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.

At the end of the playback of the take of "Like A Rolling Stone", or actually during the thing, Bob Dylan said to the producer, turn up the organ. And Tom Wilson said, oh man, that guy's not an organ player. And Dylan said, I don't care, turn the organ up, and that's really how I became an organ player.

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

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

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.

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.

...You couldn't help being influenced by Dylan.