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Don't Worry Baby

The film does have a narrative economy, covering a great deal of territory in the first 15-20 minutes. We meet a budding photographer named Robert (John Magaro, “The Big Short”), who is rejecting offers from his distant father, Harry (Christopher McDonald), to work for him. The night after a photo shoot, Robert meets a woman his age named Sara-Beth (Dreama Walker), they come back to his apartment together and—boom—the story jumps to four years later. A lot has changed: Robert's photography dreams have dissipated, and he now works at his dad’s prestigious downtown preschool; Harry has just enrolled Mason, his illegitimate daughter, into the class that Robert is overseeing. Robert soon meets the mother, and is shocked when it’s Sara-Beth. The math of conception is soon performed, and after realizing that he could be the father instead of Harry, a paternity test is taken, to their equal contention. From this point, the movie merely follows them around as they wait for the results, while they both sneakily vie for Sara-Beth and share time with Mason. 

"Don't Worry Baby"'s perspective on this saga is appropriately unusual. It sidesteps the bizarreness of the situation by placing characters in a shared air of acceptance, but feels too light with the new, life-changing developments that await. Branciforte invests time in the dour headspace of possible-dad Robert, but there’s little dramatic tension. The animosity is clear in the fine chemistry between Magaro and McDonald, especially as disheveled Robert doesn’t believe that estranged dad Harry deserves a second chance, but Branciforte ultimately fails to make us care about paternity test results.

Dreama Walker has too little of a character to work with, despite playing the woman who gave birth to this contested child; Harry's ex-wife Miriam (Talia Balsam) tries to normalize the scenario by eye-rolling through her ex-husband getting a younger woman pregnant, but her response too feels idealized. By being so hands-off about its tense topics, a whole gender seems muted, and the movie fails to communicate an awareness beyond its macho showdown. 

Branciforte's writing lacks the nuance to take its absurd concept seriously, so it awkwardly injects comedy. It’s often too broad, as when Robert’s comic relief roommate Lenny (Tom Lipinski) is brought in as a playful nuisance, as if he came from a different dimension. Fights between Robert and Harry also fall flat (like when they’re both in the car with Sara-Beth, trying to woo her), lacking the sharp tongue that could make the emotional screwball underneath this plot resonate. 

By the end, Branciforte answers the 15-minutes-in question of “WTF?” with a unique, warm sensibility about the non-nuclear family unit. It’s a fondness that recalls other domestic storytellers, from Hirokazu Kore-eda to Adam Sandler, who offer distinct takes on unique family situations. Whether completely downplaying it (like Kore-eda) or playing it way up (like Sandler), there’s little life to be found somewhere in the middle. 

Sours: https://www.rogerebert.com/reviews/dont-worry-baby-2016

Now an excerpt from A Mess of Help (which takes its name from one of BW’s songs):

tumblr_mdw5uuQeRs1qdmmhbo1_500There is so much about The Beach Boys that is hard to believe. Toward the bottom of the list (but still on it) is the fact that “Don’t Worry Baby” was originally released as the B-side of “I Get Around”. Some of us consider “Don’t Worry Baby” to be the definition of a perfect record, as beautiful as anything “America’s band”, or any other, ever released, and to think of it playing second fiddle boggles the mind. What accounts for its greatness? First, and most obviously, “Don’t Worry Baby” boasts one of the most memorable opening couplets of all time, the immortal “Well it’s been building up inside of me for, oh, I don’t know how long/ I don’t know why but I keep thinking something’s bound to go wrong.” Given their Mad Men-like context, one would have presumed that the song was written from the perspective of a confident man comforting a hysterical woman. But Brian and his lyricist Roger Christian flipped that convention on its head (I’m sure they didn’t give it a second thought), producing a tune about an insecure, anxious man recalling all the times his uncommonly demonstrative girlfriend had reassured him. In what feels like a transparent nod to the powers that be, they frame the next two verses in drag-racing terms (“I guess I should’ve kept my mouth shut when I started to brag about my car”), but it’s a testament to the enduring beauty of the opening line and chorus that almost no one remembers it as such. Needless to say, most cover versions use an alternate set of words.

