10 albums to listen to if you love 'Daisy Jones & The Six'

"Rumours" is the closest thing we have to a real-life "Aurora." The interpersonal drama that drove the creation of Fleetwood Mac's 1977 masterpiece is echoed by "Daisy Jones & The Six," wherein several bandmates are breaking each other's hearts.

Indeed, Taylor Jenkins Reid was partially inspired to write the story after watching Fleetwood Mac's 1997 performance of "Silver Springs."

The song was written by Stevie Nicks in the midst of her painful split from bandmate Lindsay Buckingham — but it was cut from the album's original tracklist. It became a cult classic when it was included on the band's 1997 live album, "The Dance," and earned a Grammy nomination for best pop performance by a duo or group.

In both the book and TV adaptation of "Daisy Jones," the titular heroine writes a similar song called "Regret Me" in a moment of feminine rage.

"It's not lyrically based on 'Silver Springs' at all, and it wouldn't sound anything like it, but that concept of a woman's right to be angry is absolutely based on Stevie Nicks singing 'Silver Springs' at Lindsey Buckingham during their reunion show," Reid told The Guardian.

"The couple of clips from that show I saw as a teenager were why I started listening to Fleetwood Mac," she continued. "They were always, for me, more than just music. I have always been very moved by Stevie Nicks singing that song the way she did then."

When The Six is starting out in 1967, frontman Billy Dunne draws a lot of inspiration from Bob Dylan.

"Billy got really into songwriting, really into the lyrics," Graham Dunne recounts in the book. "All he'd talk about was Bob Dylan."

Billy specifically references "The Freewheelin' Bob Dylan," Dylan's second studio album released in 1963. The cover art costars Suze Rotolo, the singer's then-girlfriend and muse. According to Rolling Stone, Dylan would tell his friends, "The cover's the most important part of the album."

Dylan's creativity was sparked by love and longing, which is reflected in Billy's story; The Six gets their first big break with "Honeycomb," a song that Billy writes about his wife Camila Dunne.

"Rod told me to stop writing about stuff I didn't know about," Billy says, referring to The Six's manager. "He said, 'Don't reinvent the wheel. Write about your girl.' Hands down, best career advice I ever got."

Camila is also the inspiration behind the titular track of "Aurora," the first song written and recorded for the fictional album.

"For me, it was Dylan and Lennon. 'Freewheelin' Bob Dylan' and 'Hard Day's Night,'" Billy says in the book. "Those men were my guides."

The British band released their third studio album in 1964. In contrast to their previous two albums, "A Hard Day's Night" was their first tracklist comprised entirely of songs cowritten by John Lennon and Paul McCartney, demonstrating the merit of a strong songwriting partnership — a lesson that Billy learns the hard way when Daisy comes into the picture.

"Sometimes you get to more complex places, artistically, when you have more people contributing," Billy says while they're recording "Aurora."

"That's not always true," he adds. "But with Daisy and me... it was true."

In the book, Billy writes the song "Aurora" a few weeks after Camila gives birth to their twin girls. When he plays it for her on the piano, she cries.

"She was my aurora," Billy explains. "She was my new dawn, my daybreak, my sun peeking over the horizon. She was all of it."

Billy later describes the song as "sprawling and lush and percussive," deciding to put it last on the album's tracklist so "the sun comes up at the end."

The penultimate track on Nick Drake's 1971 folk album "Bryter Layter" is called "Northern Sky." It's a hopeful, romantic ballad that's built upon nature imagery, much like "Aurora."

Even the song titles seem to be siblings; the aurora borealis is a natural light display in the northern sky, also known as the northern lights.

Drake sings in the chorus: "I never held emotion in the palm of my hand / Or felt sweet breezes in the top of a tree / But now you're here / Brighten my northern sky."

In Reid's official lyric booklet, "Aurora" ends with a similar message of salvation: "When I was drowning / Three sheets and counting / The skies cleared / And you appeared / And I said, 'Here is my Aurora.'"

Early in the book, Daisy signs a contract with Runner Records. The label asks her to record an album of covers, and it becomes clear they want to market her as a blue-eyed pop star.

"Daisy was Carole King," Simone Jackson says. "And they wanted her to be Olivia Newton-John."

Although Daisy is born to be on stage, she expresses more interest in meaningful songwriting than singing — so the comparison to King makes perfect sense. In fact, Daisy's first official single in the book is a version of "One Fine Day," a 1963 hit cowritten by King and Gerry Goffin.

King's diamond-certified album "Tapestry" is easily her most recognizable and iconic work — a seamless blend of catchy melodies and nuanced lyricism, much like the way "Aurora" is described.

It won album of the year at the 14th Grammy Awards, picking up three additional wins for best female pop vocal performance, song of the year for "You've Got a Friend," and record of the year for "It's Too Late" ("And it's too late, baby, now it's too late / Though we really did try to make it / Something inside has died / And I can't hide and I just can't fake it").

