Mike Bloomfield sat down and started playing, and I went, whoa! Because I had never heard any white person play like that before. And he was about my age, and he just, that finished off my guitar career, just like that, in one afternoon.

In the, uh, '30s and '40s, the Brill Building was the hub of, uh, musical activity in Tin Pan Alley in New York City. I believe Irving Berlin was there, and uh, and everything just centered around there.

Mike Bloomfield sat down and started playing, and I went, whoa! Because I had never heard any white person play like that before. And he was about my age, and he just, that finished off my guitar career, just like that, in one afternoon.

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. Finally a breath of fresh words founded in hardcore, intelligent research.

I liked being challenged by music. It's good for me.

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.

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. Tom Wilson had produced jazz records and was a Harvard educated.