In his inimitably unselfconscious way, Brian Wilson was subverting the tough-guy rock n roll archetypes of the time, and thereby opening an emotional floodgate that has stayed open ever since. Young men had been vulnerable on record before, of course, but usually in the service of garnering swoons rather than expressing actual weakness. This was not the attractive kind of vulnerability, it was the awkward kind. Brian sang about teenage male tears more than anyone before or since, which was a strange way to score dates (and if reports are to be believed, it didn’t). But it certainly allowed him to connect with an audience. Peter Bagge described the appeal in somewhat cynical terms:

It’s Brian’s story that so many poor, misunderstood, hyper-sensitive idealists can’t get enough of. Not only was Brian the main musical genius behind all those great records, but he’s also that most romantic type of Genius: the Idiot Savant, the Tortured Soul. He’s become the straight male nerd’s Judy Garland.

[youtube https://www.youtube.com/watch?v=9Y-0nWVdBH4&w=600]

Look at the guys perform the tune in 1964 (above) and how can you not love them? Gangly and pudgy and balding and so clearly nervous, it’s one of the deep ironies of the early 60s that they came to represent fun-in-the-sun American athleticism, when, with the exception of Dennis, not only could none of them surf, none of them looked even remotely beach-ready, to say nothing of drag racing. Such sublime music coming from such strange vessels. The melody is pure prettiness and the arrangement so full of warmth and ingenuity. Not even the economical echo-heavy “guitar solo” has dated. Along with those of the A-Side, these were the back-up vocals that would launch a thousand pop groups. And for a guy that didn’t like to use drums in his productions, Brian created one of the most iconic opening phrases of all time on that instrument (by aping, to glorious effect, his beloved “Be My Baby”).

Strange vessels would become, in a few short years, broken ones. When Brian quit touring in 1964, bandmate Al Jardine took over lead vocal duties on “Don’t Worry Baby”. It wasn’t until Brian hesitantly rejoined the touring group fifteen years (and several nervous breakdowns) later that he sang the tune in front of people again. Here he is in 1981, and you almost have to look away, it’s too much:

[youtube https://www.youtube.com/watch?v=DBgipKCTmkM&w=600]

The juxtaposition of such an immaculate musical creation with Brian’s ravaged voice/soul–at the risk of proving Bagge right, I have a hard time thinking of an equally moving performance of, well, anything. The gift is so out of proportion with its recipient/vessel, you can’t help but hear G-O-D all over it. And if we had been taken in by the lyrics back in ’64, the 1981 performance reveals them to be what they really are: a heartfelt fantasy bordering on prayer. Words of reassurance and unconditional encouragement (absolution?) that Brian is dying to hear but can’t convey to himself. Of course, as any amateur theologian will tell you, there is a big difference between reassurance and assurance. “Reassurance never reassures”, as they say, while assurance doesn’t have to. But I digress. The longing for–and astonishment at–love in the midst of weakness would be one of Brian’s main themes over the years. Indeed, the upside of his willingness to be seen as weak (or his glaring inability to “front” with any conviction) is that he could express gratitude and joy on a level that most of us only dream of. Not even the considerable corniness of Mike Love could sully Brian’s work in this regard. The greatest example, of course, being:

[youtube https://www.youtube.com/watch?v=SmMKYYRAVBE&w=600]

Amen.

BONUS TRACK: One of Brian’s more obscure compositions about the coming season. You will know it’s his work by the piano chords and the lyric about “Eddie wants to drive a hearse” (what?!). Let it never be said that these guys didn’t take arrested development as far as it goes:

[youtube https://www.youtube.com/watch?v=W7SmgdvPpQY&w=600]

Sours: https://mbird.com/music/its-been-building-up-in-brian-wilson-for-oh-i-dont-know-how-long/
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LyricsFa.com

