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Maren Morris and Marcus Mumford on Their Fiery ‘Daisy Jones and the Six’ Duet

“Nicely fuck, I need to sing that.” 

These had been Marcus Mumford’s first phrases upon listening to Sam Claflin and Riley Keough’s model of “Have a look at Us Now (Honeycomb),” a observe he wrote with government music producer Blake Mills for Daisy Jones & the Six. “Why did Sam fucking Claflin get to sing it?” Mumford jokingly tells Vainness Truthful. “I used to be sort of pissed at him too, as a result of I knew he didn’t develop up as a singer, and he sang the hell out of that recording. I used to be like, ‘Fuck you, man. I’ve executed this for years, making an attempt to get to sound good. You simply swoop in together with your chiseled jaw, and fucking smash it out of the park, first time. It feels unfair.’”

Longtime pals and collaborators, Mumford and Mills penned the fiery back-and-forth between Keough’s Daisy Jones and Claflin’s Billy Dunne whereas engaged on his newest report at Los Angeles’ Sound Metropolis Studios. “This was actually a enjoyable distraction in the midst of what was fairly an intense session, once we had been writing these first songs collectively for Self-Titled. So it was like reduction imagining writing from the viewpoint of characters,” Mumford says. “We wrote two completely different variations—one which Billy would sing initially, after which one with the edits that Daisy made when she got here in.”

There’s no query which character the Mumford & Sons frontman discovered it simpler to jot down for. “I really like tapping into denial—I’m a Billy man,” Mumford says. “There’s a track on my report known as ‘Prior Warning,’ which is a model of ‘Look At Us Now,’ lyrically, anyway. So there have been some correlations in my story and Billy’s, Daisy coming in and being like, ‘You’re stuffed with shit, dude.’ I’ve had individuals near me in my life who’ve performed that function.”

Lacey Terrell/Prime Video

After listening to the present’s rendition, Mumford and Mills determined to report a extra modernized model with a powerhouse feminine vocalist. Enter Maren Morris. “I really like her solo music. I additionally actually love The Highwomen, and she or he all the time appeared to me, from afar, the member that appeared to maintain the prepare on the tracks. I don’t know why,” Mumford says. “As a result of Brandi [Carlisle]’s this dynamo, and Amanda [Shires] looks as if that too. I do know Natalie [Hemby], and she or he’s simply the sweetest, probably the greatest writers round in my opinion. It simply felt to me Maren was sort of an anchor in that band. So I used to be stoked to satisfy her anyway and simply felt like she would have the ability to entry the angle that we wanted on this track. Thank God she stated sure, actually.”

It was a simple determination for Morris, regardless of by no means having met Mumford. “Assembly and having to dive proper right into a track may be daunting,” she tells Vainness Truthful. “However actually, he and Blake simply have such a lived-in rapport. And being at Sound Metropolis, it was my first time being at that studio however they’ve clearly laid down a lot land in that place and made so many nice data. It’s simply such a constructive place to report music.”

Mumford and Morris spoke over cellphone and electronic mail about one of the simplest ways to replace the track for 2023. “The recording is sensible for the time that [the show] was set in, however you don’t hear many six-minute lengthy guitar solo songs on the radio proper now,” Mumford says. The pair managed to strip the observe right down to its essence, “this sense of singing this actually direct lyric in a really succinct means,” Mumford says, whereas retaining the track’s stadium tour-feel. As Morris says, “it has such a hovering refrain that it deserves a full band behind it.”

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