Reprinted verbatim from Guitar, November 1993.
by Jon Chappell

  Danzig opens this ode de la femme fatale with a riff
that's sort of AC/DC-meets-Peter Gunn.  The guitars open up in the
pre-chorus with power chords that are allowed to ring.  The chorus
offers yet another sound, where riffs and power chords mix in a
sort of half-time feel.  Notice Riff B (in the score) and Riff B1
(in the box) are in thirds -- unusualy in this low octave, but it
works, creating a full and buzzy sound from the guitars.
  The solo is rhythmically deliberate and exploits the low register
for a long time (relative to the solo's total length) before moving
to the upper reaches.  It's quite easily broken down into two-bar
increments.  The first two bars give us the slow-starting
introductory gestures, with generous vibrato on the held notes.  In
bars 3 and 4 the lower register is explored, ending with a bent
doublestop in bar 4.  Bars 5-6 feature the middle range of the
guitar, and John Christ employs bends and hammer-pull combinations.
Notice the position shift on bar 5, beat 4 1/2.  This is a pickup
to the real doublestop figure in bar 6.  This clips off neatly on
the downbeat of bar 7, where the guitar goes back to high-note
bends.  Bear in mind though, that the position shift was made in
bar 5 but the guitar stayed in this "mid-high" range.  This is a
good way to finesses a position shift -- make the shift but don't
give it away by immediately jumping up to the range's limits.  This
eight-bar solo is short, for metal songs, but the soloing is quite
economical, showing a variety of techniques in a short span, and
connecting them smoothly and gracefully.