1991年,两个来自英国的年轻人(歌手:Keith Girdler和吉他手:Paul Stewart)以Blueboy的名义在当时已经声名显赫的独立流行乐厂Sarah成功发行第一张单曲《Clearer》.此后,Harvey Williams作为第二吉他手加入,女歌手兼大提琴演奏者 Gamma Townlet、贝司手Mark和鼓手Lloyd也陆续加入.1992年,乐队发行单曲《Popkiss》及新专辑《If Wishes Were Horses》.94年发行了他们第二张大碟《Unisex》后,贝司手和鼓手离队,Townlet继任贝司的职位.95年发行单曲《Dirty Mags》时,Martin Rose担任了主唱.96年,乐队回到了最初的Keith、Paul的两人组合,发行《Love Yourself》.98年在《Bank Of England》推出后,据说这是乐队最后发行一张专辑,乐队宣布解散.现在这两人重组了一支新乐队Beaumon,风格与天真烂漫的Blueboy时期已有所不同,融入了更多神秘的宗教元素.
Blueboy的每一首歌都是写给19岁的孩子,讲述隐秘的内心世界,制造美丽又脆弱的旋律.穿透忧伤的清澈嗓音,有一点紧张,有一点羞涩.清亮透彻的木吉他带着回声静静蔓延,像飘散的水珠点点滴滴,让人再次重温久违了的清新.
A gorgeous slice of pastoral English pop, the debut album from Reading, England's Blueboy is one of those charmed releases that make you understand the obsessions of indie rock collectors. Clocking in at under 30 minutes, the disc is nevertheless packed with gentle gems, beginning with "Candy Bracelet," a melancholic meditation that soars on a bed of shimmering, echoing guitars and turns on a deceptively simple harmony vocal from Gemma Townlet. Serving as the group's cellist as well, she takes a prominent role on "Cloud Babies" and "Fondette," adding a mournful undercurrent to the delicate fingerpicking. The quintet shows a bit of versatility with a pair of breezy bossa nova-tinged numbers ("Too Good To Be True" and "Clear Skies") which are also delightful, but it's on "Sea Horses" and "Amoroso" that the group really shines, re-creating the Johnny Marr-style jangle that so many post-Smiths groups have copied, and matching it to the hooks that so few others have managed. While the group turned in more complex (and certainly lengthier) outings on its final two releases, If Wishes Were Horses wound up Blueboy's best statement of intent, a fleeting and irresistible pleasure.