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.

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

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

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.

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.

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.