John Christ's chordal figure that comprises Rhythm Figure 1 is a
stark and eerie mood-setter.  It's two of the simplest chords
possible -- a one-finger C/E and a totally open E minor -- but he
plays the passage so achingly and hauntingly that the musical
complexity belies its simple construction.  The trilling figure at
bars 5-6 serve as a sort of recurring idea that gets developed as
the song develops.  But for now it sounds like a simple bird call,
hovering lightly over the dominion.
  At 1:51 the open-sounding guitars give way to solid-wall
distorted ones for the chorus figure.  Fill 3, a possible
corruption of the aforementioned Fill 1, is more wailing and solo-
like, but it is perfectly mixed with the rhythm guitar, and doesn't
stand out as a seperated texture.
  John begins his solo 1 1/2 bars into the section with a
plaintive-sounding midrange bend.  The quarter-note triplets at bar
6 maintain the slowish pace, and the low E at bar 7, bent 2 1/2
steps, ends the first large phrase on a "down note."  He begins the
second eight-bar section with a rapid flurry in bad 8, as a pickup
to bar 9.  He repeats the quarter-note triplet idea heard in the
first section, suggesting that he's still exercising restraint.  A
mournful bend caps off this phrase at bar 11.  It's in rhythm, so
heed the grace note and bend indications about it.  John goes to
eighth-note triplets in bars 13-14, but it's still perceived as a
meandering, not driving, pace.  Finally, his classically placed
climax occurs at bar 15 where he unleashes a fury of 32nd notes and
16th-note triplets.  He never leaves 12th position E pentatonic
minor (E G A B D), and this contributes to the smooth, legato sound
-- to say nothing of Mr. Christ's technique.  He peaks out at a
high B (bent from A) on the final beat of the final bar, and uses
this note as a pivot point:  it's the last note of the solo, but
also the first note of the backing figure used for the final pre-
chorus.