Whisper,” but the pop songs were always fast, synthetic beats that would drive people to the dance floor. Once he went solo, Michael began experimenting with a softer sound that remained intensely danceable, albeit in a much different way. Instead of bopping around at the club, the later sensual hits were meant for slow dancing in close quarters, a tone he set with “Father Figure” and rarely went back on.
The Beach Boys: “Aruba, ______, oh I wanna take ya.”
Pop music always loves a comeback, so when The Beach Boys were in the spotlight for the first time since the 1960s due to “Kokomo,” old school fans were quick to appreciate their smooth melodies dominating the charts once again. Unfortunately, the band’s former leader Brian Wilson wasn’t along for the ride, a fact that has retrospectively left some fans of the band feeling a little chilly towards the song’s island rhythms. Not that this effected the chart success, as its still one of the most played Beach Boys tracks on retro radio stations to this day.
Bette Midler: “Did you ever know that you’re my _____?”
No matter how hard life can get at times, the power of true friendship can lift up the downtrodden and inspire hope in just about anyone. Legends like Gladys Knight, Lou Rawls, and Kenny Rogers all knew this when singing the iconic “Wind Beneath My Wings,” yet it was the Divine Miss M who turned it into a number one hit near the end of the ‘80s. In Midler’s film Beaches, the song specifically served as a soundtrack to the main characters friendship, yet the lifting lyrics are relatable to anyone who ever needed a helping hand.
Bruce Springsteen: “You can’t start a fire without a _____.”
The blaring power of “Born to Run” lead to Bruce Springsteen getting declared “the future of rock” very early in his career, it took him almost 10 years to achieve a number one pop single. Once he broke through, the floodgates were open, and Springsteen’s 1984 album Born in the U.S.A. became the highest selling of his career. Immediately, every woman listening to his songs thought about “Dancing in the Dark” with the E Street Band, yet only future Friends star Courteney Cox would get the chance in the track’s music video.
Whitesnake: “Like a _____, I was born to walk alone.”
While most hair metal bands needed to ditch their rocker instincts to write a power ballad that would put them on top of the pop chart, Whitesnake remained true to their massive bouffants with their rollicking hit “Here I Go Again.” Of course, they did have to tone the guitars down just a little, removing distorted solos for pop-influenced riffs that embolden the singer’s choice to leave society behind. Riding this wave of rock and roll, it feels like nothing could stop him, even as he repeatedly ditches those around him to set off on his own yet again.
Tommy Tutone: “_____, I've got your number.”
Irritating as it would be for someone to learn their phone number was plastered on a bathroom wall, this can’t compare to the annoyance anyone who answered the call when people started dialing “867-5309” en masse in the early ‘80s. Thanks to one hit wonder Tommy Tutone, this was a remarkably common occurrence, with fans and pranksters alike trying to get ahold of the subject of their hit song. Unsurprisingly, they never quite found the person they were looking for, with the songwriters later claiming such a woman didn’t even actually exist.
Cyndi Lauper: “If you fall, I will catch you. I’ll be _____.”
Girls may well just wanna have fun, but unfortunately, the world they live in doesn’t always allow for this sort of carefree lifestyle. Far more often, people find themselves in situations of uncertainty and even danger, needing the support of their friends and loved ones to help them get through this. Cyndi Lauper knows these sort of feelings happen “Time After Time,” but she also promises the person she’s singing to this isn’t a problem for her, as she’ll always be there when the going gets tough.
Huey Lewis and the News: “Yes, it’s true. I’m happy to be _____ with you.”
Depending on who the other party is, there are worse things in the world than being forced to spend time with someone in close quarters. In fact, there are certain people out there with whom we might even want to get abandoned on a desert island, free of the baggage and problems that the rest of the world inevitably would bring. The only catch is that they need to feel the same way, or else a fortuitous situation could turn awkward really quick. Luckily for Huey Lewis, the woman he’s singing about reciprocates his emotions.
The Bangles: “Just another manic Monday. I wish it was _____.”
Such was the incredible power and prolific nature of Prince in the 1980s that the Purple One would regularly write immense hit songs and hand them off to other artists. Originally, “Manic Monday” was supposed to go to his onscreen girlfriend Apollonia, but when that plan fell through, he handed it over to The Bangles. In doing so, he turned the all-female group into superstars and gave them their first huge hit, with Susanna Hoffs’s lead vocal offering a dejected sweetness Apollonia may not have been able to provide.
