![]() ![]() ” Still, he appreciates that Daisy Jones captures “some of the boredom of the hanging around backstage” that’s involved in making music. Instead, he’s been busy working and- like the rest of us-“catching up on The Last of Us.” He gushes, “Oh, my God, I’m completely obsessed with Bella Ramsey. “We wrote two different versions-one that Billy would sing originally, and then one with the edits that Daisy made when she came in.”Īs for the show itself, which is based on Taylor Jenkins Reid’s best-selling novel and debuts its finale next week, Mumford admits that he’s only seen the first two episodes. So it was a relief imagining writing from the point of view of characters,” Mumford says. “This was honestly a fun distraction in the middle of what was quite an intense session, when we were writing those first songs together for Self-Titled. Longtime friends and collaborators, Mumford and Mills penned the fiery back-and-forth between Keough’s Daisy Jones and Claflin’s Billy Dunne while working on his latest record at Los Angeles’ Sound City Studios. You just swoop in with your chiseled jaw, and fucking smash it out of the park, first time. I’ve done this for years, trying to get to sound good. “I was kind of pissed at him too, because I knew he didn’t grow up as a singer, and he sang the hell out of that recording. “Why did Sam fucking Claflin get to sing it?” Mumford jokingly tells Vanity Fair. ![]() Those were Marcus Mumford’s first words upon hearing Sam Claflin and Riley Keough’s version of “Look at Us Now (Honeycomb),” a track he wrote with executive music producer Blake Mills for Daisy Jones & the Six.
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