MacColl began her career in the late 1970s UK punk rock scene, singing backing vocals for Drug Addix. Her UK hits included the 1981 single "There's a Guy Works Down the Chip Shop Swears He's Elvis", a cover of Billy Bragg's "A New England" in 1985, a duet with Shane MacGowan of The Pogues on "Fairytale of New York" in 1987, and a cover of The Kinks' song "Days" in 1989. She was probably most recognizable in the United States as the writer of "They Don't Know" a hit in 1979.
After a break from the music industry for much of the 1990s, several trips to Cuba and Brazil restored MacColl's creative muse, and the world music-inspired (particularly Cuban and other Latin American forms) Tropical Brainstorm, often described as her finest work, was released in 2000.
On 18 December 2000, while swimming in a restricted diving area with her family on a holiday in Cozumel, she was killed in a collision with a powerboat while managing to drag her son out of its path. The boat was owned by Mexican supermarket millionaire Guillermo González Nova (owner of Comercial Mexicana), who was on board with several members of his family. A boathand, José Cen Yam, claimed to have been driving the boat and was found guilty of culpable homicide and, under Mexican law, allowed to pay a fine of 1034 pesos (about USD 90) in lieu of a prison sentence of that many days. However, eyewitnesses contradict Cen Yam's claim to have been driving and also González Nova's claim that the boat was travelling at a speed of only one knot. MacColl's family are campaigning for a judicial review into the events surrounding her death, including an application to the Inter-American Commission on Human Rights. The BBC has featured on several of its channels a documentary by Olivia Lichtenstein, entitled Who Killed Kirsty MacColl?
In 2001, a bench was placed by the southern entrance to London's Soho Square as a memorial to her, after a lyric from one of her most poignant songs: "One day I'll be waiting there/ No empty bench inSoho Square.
Here Comes That Man Again
Kirsty MacColl Lyrics
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It's always round midnight
That Amsterdam creeps into my PC
After a long hard day selling pornography
He likes to come home and talk to me
He's got his mind on the job but
His technological props
And though I'm scared to click open
I just can't help having a look
Oh, here comes that man again
A car crash in my psyche
My curiosity's driving me
Yes here he comes again
Who'd have thought I'd have as much fun
With an anonymous Dutchman?
I never knew I had it in me
He says the camera is on and
Can I see him yet?
I say "Babe you look like a ghost
And sound like a Dalek to me"
So let's go back to the written word
Even though we both know it's absurd
Here comes that man again
Here comes that man again
Here comes that man again
Here comes that man again
He knows that I'm online
"Knock knock, who's there?"
It's just a matter of time
Here comes millennium man
Rum and coke in one hand
And in the other...
Is that a mouse a see?
Although when I tell him he's corny
It seems to make him quite horny
And through the cyberspace
I watch the rapture on his face
Yes while his girlfriend is sleeping
His sexuality's peeking
Here comes that man again
After a long hard day
He likes to come home and talk to me
He says it's something he needs
He can't stop spilling the seeds
God bless European unity
And all those who never sleep
Sha la la la la, get your rocks off baby
Sha la la la la, get your rocks off baby
Sha la la la la, get your rocks off
Another stain on another blue dress
Sha la la la la, get your rocks off baby
Sha la la la la, get your rocks off baby
Sha la la la la, get your rocks off
Yes, yes
The lyrics of Kirsty MacColl's song "Here Comes That Man Again" revolve around the experience of a woman who is selling pornography online who connects with an anonymous Dutchman she refers to as "that man again." The entire experience seems to take place in cyber space, and the woman is intrigued by this man who always shows up again, particularly at midnight when she's vulnerable and tired. She's afraid to click on his messages but can't resist her curiosity, even though the whole thing feels like a "car crash in [her] psyche."
Despite her reservations, the woman connects with the Dutchman, and it seems that they have a mutually enjoyable time chatting online. They flirt and make each other laugh, and the Dutchman seems to enjoy the attention he receives from the woman. Although the woman is hesitant to continue the interactions, the Dutchman persistently comes back, knocking at her virtual door. Ultimately, she tries to distance herself from him and go back to a more "sane" form of communication, but she can't seem to shake him off.
