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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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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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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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I liked being challenged by music. It’s good for me.
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I believe Irving Berlin was there, and uh, and everything just centered around there.
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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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Finally a breath of fresh words founded in hardcore, intelligent research.
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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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I don’t care, turn the organ up, and that’s really how I became an organ player.
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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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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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Every now and then we could steal somebody else’s stuff.
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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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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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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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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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You couldn’t help being influenced by Dylan.
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