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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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Funny Thing Instrument Minute Play Read Rolling Six Song Stone Unfamiliar

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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

Actual During End Like Playback Rolling Stone Take Thing
I started in the music business I was first introduced to 1650 Broadway, uh, which was in reality where everything happened in the ’60s.
AL KOOPER

Broadway Business Everything First Happen Introduce Music Reality Start
In the, uh, ’30s and ’40s, the Brill Building was the hub of, uh, musical activity in Tin Pan Alley in New York City.
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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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Ambition Bob End Fact Play Session Sheer Through
Finally a breath of fresh words founded in hardcore, intelligent research.
AL KOOPER

Breath Finally Found Fresh Hardcore Intelligent Research Word
And a little slate that came out of the wall that you could actually write on. And a door that locked from the outside.
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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.
AL KOOPER

Funny Thing Instrument Minute Play Read Rolling Six Song Stone Unfamiliar
I think it was Columbia politics, Columbia Records politics that, that, Tom Wilson left [Bob Dylan] after “Like A Rolling Stone”.
AL KOOPER

After Country Politics Record Roll Stone Think
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.
AL KOOPER

Equivalent Excellent Gospel Influence Jewish Marriage Mostly Music Over Play Twist
Musically Bob [Dylan] is a primitive. He’s not a Gershwin, or somebody that uses eloquent music terms.
AL KOOPER

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I believe Irving Berlin was there, and uh, and everything just centered around there.
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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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I liked being challenged by music. It’s good for me.
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You couldn’t help being influenced by Dylan.
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Every now and then we could steal somebody else’s stuff.
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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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