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

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

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 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.

The first generation from the '50s that were in 1650 [Broadway] were pretty much all crooks, I mean just out and out crooks. And the next generation had a little more finesse. But I mean those first wave of people, you know, definitely would take all your money, no doubt about it.

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.

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.