Don’t Worry Baby Lyrics – Stan Walker

Sip my drink, you got your glass of wine
But I can’t help thinking we’re wasting time
Like would you die, would you die for me
Like would you lie, would you lie for me
Bittersweet things that makes you smile
Little things like that make it worth a while
‘Cause I would die, I would die for you
And I would lie, I would lie for you

I’ve been thinking of the deeper love
Every second focused on you
Nothing covered up, a naked love
And everything we’ll every go through

I would run through fire
Just to touch you burned and bruised
So don’t worry, baby
I gotchu, baby
Now I would swim through oceans
Just to kiss you black and blue
So don’t worry, baby
I gotchu, baby

“Go crazy” must be your favourite line
But I’m just tryna make you realize
That when you’re all alone, you can call on me
Just pick up the phone, I’ll be there for you

I’ve been thinking of the deeper love
Every second focused on you
Nothing covered up, a naked love
And everything we’ll every go through

I would run through fire
Just to touch you burned and bruised
So don’t worry, baby
I gotchu, baby
Now I would swim through oceans
Just to kiss you black and blue
So don’t worry, baby
I gotchu, baby

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Sours: https://lyricsfa.com/2021/08/18/stan-walker-celina-sharma-dont-worry-baby-lyrics/

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1 hours ago Don't Worry Baby.The band's version, a tender ballad with falsetto lead vocal by Wilson, was first released on their 1964 album Shut Down Volume 2.It was also released as the B-side of The Beach Boys' first US number-one, " I Get Around ", also reaching number 24 on the Billboard Hot 100 in …

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Dictionary

Frequently Asked Questions

When did the Beach Boys release Don't Worry Baby?

The Beach Boys singing Don't Worry Baby released on May 11th, 1964 The Beach Boys singing Don't Worry Baby released on May 11th, 1964

Who was the original singer of Don't Worry Baby?

"Don’t Worry Baby" is a song written by Brian Wilson and Roger Christian, produced by Wilson and first recorded by the American rock band the Beach Boys.

When did garbage release Don't Worry Baby?

The production of "Don't Worry Baby" formed the basis of the Byrds ' recording of " Mr. Tambourine Man ". Garbage 's 1998 single, " Push It ", contains an interpolation of its chorus, and Wilson/Christian were given songwriting credits.

When did BJ Thomas cover Don't Worry Baby?

A cover version of "Don't Worry Baby" was done by B.J. Thomas in 1977. His producer Chris Christian, who had recently produced BJ's gold Contemporary Christian album "Home Where I Belong" had met the MCA Records executives while working the Olivia Newton-Johns album "Don't Stop Believing" in Nashville.

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Stan Walker Shares New Single 'Don't Worry Baby' Feat. Celina Sharma, Out Now

This September and October, Stan embarks on his biggest nationwide headlining tour yet. Performing nine high-energy shows across Aotearoa New Zealand, backed by The Levites and HornsFoSho and supported by musical friends Kings, Louis Baker, Hamo Dell and Crete, Stan is bringing his greatest hits and new music to fans far and wide.

 

Secure tickets to Stan Walker’s ‘All In’ New Zealand Tour from stanwalker.net. A portion of each ticket sale will be donated to I Am Hope Foundationto support youth mental health.

 

 

STAN WALKER ‘ALL IN’ NEW ZEALAND TOUR DATES

With special guests Kings, Louis Baker, Hamo Dell and Crete.

23 Sep Mt Maunganui | Trust Power Bay Park
24 Sep Whanganui | War Memorial Hall
25 Sep Napier | Pettigrew Green Arena
26 Sep Wellington | Porirua Te Rauparaha Arena
27 Sep Nelson | Trafalgar Centre
30 Sep Christchurch | Town Hall
01 Oct Dunedin | Town Hall
02 Oct Invercargill | ILT Stadium Southland
08 Oct Auckland | Town Hall

 

