Producing Bob Dylan was pretty much a spectator sport.

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

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.

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.

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

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.

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