Anger-and-Frustration-Pt-1.mp3
Anger-and-Frustration-Pt-1.mp4
Anger-and-Frustration-Pt-2.mp3
Anger-and-Frustration-Pt-2.mp4
Anger-and-Frustration-jack-sample.mp3
[Verse 1]
Tom, it may seem petty
But, please have some pity
Ask Billie Joe…
He is in the know
[Chorus]
Anger and frustration
(In need of regulation)
During the construction
(Of creation)
[Bridge]
Now that’s… “knock and know all”
(Rock n’ roll!)
[Instrumental, Guitar Solo]
It takes what it takes
When one makes… (creates)
[Instrumental, Synth Solo, Bass, Drum Fills]
[Verse 2]
Tom and Billie Joe, though
Who! I’m asking you
(Yes) I confess
The Who, too
[Chorus]
Anger and frustration
(In need of regulation)
During the construction
(Of creation)
[Bridge]
Now that’s… “knock and know all”
(Rock n’ roll!)
[Instrumental, Guitar Solo]
It takes what it takes
When one makes… (creates)
[Chorus]
Anger and frustration
(In need of regulation)
During the construction
(Of creation)
[Outro]
Now that’s… “knock and know all”
(Rock n’ roll!)
By Jack Brouse and Daniel Brouse
ABOUT THE SONG
This track comes from the “Floyd the Barber” sessions. It was born out of pure anger and frustration. I originally expected to record the song quickly and easily, but by the time I started this take, I had already gone through 34 attempts that day. (The full session ended up with 41 takes, including vocal and final versions.) I had injured my hand, and when I hit record for this one, I just said, “F**k it,” and let loose with this noise jam.
Here are a few notable instances of rock-and-roll frustration literally leaving its mark:
-
Tom Petty
During the Southern Accents sessions, Petty grew so exasperated with endless tweaks to the track “Rebels” that he punched a studio wall—hard enough to shatter bones and tendons in his hand and put the project on hold while he healed. -
Billie Joe Armstrong
In 2012, after a string of technical glitches at Clear Channel’s iHeartRadio Festival, Armstrong erupted onstage, smashing his guitar so violently that he cut himself and was ushered off for medical attention before later entering rehab. - Kurt Cobain got so furious during the recording of “Lithium” that he couldn’t nail the take, he exploded in frustration and ended up creating the hidden track “Endless, Nameless.” Butch Vig has said that, to this day, he’s never seen anyone that angry in a recording session.
-
Pete Townshend
The Who’s signature windmill strum nearly backfired in Tacoma, WA (1989), when Townshend’s whammy bar drove through his palm mid-set—an accident born of his hyper-physical playing style. -
Keith Moon
On the Who’s U.S. TV debut on The Smothers Brothers Comedy Hour (1967), Moon rigged his bass drum with explosives. The ensuing blast showered him with shrapnel, cutting his arm—and singeing Pete Townshend’s hair—before the segment even ended.
Each of these moments shows how the highs and lows of performance or recording can literally inflict physical wounds when creative tensions boil over.