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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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I don’t care, turn the organ up, and that’s really how I became an organ player.
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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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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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Tom Wilson had produced jazz records and was a Harvard educated.
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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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The first generation from the ’50s that were in 1650 [Broadway] were pretty much all crooks,
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Producing Bob Dylan was pretty much a spectator sport.
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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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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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Finally a breath of fresh words founded in hardcore, intelligent research.
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I believe Irving Berlin was there, and uh, and everything just centered around there.
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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 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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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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