Celestine

Kirsty MacColl · Other Songs - Kirsty MacColl

Oh she is hot, she's hot, she's hot

She's just a wild and wicked slut

And she lives inside my head and stops me sleeping

And when I think she's finally gone

Some guy arrives and turns her on

Then she parties until dawn

This can't go on

Celestine

Get out my dreams

You're killing me so slowly



So many men, so many fights

So many parties and late nights

She plumbs the depths and hits the heights

That Celestine

She pretends that she can't hear me

She pretends she's nowhere near me

She just goes quiet and pretends that she's not in

But Celestine I know you're there

In your exotic underwear

And you are fixing up your hair now, Celestine



Celestine

Get out my dreams

You're killing me so slowly



My lover looked into my eyes

And I could tell by his surprise

It was not me he saw in there but Celestine

And now it's her that he lusts after

I can hear that wicked laughter

Still he comes to me but I know where he's been



Celestine

Get out my dreams

You're killing me so slowly



Celestine

Get out my dreams

You're killing me so slowly



My lover hasn't got a clue

He doesn't know that he's untrue

And it's not me he makes love to but Celestine

Oh yes she's hot, she's hot, she's hot

I guess she's everything I'm not

And she lives inside my head and stops me sleeping

Celestine

Kirsty MacColl's 'Celestine' stands as a defining track from her 1978 debut album, 'Kirsty MacColl.' The song exemplifies the folk-rock revival of the late 1970s, blending acoustic instrumentation with MacColl's distinctive, emotive vocal delivery. Its themes of longing and melancholy resonated deeply with audiences, establishing her reputation as a singer-songwriter capable of capturing complex human emotions through simple yet powerful arrangements. The recording remains a staple of her discography, often cited alongside other key works like 'England 2 Colombia 0' and 'Ride' as central to her early artistic identity. While the track lacks the overt commercial polish of some contemporaries, its raw authenticity and lyrical depth secured its place in the canon of classic British folk music, influencing subsequent generations of artists who valued narrative storytelling and organic soundscapes.