A Quote by Gary Moore

There was a great blues scene in Belfast during the late '60s. — © Gary Moore
There was a great blues scene in Belfast during the late '60s.
The blues was so big in the late '60s that it kinda wore itself out, and people weren't diggin' the blues as much.
On my Wikipedia page, it used to say I was born in Belfast, Ireland, then it said Belfast, Northern Ireland, and then it said Belfast, U.K. So there was a little war going on about where Belfast is located.
The Blues scene now is international. In the '50s it was purely something that you would hear in black clubs, played by black musicians, especially in America. But from the '60s onwards it changed
The Blues scene now is international. In the '50s it was purely something that you would hear in black clubs, played by black musicians, especially in America. But from the '60s onwards it changed.
I actually went to see 'Rushmore,' and I came late, and I missed myself. It was great, that scene. I caught that scene the other day on TV, funny enough, the first scene that you see with Jason Schwartzman and myself, where we talk about his grades. That's a brilliant scene, and I have to say, we play it brilliantly.
There are happy blues, sad blues, lonesome blues, red-hot blues, mad blues, and loving blues. Blues is a testimony to the fullness of life.
If Star Wars had been released in the late '60s, or late '80s, or late '90s, adjusting for technology, it fits spectacularly well.
When I was a kid, for me, the '60s seemed so far away. But I was actually born in the late '60s.
Lightnin' Hopkins was something of a fixture on the Houston coffee house scene so we were witness to eccentric blues brilliance close up. Then, believe it or not, along came the wave of the English cats like John Mayall, Eric Clapton and the Stones embracing the great American art form - the blues.
The blues is the foundation, and it's got to carry the top. The other part of the scene, the rock 'n' roll and the jazz, are the walls of the blues.
My mom would always play me a lot of late-'50s, late-'60s rock.
I have heartaches, I have blues. No matter what you got, the blues is there. 'Cause that's all I know - the blues. And I can sing the blues so deep until you can have this room full of money and I can give you the blues.
I went back to Belfast and started a club, the Maritime. No one had thought about doing a blues club, so I was the first.
I was seduced by the nouvelle vague, because it was really reinventing everything. And the Italian cinema that one would see in the theaters in the late '50s, early '60s was Italian comedy, Italian style, which, to me, was like the end of neo-realism. I think cinema all over the world was influenced by it, which was Italy finding its freedom at the end of fascism, the end of the Nazi invasion. It was a kind of incredible energy. Then, late '50s, early '60s, the neo-realism lost its great energy and became comedy.
It's an often-asked question, 'Why did all these spotty white English boys suddenly start playing blues in the '60s?' It was recognized as this kind of vibrant music and when I first started playing in a blues band I just wanted to bring it to a wider public who hadn't really heard it.
I spent a few years here in Memphis, in the late '70s and early '80s, where I was studying a lot of country blues players and their styles. So it seems like every record I'll do, I will appropriate these blues styles that I remember.
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