“I was more concerned with paying a good homage to—and making a good representation of—all the things that Mick Taylor had laid down during the period while he had been with the band; his melodies and his virtuosity. If I am playing a song like All Down The Line it’s a tribute to Mick Taylor’s playing, and if we play Can’t You Hear Me Knocking I’m doing Mick Taylor, only now I can take it off somewhere else.
I always thought that I would never be able to play like Mick, while he thought he was no good—he thinks I’m far better than him and I’ll say, ‘Come on, Mick, get out of here,’ but he honestly believes that. I didn’t dwell on it too long. I knew that I had it inside me to play things my way, but to add the flavour of Mick Taylor as well is cool.”