Daisy Jones & The Six - Taylor Jenkins Reid Page 0,65

her.

Camila: The whole way home, [Julia was] saying, “Can Daisy Jones be my best friend?”

Daisy: As soon as they left, Eddie called me and Karen back into the booth. And somebody, I don’t remember who, said I was good with kids. And then Eddie said, “I bet you’d make a great aunt.”

You don’t think to tell someone they will be a good aunt if you think they will be a good mom. But I knew as well as anybody, I wouldn’t be a good mom. I had no place thinking of being anybody’s mom.

I wrote “A Hope Like You” soon after that.

Billy: When Daisy showed me “A Hope Like You,” I thought, This could work as a piano ballad. It was such a sad love song. About wanting somebody you can’t have and knowing you’re going to want them anyway.

I said, “How do you hear it?”

She sang a tiny little bit of it and I just … I heard it. I heard what it should be.

Daisy: Billy said, “This is your song. It should be just you and the piano on the track, that’s it.”

Karen: That was a great song to record. I was really proud of it. Just Daisy singing and me on the keys. That’s it. Just two bitches playing rock ’n’ roll.

Billy: Daisy and I wrote a lot of good stuff after that. We’d be working in the lounge at the studio or back at Teddy’s pool house if we needed some peace and quiet.

I would come in with something I was working on and Daisy would help me refine it. Or vice versa. We’d work on one of Daisy’s ideas.

Rod: It seemed like there was a period of time where Daisy and Billy were coming in with new stuff every day.

Graham: It’s really exciting, when you’re constantly creating. We’d be working on tracks for “Midnights” or adding some layers to “Impossible Woman” and then Daisy and Billy would come in with a new one we were all excited about.

Karen: It felt a little manic, that period of time. So many people in the studio. So many songs coming in and out. Recording and recording and recording. Playing things a thousand times, always trying to improve upon the last one.

There was so much to do, so much to keep us busy. But we were all coming into the studio in the morning, still hungover from the night before. It was like zombies at 10:00 A.M. Until the coffee and the coke kicked in.

Rod: The early tracks were sounding great.

Artie Snyder: When the songs started coming together, we were realizing we had something really special on our hands.

Billy and Teddy would always stay late and listen to what we had. Listen to it over and over again. There was an energy to the control booth those nights. Super quiet in the rest of the studio, real dark outside. Just the three of us listening to rock getting made.

I was going through a divorce back then so I was happy to stay as late as they wanted. We’d be up in the studio at three in the morning sometimes. Me and Teddy slept there if we wanted to. Billy always went home. Even if it was just for two hours until he came back.

Rod: It was really starting to sound out of this world. I wanted to make sure Runner was prepared to back these guys up with some real money. This album deserved to make a big splash.

I was lobbying Teddy for a huge number at the first pressing. I wanted a clear hit single. I wanted rock and pop airplay. I wanted a massive tour lined up. I was getting very ambitious. I wanted big momentum out of the gate.

Everybody knew Daisy and Billy on tour promoting this album was going to sell out venues and it was going to sell records. You could feel it. And Teddy made sure everybody was on board. Even at Runner Records, you could feel the excitement.

Daisy: Billy and I did about four songs in a mad rush of writing over about a week or two. I mean, we actually did seven songs. But only four of them made it onto the album.

Rod: They turned in “Please,” “Young Stars,” “Turn It Off,” and “This Could Get Ugly” all within about a week.

Billy: The concept for the album took shape naturally. We—I mean, me and Daisy—we could see that we were writing about the push and pull between the lure of temptation