The song is a commentary on how technology has made it possible for people to have sexual relationships and erotic experiences without ever meeting in person. It's a cautionary tale of sorts, warning about the dangers of online interactions and the allure of anonymous sexual exploration that can be both exciting and frightening. With its playful rhythm and catchy melody, "Here Comes That Man Again" manages to be humorous and poignant at the same time.
Line by Line Meaning
Here comes that man again
The singer is anticipating the arrival of a man and expects interaction.
It's always round midnight
The man usually appears at night or later in the evening around midnight.
That Amsterdam creeps into my PC
The singer is referring to the internet connection or chat rooms used to communicate with the man from Amsterdam.
After a long hard day selling pornography
The artist is having a difficult day selling pornography or adult content and seeks solace in talking to the man again.
He likes to come home and talk to me
The man enjoys conversing with the artist and seeks her for conversation.
He's got his mind on the job but
The man's work-related concerns are always on his mind.
His technological props
The man uses technological devices to communicate with the singer.
Oops, another file on the email
The artist has received another file on email, and it was unexpected.
And though I'm scared to click open
The artist is hesitant to open the new email due to fears and concerns.
I just can't help having a look
Despite her fears, the artist still opens the email to see what was received.
Oh, here comes that man again
The singer is excited as the man returns for another conversation.
A car crash in my psyche
The arrival of the man triggers intense emotions inside the artist.
My curiosity's driving me
The singer's curiosity and eagerness drive her to keep talking to the man.
Who'd have thought I'd have as much fun
The singer is surprised at how much fun she can have talking to an anonymous person.
With an anonymous Dutchman?
The singer is enjoying the company of an unfamiliar person from Amsterdam.
I never knew I had it in me
The artist is amazed at her own ability to connect and have fun with an anonymous person.
He says the camera is on and
The man informs the artist about turning on his camera for her to see him.
Can I see him yet?
The singer is eager to watch the man on the camera.
I say 'Babe you look like a ghost
The singer makes a joke about the man's appearance on camera.
And sound like a Dalek to me'
The artist compares the man's voice, which she finds robotic, to a 'Dalek' from the British television show Doctor Who.
So let's go back to the written word
The artist suggests returning to written communication rather than video communication.
Even though we both know it's absurd
Both parties know that their interactions are unusual or impractical but still continue to engage.
He knows that I'm online
The man is aware of the singer's online presence and availability.
It's just a matter of time
The artist expects the man to contact her.
Here comes millennium man
The man is referred to as the 'millennium man.'
Rum and coke in one hand
The man has a drink in each of his hands, such as rum and coke.
And in the other...Is that a mouse a see?
In addition to his drinks, the man holds a computer mouse as he types.
Although when I tell him he's corny
When the woman tells the man he's making predictable jokes, he still responds favorably.
It seems to make him quite horny
The man finds the artist's response to his jokes sexually appealing.
And through the cyberspace
The interaction is entirely online, in cyberspace.
I watch the rapture on his face
The singer observes the man's emotions and expressions on his face during their interaction.
Yes while his girlfriend is sleeping
The man is in a relationship, and his girlfriend is asleep during the interaction.
His sexuality's peeking
The man's sexual interest is sparked during his conversation with the artist.
He says it's something he needs
The man treats his conversations with the artist as a need, emphasizing how important their interactions are to him.
He can't stop spilling the seeds
The man regularly shares his intimate thoughts and feelings with the singer.
God bless European unity
The artist makes a sarcastic remark about the importance or irrelevance of European unity, as the man is from Amsterdam.
And all those who never sleep
The singer references the constant availability of people to interact with online.
'Sha la la la la, get your rocks off baby'
The singer references a Rolling Stones song 'Get Off of My Cloud,' with the lyric 'Hey! You! Get off of my cloud'.
Another stain on another blue dress
The singer makes a reference to President Bill Clinton's affair with Monica Lewinsky, in which she wore a blue dress that became significant in the investigation.
'Yes, yes'
The artist agrees with a statement or sentiment.
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: KIRSTY MACCOLL, PETER WILFRED GLENISTER
Lyrics Licensed & Provided by LyricFind