A Trip Inside a Separate Mind

This song started up as a Slaughterhouse song (during my time with Skiptoe). One day as we were fucking around and I was screaming, I managed to latch onto the phrase “Kill You Tonight” - at the time, I was into Type O Negative, and was thinking of the song by that name from their ‘live’ Origin of the Feces album. While our jamming was grind, and thus on our low E, for some reason on this one I started playing chords in A: A, C, D, back to A.

That was all it took. After that jam I went home and thought about that chorus, then started writing. Since the chord progression was somewhat ‘hairmetallish’, I started changing the rhythm from grinding or dirge to your standard four-on-the-floor pumping rock metal beat. The chorus and main riff came first, then a slight modification that became the verse, and then of course the idea for a short bridge in E before going into a total pentatonic overdrive Ace-Frehley-type solo. Much like Athena from Zeus, it sprang out almost totally formed. Well, except for it not being wise and me not being a god.

I remember I did the music before I did any lyrics, so after getting a feel for the verse riff singing-wise I sat down with my pen and thought of my first [horrible] girlfriend:

I went down to your house, late on saturday night
I just had to see you then, to make me feel alright
I saw you going down on somebody new
I can't take your cheatin' no more, know what I'm gonna do

Whoa-oh, yeah yeah, yeah yeah, I'll kill ya tonite
Whoa-oh, yeah yeah, yeah yeah, I'll kill ya tonite

Kill ya tonite I'm gonna see you dead
Leave your bloody body in a pool of red
Slice ya into pieces like a loaf of bread
Kill ya tonite that's-a-what I said

Every time that I see you, you're with somebody new
Spread like butter, drip like a rag, suck like a hoover too
I see you screwing around, I see you do it every day
If you thought it would get you more I bet that you'd turn gay

Whoa-oh, yeah yeah, yeah yeah, I'll kill ya tonite
Whoa-oh, yeah yeah, yeah yeah, I'll kill ya tonite

Kill ya tonite I'm gonna see you dead
Leave your bloody body in a pool of red
Slice ya into pieces like a loaf of bread
Kill ya tonite that's-a-what I said

I'll kill ya tonite!

Whoa-oh, yeah yeah, yeah yeah, I'll kill ya tonite
Whoa-oh, yeah yeah, yeah yeah, I'll kill ya tonite
Whoa-oh, yeah yeah, yeah yeah, I'll kill ya tonite
Whoa-oh, yeah yeah, yeah yeah, I'll kill ya tonite
(etc. to fade out)

Some of the rhymes struck me as trite, and it’s obviously a bit on the wryly-humorous side, but I also liked how it at least sounded as pissed off as I felt about the [horrible woman] I was writing about.

I showed it to the guys in Slaughterhouse later, but aside from jamming it a few times in ‘practice’ it never went anywhere, with them. Nevertheless, it was ready for Paul and I that first time we recorded, so after “The Wigglesnake Blues” it was the next song we recorded. Paul again always liked it, so we re-did it every time we got together. (Some of those times I would wank a little bit on guitar, like Eruption but with less chops, and would title the intro ‘Guittaural Evisceration’.)

Anyway, when I got the studio setup done and started recording Misogyny, this was naturally also the next song I did after making sure the studio setup would work for my recordings. The only regret I have with this song’s recording was not being able to get the reverse-reverb ‘SHOOP’ sound with the big pounding toms during the post-solo breakdown, like all the other big 80s hair metal hits I was trying to emulate. Maybe someday…

(This is an entry I had to clean up a bit. I still hate this woman because of how bad she was to me, but there’s no need for the splash damage. At least not any more than what is in the music already. Ultimately I DID get that big-shoop drum sound when I re-did this in 2006, and the solo also got the wah treatment. I think I messed up the drums on it, though, so if I ever decided to revisit this one I’d have to rerecord it. It’s kind of a fun song to play, and I was always happy with the solo on this one. Not sure how relevant it is anymore, though, except as a piece of my musical history.)