In the book, Daisy Jones & The Six win record of the year for "Turn It Off," a song that snowballed from a lyric Daisy wrote: "I keep trying to turn it off / But, baby, you keep turning me on."

Simone also mentions that Daisy "could have been Joni Mitchell," if only the world would take her lyrical talent seriously.

Mitchell is arguably the most iconic lyricist from the Laurel Canyon music scene. Her music — and particularly her seminal 1971 album "Blue" — captures the crumbling idealism of the '60s and the feminine power of California folk-rock.

Now regarded as one of the most important albums of all time, "Blue" helped usher in the rise of female musicians and confessional songwriting that rules pop music today.

"I think the West Coast was more open to ladies in the business," Byrds bassist Chris Hillman told Vanity Fair. "I mean, what Joni Mitchell did was way far and above what most of the guys, myself included, could do as a songwriter or guitar player."

"I think we both had these stars in our eyes — wanted to be the Beatles. But everybody wanted to be the Beatles," Graham says in the book. "You wanted to be the Beatles and then you wanted to be the Stones."

Rod also compares Billy's magnetic star power to The Rolling Stones frontman Mick Jagger.

"There's just a quality that some people have," he says. "If you took nine guys, plus Mick Jagger, and you put them in a lineup, someone who had never heard of the Rolling Stones before could still point to Jagger and say, 'That's the rock star.' Billy had that."

In addition to the band's massive influence on '70s rock, their controversial album "Sticky Fingers" actually has a special connection to "Daisy Jones & The Six."

The lead single and opening track, "Brown Sugar," was reportedly inspired by Claudia Lennear, a backup vocalist who dated Jagger around the time it was recorded.

Lennear was also one of the inspirations for Nabiyah Be's portrayal of Simone, Daisy's best friend and disco star.

"Simone was a big mixture of the three big disco names — Donna Summers, Diana Ross, Chaka Khan — but also lesser-known names and background vocalists that were fundamental to the genre like Linda Clifford, Claudia Lennear," Be told Insider. "You can hear them in all the big bands, you know, you can hear them behind The Rolling Stones."

And on top of all that, "Wild Horses" sure sounds like a song that Billy could've written about Camila. ("I know I dreamed you a sin and a lie / I have my freedom, but I don't have much time / Faith has been broken, tears must be cried / Let's do some living after we die.")

Sam Claflin (Billy) told Insider that he would listen to Bruce Springsteen in order to get into character, even attempting to channel the rocker's onstage movements. 

Claflin leaned especially far into Springsteen's 1975 stadium-rock opus "Born to Run," which the actor described as "one of the best albums of the decade."

Billy actually mentions Springsteen in the book, when the band is recording a song on "Aurora" called "Midnights" — expressing envy that Springsteen was a solo rocker, the captain of his own musical ship.

"Look at Springsteen. Springsteen knew how to do it," he laments. "But me? I had to sit there and pretend people like Eddie Loving knew better than me how to play guitar on the songs I wrote on my guitar."

Both Riley Keough (Daisy) and Timothy Olyphant (Rod) told Insider they were inspired by Linda Ronstadt while filming the show. ("I just love Linda Ronstadt," Olyphant said.)

Ronstadt's "Heart Like a Wheel" is one of the decade's most celebrated country albums.

It was released in 1974 — the same year that Daisy recorded her debut in the book — and was nominated for album of the year at the 18th Grammy Awards.

The standout track was a cover of the Hank Williams classic "I Can't Help It (If I'm Still In Love With You)," which won the Grammy for best female country vocal performance.

With lyrics like "Somebody else stood by your side and she looked so satisfied / I can't help it if I'm still in love with you," it's not hard to imagine Daisy listening to the song during her tumultuous months spent with Billy.

In the book, Billy is introduced to producer Teddy Price at the Troubador in LA — the same club where Glenn Frey and Don Henley were recruited to join Ronstadt's live band. 

While on the road for Ronstadt's tour, Frey and Henley were inspired to form a new band that would eventually become the Eagles.

"The Eagles had seen a lot of other bands break up, come together, and break up," Ronstadt told Vanity Fair. "There had been a lot of versions of that country-rock sound. It finally coalesced because it found a groove with Don Henley."

Their famous 1976 album "Hotel California" speaks to the major motifs in "Daisy Jones" — particularly Daisy and Billy's shared struggles with addiction, impulse control, and the temptations that come with being "the chosen ones."

The title track has been widely interpreted as an allegory about greed and rampant drug use in the LA music scene ("You can check out any time you like / But you can never leave").

"They're the same themes that run through all of our work: loss of innocence, the cost of naiveté, the perils of fame, of excess; exploration of the dark underbelly of the American dream, idealism realized and idealism thwarted, illusion versus reality, the difficulties of balancing loving relationships and work," Henley told Rolling Stone.