“And he was about my age, and he just, that finished off my guitar career, just like that, in one afternoon.”

Musically Bob [Dylan] is a primitive. He’s not a Gershwin, or somebody that uses eloquent music terms.

I believe Irving Berlin was there, and uh, and everything just centered around there.

I don’t care, turn the organ up, and that’s really how I became an organ player.

The very funny thing about “Like A Rolling Stone” is it was a six minute song, there was no music to read from. And there I was playing this unfamiliar instrument.

The “Highway 61” album [of Bob Dylan] was produced by Bob Johnston if I’m not incorrect. And Bob Johnston was an entirely different producer than Tom Wilson.

So I would come in on the upbeat of one. I would wait until the band played the chord, and then as quickly as I could come in play the chord.

I mean just out and out crooks. And the next generation had a little more finesse. But I mean those first wave of people, you know, definitely would take all your money, no doubt about it.

Mike Bloomfield sat down and started playing, and I went, whoa! Because I had never heard any white person play like that before.

Finally a breath of fresh words founded in hardcore, intelligent research.

Producing Bob Dylan was pretty much a spectator sport.

I think it was Columbia politics, Columbia Records politics that, that, Tom Wilson left [Bob Dylan] after “Like A Rolling Stone”.

And a little slate that came out of the wall that you could actually write on. And a door that locked from the outside.

Tom Wilson had produced jazz records and was a Harvard educated.

The [Bob] Dylan sessions were very disorganized, to say the least. I mean, the “Like A Rolling Stone” session I was invited by the producer to watch.

Only through sheer ambition did I end up playing on [Bob Dylan sessions] and the fact that I could do that is a testament to how disorganized it really was.

My influences were mostly gospel. So I was playing my twisted Jewish equivalent of gospel music over his twisted equivalent of rock and roll music. And it was a very excellent marriage.

I just managed to convince my grandmother that it was a worth while that was something to do, you know, and when I did finally get the guitar, it didn’t seem that difficult to me, to be able to make a good noise out of it.

There’s so much that can be done on the guitar. And that’s what is so good about the guitar – everyone can really enjoy themselves on it and have a good time, which is what it’s all about.

Jackson plays a broken guitar because he’s in love with it, and doesn’t want to fix it, I think. It’s so broken.

I never took guitar lessons. I took classical piano lessons from the age of six when we lived in Holland.

From the classical guitar right through to the furthest electrical experiments and everything in-between, it’s amazing what the guitar can actually do. I mean, when one thinks about sounds.

Every time you pick up your guitar to play, play as if it’s the last time.

So, my big brother was playing guitar and I figured I’d try it too.

Your sound is in your hands as much as anything. It’s the way you pick, and the way you hold the guitar, more than it is the amp or the guitar you use.