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.

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.

If you'd done a good job you'd just step back and let all these different chemistries interact and let it go.

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.

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.

Every now and then we could steal somebody else's stuff.

I think it was Columbia politics, Columbia Records politics that, that, Tom Wilson left [Bob Dylan] after "Like A Rolling Stone".