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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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Tom Wilson had produced jazz records and was a Harvard educated.
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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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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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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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I liked being challenged by music. It’s good for me.
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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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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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Producing Bob Dylan was pretty much a spectator sport.
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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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You couldn’t help being influenced by Dylan.
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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.
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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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Musically Bob [Dylan] is a primitive. He’s not a Gershwin, or somebody that uses eloquent music terms.
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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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