The Cure: “Show me, show me, show me how you do that _____.”
Blending gothic imagery with intensely earnest lyrics, The Cure neither looked nor acted like an alternative rock band. They certainly didn’t seem like pop stars, either, yet a handful of undeniable hooky hits very nearly allowed them to cross over to the mainstream. The shift began with “Just Like Heaven” and its simple, repetitive lyrics about the need for affection and the joy people experience when they receive it. Poppy and mainstream as it was, The Cure’s heavier contemporaries Dinosaur Jr. proved it could also totally rock in a blistering cover version.
a-Ha: “Take me on. Take on me. I’ll be _____ ”
Ultimately, “Take On Me” for a-Ha will forever be known for three things. First and foremost, there’s the strange wording of the title, which repeats in the unforgettable chorus. Second up is the music video, featuring wildly innovative blends of pencil drawn animation and live action. Lastly, it’s the incredibly high falsetto the singer reaches as he bolts out the chorus, noting how little time he and the object of his affection have left to get the most out of their situation.
Bon Jovi: “Take my hand, we’ll make it, I _____.”
In the fast and loose 1980s, many blue collar workers were realizing trickle down economics wasn’t all it had been cracked up to be, leading to a feeling of desperation and fear, not knowing how they’d pay for their continued existence, let alone next few meals. Or, as Bon Jovi put it, there were a whole lot of people “Livin’ on a Prayer,” needing to rely on one another for support and inspiration in a time when little was promised, and even that which was promised rarely got delivered.
Tears For Fears: “All for freedom and for _____, nothing ever lasts forever.”
Truth be told, anyone who truly understands the nature of responsibility would likely disagree with Tears For Fears when they claimed “Everybody Wants To Rule The World.” That’s not to say people don’t understand the impulse, as absolute power would indeed be pretty tempting removed from the weight and responsibility of it all. As the song goes, though, “nothing ever lasts forever,” and the side effects of true world leadership aren’t always points of pride. Of course, the band was well aware of this, the lyrics intending to scoff at society rather than congratulate it.
Rod Stewart: “Young hearts, be _____ tonight. Time is on your side.”
By the 1980s, modern day soft rocker Rod Stewart had already gone through two or three major career revamps. In the ‘60s, he was part of the hard rocking Faces, followed by mellowing out as a bit of a folkie when he initially went solo. Next up was the disco phase, which had yet to die down in the early ‘80s when he wrote “Young Turks.” Regardless of the genre, Stewart’s tale of Billy and Patti defying their parents’ wishes to be together at all costs could have been a hit in any era.
Phil Collins: “Well if you told me you were _____, I would not lend a hand.”
Forget about the urban legends that Phil Collins insists were never based on any sort of reality in the first place. The real focus of “In The Air Tonight” always should have been the blistering drum solo, which the former Genesis singer uses to let out the pent up energy and anger the lyrics are more accurately describing. Whatever the track is actually about, listeners everywhere latched on to the ethereal sounds Collins created, giving an early indication that going solo would pay off for him in a major way.
Prince: “You don’t have to be _____ to be my girl.”
Just a few short years after Purple Rain, Prince made his second effort at starring in another film with Under the Cherry Moon. While he didn’t quite capture lightning twice cinematically, the soundtrack was once again a major smash, despite the fact it dramatically toned down the usual sound for which Prince was known. If anything, this change only made it more popular, as the sparse, falsetto-sung “Kiss” was the album’s biggest hit. It’s not like any of Prince’s trademark funk was sacrificed, either, as the song is one of his most danceable ever.
USA For Africa: “We are the world. We are the _____.”
Thanks to the success most songs on this quiz achieved, the people who wrote, sang, and performed them almost all become millionaires, or at least came very close to that status. Before anyone assumes this made them all greedy, more artists than we can possibly name here came together in the middle of the decade to use their powers in an effort to feed the poor and disadvantaged people of Africa. Called “We Are the World,” the charity ultimately raised millions for their goal, and more importantly spread the message that everyone with the means to help should.