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.
AL KOOPERThe 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.
AL KOOPERThe [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.
AL KOOPERBob 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.
AL KOOPERIn the, uh, ’30s and ’40s, the Brill Building was the hub of, uh, musical activity in Tin Pan Alley in New York City.
AL KOOPERMike Bloomfield sat down and started playing, and I went, whoa! Because I had never heard any white person play like that before.
AL KOOPERThe 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 KOOPERUnlike 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.
AL KOOPEREvery 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.
AL KOOPERYou couldn’t help being influenced by Dylan.
AL KOOPERI 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.
AL KOOPEROnly 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.
AL KOOPERI liked being challenged by music. It’s good for me.
AL KOOPERI started in the music business I was first introduced to 1650 Broadway, uh, which was in reality where everything happened in the ’60s.
AL KOOPERThe first generation from the ’50s that were in 1650 [Broadway] were pretty much all crooks,
AL KOOPERI don’t care, turn the organ up, and that’s really how I became an organ player.
AL KOOPERAnd a little slate that came out of the wall that you could actually write on. And a door that locked from the outside.
AL KOOPER