ABOUT STAN WALKER

Over the last decade, Stan Walker (Ngai Te Rangi, Ngāti Pūkenga, Tūhoe, Ngāti Porou, Tuhourangi, Ngāti Wāhiao, Ngāti Pikiao) has become one of Aotearoa New Zealand’s most beloved performing artists and cultural figures. A joyous force of nature, Stan is a staunch advocate for kaupapa Māori and the Indigenous world through his roles as a performing artist, songwriter, author, actor and speaker. Awarded with 8 x New Zealand Music Awards and the Waiata Māori Award for Radio Airplay Record of the Year five times between 2010-2015, and 5 x ARIA nominations, Stan’s rise to becoming a household name has been nothing short of inspiring. Over the span of his career to date, Stan has earned 9 x Gold and 9 x Platinum singles, along with 1 x Gold album, 2 x Platinum albums and one 3 x Platinum album in Aotearoa New Zealand. Performing on stage is Stan’s first love. The celebrated Māori artist has performed multiple sold-out headline tours, and shared the stage with Beyoncé, Nicki Minaj, Chris Brown, Ciara, Jay Sean, Travis McCoy, Ja Rule, Akon and Jessica Mauboy. In August 2020, Stan released his acclaimed personal memoir ‘Impossible: My Story’ with Harper Collins New Zealand, which coincided with the release of his 2020 anthem ‘Bigger’ (‘Tua’) which was released in both English and Te Reo Māori. ‘Tua’ made history, becoming the very first #1 on the Te Reo Māori Music Chart, while ‘Bigger’ remained at #1 on the NZ Music Chart for five consecutive weeks.

ABOUT CELINE SHARMA

Celina Sharma is an independent UK-based Australian artist of Indian, Italian and Maltese descent. In 2019, BBC Asian Network announced Celina as the 2019 Future Sound, making her the youngest ever to achieve the honour, tipping her as an exciting artist to watch out for. Celina has created a real buzz in a short space of time, releasing her first official single ‘Lean On’ in September 2019 featuring Indian superstar rapper Emiway Bantai, which racked up over 60 million audio streams globally, over 22 million organic video views on YouTube, and is now certified Double Platinum. Since her debut release, the teen sensation has exploded in terms of audience and has positioned herself as one of the leading UK’s rising stars. In less on than 8 months, Celina grew into the fastest growing UK artist on TikTok with now 1.8 million followers with 26 million likes, has amassed 26 million likes, has amassed over 350k YouTube subscribers along with 250k Instagram followers, all within 12 months of her releasing her first single. In 2020, Celina was asked to be the headline singer on Jonas Blue’s 14 date ‘The Blueprint Tour’ across UK, Ireland and Asia.

 

 

‘Don’t Worry Baby’ is available on all streaming platforms via Sony Music Entertainment New Zealand.

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CONNECT WITH STAN WALKER

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Sours: https://nzmusic.org.nz/news/artist/stan-walker-shares-new-single-dont-worry-baby-feat/
Don't Worry Baby (Cover) - The Beach Boys by Foxes and Fossils

Don't Worry Baby

1964 Beach Boys song

For the 2015 film, see Don't Worry Baby (film). For the Los Lobos song, see How Will the Wolf Survive?

"Don't Worry Baby" is a song by American rock band the Beach Boys from their March 1964 album Shut Down Volume 2. Written by Brian Wilson and Roger Christian, Wilson's lead vocal on the track is considered one of his defining performances, and he later referred to "Don't Worry Baby" as perhaps the Beach Boys' finest record. It was issued in May 1964 as the B-side of "I Get Around", and charted separately at number 24.

Deriving from Wilson's obsession with the Ronettes' 1963 hit "Be My Baby", "Don't Worry Baby" has a similar musical structure, but different subject matter and production approach. The lyrics are told from the perspective of a braggadocios man who regrets agreeing to a drag race, but is ultimately consoled by his girlfriend with the song's title phrase. The song was originally offered to the Ronettes, but was rejected by their producer, Phil Spector, leaving Wilson to produce it for his own band. On the recording, all of the Beach Boys played their own instruments.

