“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.”

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.

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.

The first generation from the ’50s that were in 1650 [Broadway] were pretty much all crooks,

You couldn’t help being influenced by Dylan.

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

I’ve always wanted to make a bluegrass album.

My mother kept asking me, “When are you going to do a gospel album?” And I’ve always wanted to do a gospel album.

I’m free to do what I please, I’m probably not going to do albums. Just because I think releasing tracks as singles is a better way for me to stay topical.

People say releasing an album is like giving birth, but it’s more like having a gallbladder operation.

I’ve always known that if I recorded an album, it would come out, and people would enjoy it!

One of the hardest things I’ve had to deal with in my career is keeping my material topical even though I only release albums every three or four years.

I like to think that I’ve gotten better at what I do. I spend more time and pay more attention to detail album after album. But pretty much it’s stayed the same.

Probably 90 percent of my albums have polka medleys.