Producing Bob Dylan was pretty much a spectator sport.

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.

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.

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 "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.

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

I liked being challenged by music. It's good for me.