"Don't Worry Baby" has appeared in several critics' rankings lists, including Spin's "100 Greatest Singles of All Time", Rolling Stone's "500 Greatest Songs of All Time", and Pitchfork's "20 Greatest Songs of the 1960s". Cover versions have been recorded by many acts, including the Bay City Rollers, B.J. Thomas, and Ronnie Spector. Thomas' version outperformed the sales of the original record, reaching number 17 in the U.S. and number 1 in Canada. The Beach Boys rerecorded the song with Lorrie Morgan for their 1996 album Stars and Stripes Vol. 1.

Background[edit]

Wilson unsuccessfully offered "Don't Worry Baby" to the Ronettes

"Don't Worry Baby" was composed by Brian Wilson at his home in Hawthorne, California. It was conceived as a response to "Be My Baby", a recent hit by the Ronettes that had amazed and inspired Wilson. In his (since-discredited) 1991 memoir, Wouldn't It Be Nice: My Own Story, it is stated that Wilson adopted the song title phrase from his then-girlfriend Marilyn Rovell shortly after hearing "Be My Baby" for the first time. In a 2009 interview, he said that he composed "Don't Worry Baby" over the course of two days. "I started out with the verse idea and then wrote the chorus. It was a very simple and beautiful song. It’s a really heart and soul song, I really did feel that in my heart."[6]

The memoir provides further details of the collaboration: "I called lyricist Roger Christian and told him I had an idea. He met me one afternoon at my parents' house, where, in one of our last collaborations, we wrote a lush ballad whose title and chorus came directly from Marilyn's comforting words, 'Don't Worry, Baby.' I knew the song was a smash before we finished writing it." On another occasion, Wilson recalled, "I met [Roger] in the parking lot at KFWB and he presented the lyrics for me. I went home and wrote the song in about an hour-and-a-half."

Wilson considered having the song be recorded by the Ronettes instead of the Beach Boys. In the memoir, it is stated that Wilson changed his mind after discussing the idea with Christian. Conversely, during a 1994 tribute concert with Wilson in attendance, Ronnie Spector recalled that she and Wilson had discussed "Don't Worry Baby" in 1963 on the only prior occasion they had met: "It was the follow-up to 'Be My Baby,' and [Brian] came running into Gold Star Studios and said, 'I wrote a great song for you!' But of course my ex-husband [Ronettes producer Phil Spector] didn't do the writing on it, so [we didn't record it]."

Lyrics[edit]

Like previous songs written by Wilson and Christian, "Don't Worry Baby" portrays a hot-rod themed setting, however, unlike "Shut Down" and "Little Deuce Coupe", the song has a more melancholic mood. The lyrics are told from the perspective of a man who regrets involving himself in a drag race. As he confesses his shame to his girlfriend, she consoles him with the song's title phrase. Biographer Timothy Write observed that the song avoids "the darker chill" of "Be My Baby"; rather, "Wilson composed a hapless love token that showed its strength in its sudden, surpassing humility."Catch a Wave author Peter Ames Carlin wrote that Christian drew on Wilson's "stage fright and romantic insecurities" to write the lyrics. Carlin adds,

The earlier verses contrasted the narrator's lust for his girl—"She makes me come alive"—with his fears regarding the power of his car: "I guess I should have kept my mouth shut when I started to brag about my car. . . ." But while his lover keeps telling him not to worry, her reassurances lea to the sexual encounter in the final verse and the intriguing reversal in the transitive verb that describes it. She's making love to him, which implies a sexual assertiveness (if not quite aggressiveness) that the narrator won't, or can't, claim for himself.

Biographer Mark Dillon compared the lyrical themes to "a musical equivalent of Rebel Without a Cause." In his book Sonic Alchemy, David Howard wrote that "Don't Worry Baby" was a "subtle harbinger for the growing dichotomy within the California Sound. While 'I Get Around' symbolized the sunshine ideal in all its carefree splendor, 'Don't Worry Baby' suggested something entirely more pensive and even slightly dark underneath its pristine facade."

Composition[edit]

Musically, "Don't Worry Baby" is closely similar to "Be My Baby". The verses are in E major and follow a I – IV – V progression. One of the ways in which the song distinguishes itself from "Be My Baby" is through the use of a key change for the chorus section. At the end of the verses, the song shifts from E to F♯ by repeating a ii7 – V progression one whole step above. The chorus has the same chord progression as the verses of "Be My Baby" (I – ii – V).

