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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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Producing Bob Dylan was pretty much a spectator sport.
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Bob Dylan Much Pretty Produce Sport
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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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 believe Irving Berlin was there, and uh, and everything just centered around there.
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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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I don’t care, turn the organ up, and that’s really how I became an organ player.
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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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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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Finally a breath of fresh words founded in hardcore, intelligent research.
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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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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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You couldn’t help being influenced by Dylan.
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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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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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