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

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Still being ambitious to want to play on the record, I was a mediocre keyboard player. And uh, I seized the opportunity and played the organ.
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Every day from 10 to 6, we’d go in there and pretend that we were 13 year old girls and write these songs. That was the gig.
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Unlike so many Dylan-writer-wannabes and phony ‘encyclopedia’ compilers, Sean Wilentz makes me feel he was in the room when he chronicles events that I participated in.
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Tom Wilson had produced jazz records and was a Harvard educated.
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Bob Dylan said to the producer, turn up the organ. And Tom Wilson said, oh man, that guy’s not an organ player. And Dylan said.
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And he was about my age, and he just, that finished off my guitar career, just like that, in one afternoon.
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I liked being challenged by music. It’s good for me.
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I don’t care, turn the organ up, and that’s really how I became an organ player.
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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.
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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.
AL KOOPER

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The place that I worked I used to joke about it. There was a, every morning at 10:30 I’d come into work and I’d go into this cubicle that had a little upright piano and fake white cork bricks on the wall.
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Mike Bloomfield sat down and started playing, and I went, whoa! Because I had never heard any white person play like that before.
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I believe Irving Berlin was there, and uh, and everything just centered around there.
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Musically Bob [Dylan] is a primitive. He’s not a Gershwin, or somebody that uses eloquent music terms.
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Finally a breath of fresh words founded in hardcore, intelligent research.
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You couldn’t help being influenced by Dylan.
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