Daisy Jones & The Six(60)

I regret that marriage, but I do not regret that dress.

Simone: I finally found Daisy in this grand, massive hotel room overlooking Vatican City in Rome. In Rome! I had to fly halfway around the world and back to find her. And when I did, she was completely bombed, naked except for a pair of underwear. And she had chopped her hair off into this shaggy bob.

Daisy: That was a great haircut.

Simone: It was a really good haircut.

Daisy: I’ve always said, “The Italians know hair.”

Simone: Daisy didn’t even seem all that surprised to see me. Which just told me how messed up she was. And the first thing I noticed when I sat down was that she had a huge diamond ring on her hand. And this guy comes out—thin body, thick curly hair—and he had no shirt on. And Daisy says, “Simone, this is my husband, Niccolo.”

Daisy: Technically, marrying Niccolo made me a princess. That can’t be left out of the equation. I did like the idea of belonging to a huge royal family. Of course, that’s not what my life with Nicky was like at all. I should have known being with Nicky wouldn’t turn out the way he made it seem. Here’s a lesson for everybody, take it from me: Handsome men that tell you what you want to hear are almost always liars.

Simone: I tried to get her to come home but she wasn’t budging. Because when I would tell her there were things she had to do—you have to get ready to tour for your album or you should stop doing so many drugs at one time or you should try to spend a little time sober—there was Nicky telling her she didn’t have to do anything she didn’t want to do. He was there, amplifying all of her bad instincts. All the time. He was like a bird chirping in her ear, validating every impulse.





Karen: When we all met back up in January, Daisy wasn’t anywhere to be found.

Graham: We are sitting in Teddy’s office over at Runner with Rich Palentino and we’re all gonna give the final mix a listen. And we were all expecting to … Well, we all figured we knew exactly what we’d recorded, give or take.

Warren: I was hungover and there was no coffee in either of the coffeepots at Runner’s offices. I said to the secretary at the front desk, “What do you mean there’s no coffee?”

And she said, “The machine is broken.”

I said to her, “Well, I’m sure as shit not gonna be alive in this meeting then.”

She said, “You’re too much.” And then she seemed a little bit mad, like I couldn’t get a read on her. And I was really hungover.

I said, “Wait, I haven’t slept with you, have I?”

I had not.

Karen: The album starts playing, we’re all sitting around the table …

Eddie: First song, out of the gate, “Chasing the Night,” he changed my fucking lick. He changed my motherfucking lick.

Billy: I don’t think I realized, until we were listening to it all together … I don’t think I realized just how many things Teddy and I had changed.

Eddie: It just got worse from there. He changed the tuning on “Please.” Completely changed it and rerecorded it. As if I wasn’t going to notice he’d shifted to Nashville tuning. Like I’m not going to notice that the song has to be played on a different goddamn guitar. And everybody else, they saw it! They could see what he’d done. But no one was going to speak up, you know what I’m saying? Because Teddy and Runner were so happy with the record that they were talking about booking stadiums and pressing over a hundred masters and all this shit. They’re saying they want to release “Turn It Off” as soon as possible and they think it can hit number one. So everybody had dollar signs in their eyes and nobody said much of anything to Billy. Or Teddy.

Karen: He’d pulled my keys off of two songs. And I was mad, of course I was mad. But what were we gonna do? You’ve got Rich Palentino so excited about the album, he’s spitting when he talks.

Warren: I’d have respected it a lot more if Billy hadn’t tried to pretend he wasn’t producing the album with Teddy. I don’t like underhanded shit. I don’t like saying one thing and doing another.

But I was also the drummer in a successful rock band that everybody was saying was headed to the top of the charts. I’ve always had a good sense of perspective. If I do say so, myself.

Rod: That’s when the whispering started. Everybody stopped talking to each other and all started whispering to me.

Karen would say, “He took out my keys and he didn’t even run it by me.”

And I’d say, “You have to talk to him about it.”

And she wouldn’t.

And Pete would say that the record was too soft now. That he was embarrassed by it. And I’d say, “Talk to Billy about it.”

I’d say to Billy, “You need to talk to your bandmates.”

He’d say, “If they want to talk to me, they’ll talk to me.”

And everybody’s wondering when Daisy’s coming back, but I’m the only one willing to try to track her down.

Graham: It was a strange reminder that things were changing. That we weren’t the same band we were a few years ago. A few years ago, if Billy was going to rerecord Eddie’s tracks, he would have talked to me about it. He would have bounced the idea off of me. Instead, he was talking to Teddy. But that was true of a lot of things between Billy and me. I had Karen. He had Camila and his girls. And when he wanted to talk about ideas … well, at least throughout the recording of Aurora … he had Daisy. I’m not going to say I was feeling like Billy didn’t need me anymore. That’s dramatic. But maybe I was feeling like we weren’t a team all the time anymore. That we’d outgrown that.