"Don't Bring Me Down" was composed by Gerry Goffin and Carole King. Rolling Stone would later write that "Don't Bring Me Down" represented one side of the Goffin-King "boy-girl, loneliness-togetherness" duality.
"Don't Bring Me Down" was the third of The Animals' epic personalisations of Brill Building material, following the 1965 hits "We Gotta Get Out of This Place" and "It's My Life". According to one account, all three came out of one call in 1965 that The Animals' then-producer Mickie Most made for songs.
The Animals had always had a somewhat contentious relationship with such songs, knowing they gave them hits but preferring the more straightforward R&B numbers they used for album tracks. Moreover, now they were performing a Goffin and King selection; although the couple was already legendary for their pop songwriting prowess, Animals lead singer Eric Burdon had previously seemingly mocked Goffin-King's "Take Good Care of My Baby" in The Animals' 1964 stream-of-consciousness rock history "Story of Bo Diddley". Furthermore, they were now using Tom Wilson as a producer, who promised them more artistic freedom than they had had under Mickie Most.
The Animals' arrangement is led by a pulsating organ riff from Dave Rowberry, which is then set against a prominent bass guitar line from Chas Chandler. Hilton Valentine decorates the song with fuzz guitar chords.
"Don't Bring Me Down" was composed by Gerry Goffin and Carole King. Rolling Stone would later write that "Don't Bring Me Down" represented one side of the Goffin-King "boy-girl, loneliness-togetherness" duality.
"Don't Bring Me Down" was the third of The Animals' epic personalisations of Brill Building material, following the 1965 hits "We Gotta Get Out of This Place" and "It's My Life". According to one account, all three came out of one call in 1965 that The Animals' then-producer Mickie Most made for songs.
The Animals had always had a somewhat contentious relationship with such songs, knowing they gave them hits but preferring the more straightforward R&B numbers they used for album tracks. Moreover, now they were performing a Goffin and King selection; although the couple was already legendary for their pop songwriting prowess, Animals lead singer Eric Burdon had previously seemingly mocked Goffin-King's "Take Good Care of My Baby" in The Animals' 1964 stream-of-consciousness rock history "Story of Bo Diddley". Furthermore, they were now using Tom Wilson as a producer, who promised them more artistic freedom than they had had under Mickie Most.
The Animals' arrangement is led by a pulsating organ riff from Dave Rowberry, which is then set against a prominent bass guitar line from Chas Chandler. Hilton Valentine decorates the song with fuzz guitar chords.
"Don't Bring Me Down" was composed by Gerry Goffin and Carole King. Rolling Stone would later write that "Don't Bring Me Down" represented one side of the Goffin-King "boy-girl, loneliness-togetherness" duality.
"Don't Bring Me Down" was the third of The Animals' epic personalisations of Brill Building material, following the 1965 hits "We Gotta Get Out of This Place" and "It's My Life". According to one account, all three came out of one call in 1965 that The Animals' then-producer Mickie Most made for songs.
The Animals had always had a somewhat contentious relationship with such songs, knowing they gave them hits but preferring the more straightforward R&B numbers they used for album tracks. Moreover, now they were performing a Goffin and King selection; although the couple was already legendary for their pop songwriting prowess, Animals lead singer Eric Burdon had previously seemingly mocked Goffin-King's "Take Good Care of My Baby" in The Animals' 1964 stream-of-consciousness rock history "Story of Bo Diddley". Furthermore, they were now using Tom Wilson as a producer, who promised them more artistic freedom than they had had under Mickie Most.
The Animals' arrangement is led by a pulsating organ riff from Dave Rowberry, which is then set against a prominent bass guitar line from Chas Chandler. Hilton Valentine decorates the song with fuzz guitar chords.