I went to the Uncut mag site and found this review about the "Ya-Ya's" reissue:

"With the twin guitars of Richards and his new spar, Mick Taylor, surging and soaring, it's easy to overlook the rhythm section of Charlie Watts and Bill Wyman. When Jagger famously yells "Charlie's good tonight, innee?" he might as easily have extended the compliment to Wyman who supplies a double-time thrum throughout.

For his part, Taylor proves a way more appropriate foil for Richards than his eventual replacement, Ronnie Wood, providing solos of considered elegance that contrast with Richards' insouciant raunch on, say, "Stray Cat Blues" and "Love In Vain" while being in sync with his rhythm duties when Richards busts a spiky, eccentric solo. In the background, Ian Stewart's rolling piano parts also surface, notably on the Berry numbers."

But I wanted to comment on the reviews of the '72 tour on Colson's site: It has been a while since I spent a lot of time there and I have not read ALL the newspaper reviews, but, speaking broadly, my impression was that everything was "Jagger, Jagger, Jagger!" Very little was said about Taylor (Village Voice excepted) or Keith. Many of the reviews were luke warm at best. Today we have the benefit of many boot recordings to savor and analyze a show. I remember thinking that a reviewer of a show simply missed the boat. Off the top of my head I remember thinking that a Philadelphia reviewer did not mention hearing one of the greatest performances of GS ever played...stuff like that.

I know I underappreciated Taylor's playing at the time. I took it for granted, certainly. And it is hard to grasp subtlety in a live setting. It is remarkable that the music made in this era and was never released has made such a lasting impression on so many people. There is a reason for that. Whether you think Taylor overplays or not (Taylor's playing IMO is not beyond criticism), he helped create music worthy of repeated and close listens. There is a reason why Taylor is so much discussed 40 years later. That music has stood the test of time. Reviewers be damned.

I forgot to add:

If I had to state the band's greatest live performance of any song I would be hard pressed not to say TD from Brussels. It is a stunning performance that builds to a thrilling conclusion and Taylor's lead during the conclusion gives the performance a feel like none other. At the end that song sounds like a symphony That performance would never had happened if Taylor had listened to Keith and "stopped $&*%$# around!" I give great deference to Keith, but do not always agree that keeping him happy produces the best music.

I admire Keith as a songwriter and as a basic/riff/rhythm guitar player, but he had clearly trouble giving Taylor space, at the detriment of the perfomance of especially studio songs. On stage he valued Taylor's crucial contribution better. Nevertheless I think it's for a great deal due to Richards that Taylor left and the Stones became another boys' band by inviting Ronnie. Ronnie, Richie and Micky (no not Charlie and Billy) turned the band into a seemingly cosy boys group where 'fun' instead of music came on the first place.

But what are Taylor's most impressive moments with the Stones on stage? A very difficult question! I wouldn't mention TD in Brussels, though that was quite a performance. But the song is in my ears not really great enough to evoke 'big emotions'. I think spontaneously of two moments: 1) the solo at the end of Torn and Frayed on stage in Vancouver, 1972. The rather sudden way he finishes or has to finish the song is moving in a certain way, and 2) during his longest solo on stage ever, during the 1973 London, Sept. 8, 1st show, on YCAGWYW there's a moment (about 6.35) from where on Taylor and the whole band begin to play so softly but at the same time so intensely as I've never heard before or after. Then he ends his solo so simply and movingly, in some sort of dialogue with Jagger while the others perfectly follow. A very fine moment. The song takes 9.38 and there is, very fortunately, no endless sax solo in it.