Recording[edit]

The Beach Boys at a 1964 photoshoot

The Beach Boys recorded "Don't Worry Baby" as part of two eight-hour sessions at United Western Recorders, Hollywood, on January 7, 1964.[13] All of the band members played their own instruments on the recording.[13] Vocals and guitars were overdubbed on January 8 or 9. Take 12 was used for the master.[13] Former member David Marks, who had left the group several months earlier, may have played at this overdubbing session.[15]

Commenting on Wilson's singing, White wrote, "Brian upped the vocal ceiling in his emulative arrangement to accommodate the WagnerianMinnie Mouse yodel that was Ronette lead singer Ronnie Bennett's standard sonic slope." An alternate take of Wilson's singing was included on the 2013 box set Made in California.[16]

Despite being modeled heavily after "Be My Baby", "Don't Worry Baby" does not emulate Phil Spector's Wall of Sound production technique.

Release[edit]

Shut Down Volume 2 was released on March 2, 1964, with "Don't Worry Baby" placed as the second track. On March 14, the band appeared on American Bandstand, during which they lip synced a performance of "Don't Worry Baby". The segment was broadcast on ABC on April 18.

On May 11, "Don't Worry Baby" was issued as the B-side to their single "I Get Around". The B-side charted separately from the A-side due to differences in radio plays, peaking at number 24 on July 4.

Legacy[edit]

OK, so maybe the appeal of this one has nothing to do with the specifics of the story, but surely we can all relate to the idea of support, how knowing that someone cares for you regardless of what happens gives you strength to do great things. And the music is such a perfect accompaniment to this theme, so damn cozy and warm, a tender respite from the stressful reality of the main narrative.

Pitchfork editor Mark Richardson[19]

Biographer David Leaf declared that "Don't Worry Baby" became Wilson's first "pop standard", while Dillon decreed that it marked "one of his defining [vocal] performances on one of his greatest records." In a 1970 interview, Wilson opined, "Probably the best record we've done was 'Don't Worry Baby'. It has about the best proportion of our voices and ranges."

In 1988, "Don't Worry Baby" was ranked number 11 on Spin's list of the greatest singles in history. In 2004, it was ranked number 178 on Rolling Stone's list of the greatest songs in history.[21] In 2010, it was ranked number 14 on Pitchfork's list of the greatest songs of the 1960s.[19]

Cover versions and homages[edit]

Terry Melcher drew heavily on "Don't Worry Baby" for his production and arrangement of the Byrds' 1965 rendition of "Mr. Tambourine Man". The two tracks share a similar tempo, as well as the same drum beat and rhythm guitar patterns. Byrds member Roger McGuinn greatly admired "Don't Worry Baby" and stated that, at one point, he listened to the record (alongside "God Only Knows") nearly every morning. "I'd wake up and play those songs. It was really inspirational. It was almost like going to church." Dillon writes that part of the Byrds' subsequent success "can be attributed to how they successfully adapted Beach Boys-style harmonies" on songs such as "Mr. Tambourine Man".

The song was Keith Moon's favorite Beach Boys track, and he recorded a version of it for his only solo album, Two Sides of the Moon (1975). Another cover by the Bay City Rollers became a Top 40 hit in Australia.[27]B.J. Thomas' 1977 version of "Don't Worry Baby", released as a single, was the most successful and outperformed the sales of the Beach Boys' version. Thomas later said, "I have always loved the Beach Boys—all of their records. They could do no wrong in my book. Brian Wilson was amazing. It wasn't my biggest hit, but it did sell about 800,000 copies and I still perform it live in concert."[28]

