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Popkiss is about two things: (gay) British indie "twee" pop music and the legal history of homosexuality in the UK. I'm not British and I'm not an anglophile. I just have problems
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Arabequse went for a cartwheel in the Feverfew, but neither lasted very long before Blueboy stood in the field. Afterwards, they would stay at Beamount and Edwardia, visit Sepiasound and meet Lovejoy, but nothing would ever quite be like That Blue Boy.
To be perfectly honest, Blueboy is the only band of theirs (besides Lovejoy, whose fault all of this is) (and of course "A Bed of Roses" by Feverfew) that I've actually listened to, but I thought this would be a good beginning
I'm rather good at beginnings, I like to think sometimes.
name taken from their site for a while — popkiss.net is down, but sepiasound.com hosts Paul's most recent work. archived unoffical fan site: x
Blueboy was, in some ways, a band of lasts: they hold the claim of the last single produced by Sarah, and the last song on it is "Toulouse" -- where the section title for this comes from. While the first half of Sarah Records was upheld by The Field Mice, Blueboy was known as their best band in the second half. The last track of their last album is "Angel at My Table" and its last notes are the first notes of their first song: "Clearer".
Blueboy was a band of firsts in one way, however; their lyrics were some of the first on the scene to address gay rights (x).
While there is only one live performance (possibily the ONLY recorded Blueboy performance) on the offical Blueboy Youtube channel, if you go to the Feverfew page, there as lots of live recordings there, and Keith was lead singer for that band as well. Sometimes, it doesn't seem right though, haha. (Yeah, I find Keith the most interesting. It's cuz he's dead and queer. What more do you want from me.)
Keith Girdler died in 2007 of cancer. Rest in peace.
Ohmygod he wrote "Too Good to Be True" about Sarah, not a big national political movement (x)
Have you ever heard of the despised Sarah Records? Since its death, the Sarah name has grown legendary, its records coveted by collectors that the founders hate. But back in the day, Sarah Records was the subject of scathing reviews and unfair takedowns — oftentimes it was evident that a reviewer hadn't even listened to the song they were deriding. Back in the day, sexism was way worse, so simply haivng a girls name was reason enough to fear that liking the company may brand you as unmanly — and, of course, being manly is what everyone wanted to be, because though women were no longer chained to their kitchens, they weren't exactly equating half of the power in society. Sarah was "twee" and "soft", and though criticism and reflection bounced around it, it is a very short step to connect that to "gay". The Sarah bands, while mainly still men, embraced a softer masculinity, singing songs about being Sensitive and falling in love, rather than just loving a girl — and yes, there is a slight difference in there.
My favourite Sarah band, and, indeed, the one I know best, is Blueboy. "Blueboy were romantic poets..." ahead of their time, they all say. Blueboy was about falling in love and it hurting, not falling in love and it hurting, wishing you could love and it hurting. But it wasn't, because Blueboy wasn't really about one thing at the end of the day, and songs fueled by stories like those mainly populated the middle Unisex album, which lead singer Keith Girdler heavily disliked due to him percieving it as too caught up in himself. (I will say that I find those songs and the similar ones as the most relatable and can't tell the difference between a personal account and a ficticious personal account in them — indeed, I had assumed that they were at least partially fictions.) They wrote poety for other songs, but need a poem weep to be good? This is the kind of question that I don't yet know the answer to. Blueboy was about dreamers. Blueboy was for dreamers. Blueboy was by dreamers.
Blueboy is/was an American gay pornography magazine that I thought was a coincidence until I read the post-humourous Sarah press, which I evidently should have read much sooner.