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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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You couldn’t help being influenced by Dylan.
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Being Help Influence Person
I believe Irving Berlin was there, and uh, and everything just centered around there.
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Around Believe Center Country Everything Just Live
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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Actual Came Door Little Lock Out Outside Slate Wall Write
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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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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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.
AL KOOPER

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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”.
AL KOOPER

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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.
AL KOOPER

Activity Alley Building Country Hib Music Pan Tin
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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Producing Bob Dylan was pretty much a spectator sport.
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Bob Dylan Much Pretty Produce Sport
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 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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