You know, Camila’s got her hands full with Julia and I’m talking her ear off complaining about this song. She just said, “It’s not real life, Billy. It’s a song. Don’t get bent out of shape.” It was so simple for her. I should just get over it.
But I couldn’t get over it. I did not like that Daisy turned those lines into questions and I didn’t like that she had felt the right to do it.
Camila: When you put your life in your music, you can’t be clearheaded about your music.
Graham: I think Daisy was just very unexpected for Billy.
Artie Snyder: When we cut together the version with Daisy, it was so compelling—their voices together—that Teddy wanted to strip almost everything else away. He had me soften the drums a bit, amp up the keys, cut out some of Graham’s more distracting flourishes.
What we were left with was this sprawling acoustic guitar and percussive piano. Most of the attention went to the vocals. The song became, entirely, about the relationship of the voices. I mean … it moved—it was still up-tempo, it still had a rhythm—but it was eclipsed by the vocal. You were hypnotized by Billy and Daisy.
Eddie: They took a rock song and they made it pop song! And they were so pleased with themselves about it.
Rod: Teddy was over the moon with how it turned out. I liked it, too. But you could see the way Billy bristled as he listened to it.
Billy: I liked the new mix. But I did not like Daisy’s vocals. I said, “Just do the new mix without her vocals. It doesn’t need to be a duet.” Teddy just kept telling me I had to trust him. He said that I had written a hit song and that I had to let him do his thing.
Graham: Billy was always in charge, you know? Billy wrote the lyrics, Billy composed and arranged all of the songs. If Billy goes to rehab the tour is over. If Billy is ready to go back to the studio, we all have to report for duty. He ran the show.
So “Honeycomb” was not easy for him.
Billy: We were all a team.
Eddie: Man, Billy was in such denial of what a bulldozer he was to the rest of us. Billy got Billy’s way every time and when Daisy showed up, he stopped getting his way every time.
Daisy: I did not understand what Billy had against me. I came in and I made the song just a little bit better. What was there to be upset about?
I ran into Billy at the studio a few days later, to hear the final cut, and I smiled at him. I said hello. He just nodded his head at me. Like, he was doing me a favor by acknowledging my presence. He couldn’t even extend a professional courtesy.
Karen: It was a man’s world. The whole world was a man’s world but the recording industry … it wasn’t easy. You had to get some guy’s approval to do just about anything and it seemed like there were two ways to go about it. You either acted like one of the boys, which is the way I had found. Or you acted real girlie and flirty and batted your eyelashes. They liked that.
But Daisy, from the beginning, was sort of outside of all that. She was just sort of “Take me or leave me.”
Daisy: I didn’t care if I was famous or not. I didn’t care if I got to sing on your record or not. All I wanted to do was make something interesting and original and cool.
Karen: When I first started, I wanted to play the electric guitar. And my dad got me piano lessons instead. He didn’t mean anything by it—he just thought the keys are what girls play.
But it was stuff like that, every time I tried anything.
When I auditioned for the Winters, I had this really great minidress I’d just bought, it was pale blue with a big belt across it. It felt like a lucky dress. Well, the day I tried out, I didn’t wear it. Because I knew they’d see a girl. And I wanted them to see a keyboardist. So I wore jeans and a University of Chicago T-shirt I stole from my brother.
Daisy wasn’t like that. It would never have occurred to Daisy to do that.
Daisy: I wore what I wanted when I wanted. I did what I wanted with who I wanted. And if somebody didn’t like it, screw ’em.
Karen: You know how every once in a while you’ll meet somebody who seems to be floating through life? Daisy sort of floated through the world, oblivious to the way it really worked.
I suppose I probably should have hated her for it, but I didn’t. I loved her for it. Because it meant she was less inclined to take the shit I’d been taking for years now. And with her around, I didn’t have to take that shit either.
Daisy: Karen was the kind of person who had more talent in her finger than most people have in their whole body and The Six was underutilizing her. She fixed that, though. She fixed that on the next one.
Billy: When the record was about to be pressed, I said to Teddy, “You made me hate my own song.”
And Teddy said to me, “You’re going to need to work really hard at getting over yourself. Something tells me hitting the top of the charts is going to ease the sting a bit.”
Nick Harris （rock critic）： On “Honeycomb,” Billy and Daisy and the way they play off each other was the beginning of what worked so well about Daisy Jones & The Six.
The chemistry between their voices—his vulnerability, her fragility—it grabs you and doesn’t let you go. With his voice deep and smooth, and her voice higher and raspier, they somehow still meld together effortlessly, like two voices that have been singing together for ages. They created a deeply heartfelt call and response—a story of this romantic and idealized future that may never come to pass.
The song verges on being a bit saccharine. But the end undercuts the sweetness just enough. It could have been the kind of song teens play at prom. Instead, we have a passionate testament to the fact that things don’t always work out.
SevenEightNine was a good album, in some ways a great album. It was more explicitly romantic than their debut—fewer allusions to sex or drugs. It still rocked, though. It had that driving rhythm section, those piercing riffs.
But “Honeycomb” was the clear standout. “Honeycomb” showed the world that The Six could put out a first-class pop song. It was a pivot, to be sure, but it’s the beginning of their rise to the top.
The
Numbers
Tour
1976–1977
SevenEightNine was released on June 1, 1976. “Honeycomb,” debuted at number 86 but was headed up the charts at a steady clip. The band, playing an unofficial residency of sorts at the Whisky, was gearing up to headline their own national tour.
Graham: We hung out in L.A. for a while, perfecting our set. The songs were coming together onstage. I say that but I guess I don’t mean “Honeycomb.” Billy did a rendition of it without Daisy. He just lifted her half of it and sang it as he originally intended on the album. It was good, but you could feel a hole in it. It was missing something. The rest of the album was playing great, though. We were playing tight, every song, every note. We had it down. We were putting together a great show.
Billy: We had the same people coming to see us two or three nights a week sometimes. And the crowds were growing the more we played.
Rod: Billy should have invited Daisy to some of those L.A. shows. I told him that. But it was in one ear out the other with him.
Simone: Daisy was frustrated they were excluding her. At least I got that impression, when we talked. Which wasn’t as often anymore, with all my touring. But I still made sure I knew what was going on with her. She did the same with me.