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.

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.

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.

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.

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

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.