In the 1980s, Randy Bachman and Carl Wilson wrote an homage to "Don't Worry Baby", titled "What's Your Hurry, Darlin'?", that was recorded by Bachman's band Ironhorse.Lorrie Morgan was the featured guest on the Beach Boys' rerecording of the song for their 1996 album Stars and Stripes Vol. 1.[30]Garbage's 1998 single, "Push It", contained an interpolation of the "Don't Worry Baby" chorus; Wilson and Christian were subsequently given songwriting credits on "Push It".[31]

Personnel[edit]

Per Craig Slowinski.[13]

The Beach Boys

Additional musicians and production staff

David Marks may have played the overdubbed lead guitar solo, however, Slowinski could not confirm this with complete certainty.[15]

Charts[edit]

Weekly singles charts[edit]

Year-end charts[edit]

See also[edit]

  • "Mona" – a 1977 Beach Boys song, written by Wilson, that discuss some of his favorite songs by Spector, including "Da Doo Ron Ron" and "Be My Baby".

References[edit]

  1. ^Sharp, Ken (January 2, 2009). "Brian Wilson: God's Messenger". American Songwriter.
  2. ^ abcdSlowinski, Craig (2014). Keep an Eye On Summer 1964 (Digital Liner). The Beach Boys. Capitol Records.MirrorArchived March 4, 2016, at the Wayback Machine
  3. ^ abSlowinki, Craig (January 18, 2016). "Re: The Recording of Fun, Fun, Fun and Don't Worry Baby". smileysmile.net. Retrieved September 3, 2021.
  4. ^Sharp, Ken (September 4, 2013). "Beach Boys Producers Alan Boyd, Dennis Wolfe, Mark Linett Discuss 'Made in California' (Q&A)". Rock Cellar Magazine. Archived from the original on 30 September 2013.
  5. ^ ab"The 200 Greatest Songs of the 1960s". Pitchfork. 2010. Retrieved September 18, 2021.
  6. ^"500 Greatest Songs of All Time: Don't Worry Baby". Rolling Stone. 2004. Retrieved September 18, 2021.
  7. ^Kent, David (1993). Australian Chart Book 1970-1992. St Ives, N.S.W.: Australian Chart Book. ISBN .
  8. ^ abcLeszczak, Bob (2014). Who did it first? : great pop cover songs and their original artists. Lanham, Maryland. p. 60. ISBN .
  9. ^https://www.wideopencountry.com/stars-and-stripes-vol-1-the-beach-boys/
  10. ^Eden, Dawn (1998-05-01). Short Takes; Garbage Version 2.0. Record Collector. pp. 136, 137.
  11. ^Kent, David (1993). Australian Chart Book 1970-1992. St Ives, N.S.W.: Australian Chart Book. ISBN .
  12. ^"Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. 1977-10-22. Retrieved 2021-09-26.
  13. ^"Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. 1977-09-10. Retrieved 2021-09-22.
  14. ^Whitburn, Joel (2002). Top Adult Contemporary: 1961-2001. Record Research. p. 242.
  15. ^Cash Box Top 100 Singles, October 15, 1977
  16. ^https://www.billboard.com/music/lorrie-morgan/chart-history/CSI/song/119201
  17. ^"Top 200 Singles of '77 – Volume 28, No. 11, December 31 1977". RPM. Library and Archives Canada. Retrieved June 25, 2016.
  18. ^"Top 100 Hits of 1977/Top 100 Songs of 1977". Musicoutfitters.com. Retrieved 2016-09-27.
  19. ^"Top 100 Year End Charts: 1977". Cashbox Magazine. Retrieved 2016-07-26.

Bibliography[edit]

  • Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN .
  • Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN .
  • Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN .
  • Howard, David N. (2004). Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings. Hal Leonard Corporation. ISBN .
  • Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN .
  • Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN .
  • Rooksby, Rikky (2001). Inside Classic Rock Tracks: Songwriting and Recording Secrets of 100 Great Songs from 1960 to the Present Day (1st ed.). Backbeat Books. ISBN .
  • White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN .
  • Wilson, Brian; Gold, Todd (1991). Wouldn't It Be Nice: My Own Story. New York: HarperCollins. ISBN .

External links[edit]

Sours: https://en.wikipedia.org/wiki/Don%27t_Worry_Baby

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