Simone: It was my mission to make Daisy do something with her voice. But Daisy wasn’t gonna do a single thing she didn’t want to do.
She’d really come into herself by then. When I met her, she was still a bit na?ve but [laughs] let’s just say she’d gotten tougher.
Daisy: I was seeing a couple guys back then, including Wyatt Stone of the Breeze. And I didn’t feel the same way about him that he felt about me.
This one night we were smoking a joint up on the roof of this apartment over on Santa Monica and Wyatt said, “I love you so much and I don’t understand why you don’t love me.”
I said, “I love you as much as I’m willing to love anybody.” Which was true. I wasn’t really willing to be vulnerable with anybody at that point. I had felt too much vulnerability too young. I didn’t want to do it anymore.
So that night after Wyatt goes to bed, I can’t sleep. And I see this piece of paper with this song he’s writing and it’s clearly about me. It says something about a redhead and mentioned the hoop earrings that I was wearing all the time.
And then he had this chorus about me having a big heart but no love in it. I kept looking at the words, thinking, This isn’t right. He didn’t understand me at all. So I thought about it for a little while and got out a pen and paper. I wrote some things down.
When he woke up, I said, “Your chorus should be more like ‘Big eyes, big soul/big heart, no control/but all she got to give is tiny love.’ ”
Wyatt grabbed a pen and paper and he said, “Say that again?”
I said, “It was just an example. Write your own goddamn song.”
Simone: “Tiny Love” was the Breeze’s biggest hit. And Wyatt pretended he wrote the whole thing.
Wyatt Stone （lead singer, the Breeze）： Why are you asking me about this? This is water under the bridge. Who even remembers?
Daisy: It was starting to be a pattern. Once, I was having breakfast at Barney’s Beanery with a guy—this writer-director. Now, back then I always ordered champagne with breakfast. But I was also always tired in the morning because I wasn’t sleeping enough. So I needed coffee. Of course, I couldn’t order just coffee because I’d be too amped from the pills I was taking. And I couldn’t just have the champagne because it would put me to sleep. You understand the problem. So I used to order champagne and coffee together. And at the places where servers knew me, I used to call it an Up and Down. Something to keep me up, something to keep me down. And this guy thought it was hilarious. He said, “I’m going to use that in something one day.” And he wrote it down on a napkin and put it in his back pocket. I thought to myself, What the hell makes you think I’m not going to use it in something one day? But, of course, there it was in his next movie.
That’s how it was back then. I was just supposed to be the inspiration for some man’s great idea.
Well, fuck that.
That’s why I started writing my own stuff.
Simone: I was the only one encouraging her to make something of herself with her talent. Everybody else just tried to make something of themselves with what she had.
Daisy: I had absolutely no interest in being somebody else’s muse.
I am not a muse.
I am the somebody.
End of fucking story.
The Rise
of The
Six
1966–1972
The Six started out as a blues-rock band called the Dunne Brothers in the mid-sixties out of Pittsburgh, Pennsylvania. Billy and Graham Dunne were raised by single mother, Marlene Dunne, after their father, William Dunne Sr., left in 1954.
Billy Dunne （lead singer, The Six）： I was seven when Dad left, Graham was five. One of my first memories was when Dad told us he was moving to Georgia. I asked if I could come with him and he said no.
But he left behind this old Silvertone guitar and Graham and I would fight over who got to play it. Playing that thing was about all we did. Nobody taught us, we taught ourselves.
Then, when I got older, sometimes I’d stay late after school and mess around on the piano in the chorus room.
Eventually, when I was about fifteen or so, Mom saved up and bought Graham and I an old Strat for Christmas. Graham wanted that one so I let him have it. I kept the Silvertone.
Graham Dunne （lead guitar, The Six）： Once Billy and I each had a guitar, we started to write new songs together. I wanted the Silvertone but I could tell it meant more to Billy. So I took the Strat.
Billy: Everything grew from there.
Graham: Billy got really into songwriting, really into the lyrics. All he’d talk about was Bob Dylan. Me, I was more of a Roy Orbison guy. I think we both had these stars in our eyes—wanted to be the Beatles. But everybody wanted to be the Beatles. You wanted to be the Beatles and then you wanted to be the Stones.
Billy: For me, it was Dylan and Lennon. Freewheelin’ Bob Dylan and Hard Day’s Night. Those just … I was … Those men were my guides.
In 1967, with the brothers in their teens, they brought on drummer Warren Rhodes, bassist Pete Loving, and rhythm guitarist Chuck Williams.
Warren Rhodes （drummer, The Six）： A drummer needs a band. It’s not like being a singer or a guitarist—you can’t just perform on your own. No girls were saying, “Oh, Warren, play me the drumbeat from ‘Hey Joe.’ ”
And I wanted in, man. I was listening to the Who, the Kinks, the Yardbirds, stuff like that. I wanted to be Keith Moon and Ringo and Mitch Mitchell.
Billy: Warren we liked right from the start. And then Pete was an easy grab. Went to school with us, played bass for this high school band that played our prom. When they broke up, I said, “Pete, come on and join us.” He was always really cool about stuff; he just wanted to rock out.
Then there was Chuck. And Chuck was a few years older than the rest of us, from a few towns over. But Pete knew him, vouched for him. Chuck was real clean-cut—square jaw and blond hair and all that. But we auditioned him and turned out he was better than me, at rhythm guitar.
I wanted to be a front man and now we had a full five-man band so I could do that.
Graham: We got a lot better, really quickly. I mean, all we were doing was practicing.
Warren: Day in and day out. I woke up, grabbed my sticks, and headed over to Billy and Graham’s garage. If my thumbs were bleeding when I went to bed, it was a good day.
Graham: I mean, what else were we gonna do? None of us had girlfriends, except Billy. All the girls wanted to date Billy. And, I swear, it was like Billy was in love with a new girl every week. He’d always been like that.
In elementary school, he’d asked out his second-grade teacher. Mom always said he was born girl crazy. She used to joke it’d be the end of him.
Warren: We played house parties and a bar here and there. For maybe about six months or so, maybe a little longer. Got paid in beer. Which, when you’re underage isn’t so bad.
Graham: We weren’t always hanging out in the, let’s say classiest of places. There were a few times a fight would break out over something and you were worried you might get caught in the cross fire. This one time we were playing a gig at a dive bar and this guy in the front got a little too jacked up on something. He starts swinging punches at people. I’m minding my own business playing my riffs when suddenly he’s coming for me!