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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 don’t care, turn the organ up, and that’s really how I became an organ player.
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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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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 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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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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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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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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Every now and then we could steal somebody else’s stuff.
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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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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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Bob 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.
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Tom Wilson had produced jazz records and was a Harvard educated.
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I liked being challenged by music. It’s good for me.
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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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Musically Bob [Dylan] is a primitive. He’s not a Gershwin, or somebody that uses eloquent music terms.
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Producing Bob Dylan was pretty much a spectator sport.
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