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

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.

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.

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.

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.

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.

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