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If there's anybody who knew how to play in a studio, it was Duane Allman.

When we started the Allman Brothers, it was all about the music.

I was very friendly with Jimi Hendrix because my boyfriend at the time, Tommy Weber, was making a film about him, so I would go to all of his shows.

I thought what I was good at doing was playing real simple guitar licks, since I'd cut my teeth on what Duane Eddy was doing; licks that were simple but had staying power.

But when I played Woodstock, I'll never forget that moment looking out over the hundreds of thousands of people, the sea of humanity, seeing all those people united in such a unique way. It just touched me in a way that I'll never forget.

To be able to take music and do something as profoundly original as what we did with the Allman Brothers, you've got to put some time into it.

We did a lot of fight scenes in 'Hitman: Agent 47,' so you have to learn repetitious movements to music; otherwise, it's amazingly boring. Michael Jackson was our savior.

I have so many great memories of the Allman Brothers early days. It was an incredible time.

In hockey, it was a freak show. I'm the son of actors and from California, and in Canada, hockey is a religion, so me coming in, it was like, 'Who the hell is this guy?' I just had to put my head down and work really hard, and it was difficult, but it made me who I am and gave me a backbone.

Anytime I'm playing music or getting ready to record, Duane Allman will enter my thoughts, and so will Berry Oakley. It's part of my musical makeup and mental process when it comes to music. We learned to play together and taught each other a lot.