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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.

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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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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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Tom Wilson had produced jazz records and was a Harvard educated.
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You couldn’t help being influenced by Dylan.
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Finally a breath of fresh words founded in hardcore, intelligent research.
AL KOOPER

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At the end of the playback of the take of “Like A Rolling Stone”, or actually during the thing.
AL KOOPER

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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.
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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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If you’d done a good job you’d just step back and let all these different chemistries interact and let it go.
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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 believe Irving Berlin was there, and uh, and everything just centered around there.
AL KOOPER

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Producing Bob Dylan was pretty much a spectator sport.
AL KOOPER

Bob Dylan Much Pretty Produce Sport
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.
AL KOOPER

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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.
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Every now and then we could steal somebody else’s stuff.
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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.
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