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 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, and a little slate that came out of the wall that you could actually write on. And a door that locked from the outside. 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.

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.

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. So I would come in on the upbeat of one. I would wait until the band played the chord, and then as quickly as I could come in play the chord.

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.

Musically Bob [Dylan] is a primitive. He's not a Gershwin, or somebody that uses eloquent music terms.

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.