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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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The first generation from the ’50s that were in 1650 [Broadway] were pretty much all crooks,
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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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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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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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Every now and then we could steal somebody else’s stuff.
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Producing Bob Dylan was pretty much a spectator sport.
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I liked being challenged by music. It’s good for me.
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Tom Wilson had produced jazz records and was a Harvard educated.
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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 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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At the end of the playback of the take of “Like A Rolling Stone”, or actually during the thing.
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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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I started in the music business I was first introduced to 1650 Broadway, uh, which was in reality where everything happened in the ’60s.
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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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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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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.
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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.
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Finally a breath of fresh words founded in hardcore, intelligent research.
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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.
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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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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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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.
AL KOOPER

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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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Musically Bob [Dylan] is a primitive. He’s not a Gershwin, or somebody that uses eloquent music terms.
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You couldn’t help being influenced by Dylan.
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Mike Bloomfield sat down and started playing, and I went, whoa! Because I had never heard any white person play like that before.
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