And it was deeply layered. That was the biggest thing Aurora had going for it. It sounds like a good-time album when you first listen to it. It’s an album you can play at a party. It’s an album you get high to. It’s an album you can play as you’re speeding down the highway.

But then you listen to the lyrics and you realize this is an album you can cry to. And it’s an album you can get laid to.

For every moment of your life, in 1978, Aurora could play in the background.

And from the moment it was released, it was a juggernaut.

DAISY: It’s an album about needing someone and having them love someone else.

BILLY: It’s an album about the push and pull of stability and instability. It’s about the struggle that I live almost every day to not do something stupid. Is it about love? Yeah, of course it is. But that’s because it’s easy to disguise almost anything as a love song.

JONAH BERG: Billy and Daisy was our biggest-selling issue of the seventies.

ROD: Rolling Stone did a lot to get people to buy the record. But the real money was in how many people bought tickets to the show because of that article.

NICK HARRIS: You heard the album and you read about Billy and Daisy in Rolling Stone and you wanted to see it for yourself.

You had to see it for yourself.

With “Turn It Off” summitting the charts and spending four weeks in the top spot, and Aurora selling over 200,000 units every week, Daisy Jones & The Six was the act to see the summer of ’78. The Aurora Tour was selling out stadiums and booking holdover shows in major cities across the country.

ROD: It was time to get the show on the road. I mean that literally.

KAREN: There was a weird feeling on the buses. And by buses I mean the blue bus and the white bus. They both said “Daisy Jones & The Six” across them, but one had Billy’s denim shirt in the background and the other was Daisy’s tank top. We had two buses because we had so many people. But also because Billy and Daisy never wanted to have to even look at each other.

ROD: The blue bus was Billy’s bus, unofficially. Billy and Graham and Karen and myself, some of the crew, were normally on there.

WARREN: I took the white bus with Daisy and Niccolo and Eddie and Pete. Jenny was with Pete sometimes. The white bus was a much better time. Also, yeah, I’ll be on the bus with the tits painted on the window, thanks.

BILLY: I had a full sober tour under my belt. I felt all right going back on the road.

CAMILA: I sent Billy out on tour like I did almost everything with him back then…with hope. That’s all I could do, was just hope.

OPAL CUNNINGHAM (tour accountant): Every day that I went into the office, I knew three things. One, the band would spend more money than they had the day before. Two, no one would listen to my advice about how to curb spending. Three, anything of import—be it as big as baby grand pianos for the suites or as small as Sharpies for the autographs—you had to make sure Billy and Daisy both had the exact same thing. That rider was twice as long as it needed to be because one of them would get mad if the other had something they didn’t.

I’d call Rod and I’d say, “There is no way they need two Ping-Pong tables.”

ROD: I always said, “Just clear it. Runner will pay.” I should have just made a recording of myself saying that. But I understood. Opal’s job was to make sure we weren’t wasting money. And we were wasting a lot of money. But we had the biggest album in the country at that moment. We could ask for whatever we wanted and it was in Runner’s best interest to give it to us.

EDDIE: First day out on the road, we stop at some gas station. Pete and I get out and go inside to get a soda or something. “Turn It Off” was playing on the radio. That wasn’t that uncommon. Something like that had happened to us a lot in the past few years. But Pete makes a joke. He says to the guy, “Can you change the station? I hate this song.” The guy changes the station and “Turn It Off” is on the next station, too. I said, “Hey, man, how about you just turn it off?” He thought that was funny.

GRAHAM: It was the first time I saw how—what’s the word I’m looking for?—how invested, I guess, people got in the band. Billy and I went to get a burger at a rest stop when we were somewhere in the desert. Arizona or New Mexico or something and this couple comes up to us. They say to Billy, “Are you Billy Dunne?”

Billy says, “Yeah, I am.”

And they say, “We love your album.” And Billy’s handling it great, being really gracious. He always was. He was great with fans. He made it seem like every person who complimented him was the first person to do it. So Billy starts having a more one-on-one conversation with the guy and the woman pulls me aside and says, “I just have to know. Billy and Daisy? Are they together?”

And I pulled my head back and I said, “No.”

And she nodded like she understood what I was trying to say. Like she knew they were sleeping together but accepted that I couldn’t tell her that.

WARREN: Real early on the tour, up in San Francisco, we check into this hotel the night before a show, and I walk right out of the white bus, Pete and Eddie coming out behind me. Graham and Karen come out of the blue bus. We walk right out onto the street and into the hotel, no problem.

Then Billy walks out of the blue bus and within, I don’t know, thirty seconds, you hear girls start screaming. And then Daisy walks out of the white bus and this sound that you think can’t get any louder, this shrieking sound that damn near burst my eardrums, it gets even louder somehow, even more shrill. I turn around and Rod and Niccolo are trying to push ’em all back so Billy and Daisy can get into the hotel.

EDDIE: I once saw Billy decline to give a group of fans his autograph by saying, “I just play music, man. I’m no more important than anybody else.” Watching that arrogant son of a bitch pretend to be humble was enough to make me want to scream. Pete kept telling me, “None of this matters. Don’t get all confused thinking it matters.” I didn’t get what he meant until it was all too late, I think.

DAISY: When people asked for my autograph, I used to write, “Stay Solid, Daisy J.” But when it was a young girl—which wasn’t often but it did happen from time to time—I used to write, “Dream big, little bird. Love, Daisy.”

ROD: People were excited about this band. They wanted to hear the album live. And Billy and Daisy could really deliver the goods. Not only were they dynamite but they were…hard to read. Enigmatic. They sang beautifully together, but they rarely got on the same mike. Sometimes they would look at each other and when they did, you couldn’t figure out what they were thinking.

This one time in Tennessee, Daisy was singing “Regret Me” and Billy was doing backup and she turned toward him, at the end, at the very end, and sang right to him. She was looking right at him and singing at the top of her lungs. Her face went a little red. And he sang, looking right back at her. He didn’t break her gaze. Then the song was over and they went on. Even I couldn’t have told you what exactly had just happened.

KAREN: In general, if you paid attention, you saw a lot of dirty looks between them. Especially during “Regret Me.” Especially during that.

ROD: If you went to a Daisy Jones & The Six show thinking they hated each other, you could find some damning evidence for that. And if you went thinking something was up with them, that the hatred maybe masked something else, you could find evidence for that, too.

BILLY: You can’t write songs with somebody, write songs about somebody, know that some of the songs you’re singing are ones they wrote about you…and not feel something…not be drawn to them.

Were there times I looked across the stage at Daisy and found myself unable to look away? I mean…yeah. Certainly, if you look at press photos from that tour, concert photos and what have you…you’ll see a lot of pictures of Daisy and I looking into each other’s eyes. I told myself we were putting it on but it’s hard to decipher, really. What was performance and what wasn’t? What were we doing to sell records and what did we really mean? Honestly, maybe I knew at one time but I don’t know anymore.

DAISY: Nicky was often jealous of what happened onstage.

“Young Stars” was about two people who were drawn to each other but forced to deny it. “Turn It Off” was about trying to fall out of love with someone you can’t help but love. “This Could Get Ugly” was about knowing that you know someone even better than their partner does. These were dicey songs to be singing with someone. These were songs that made you feel something—made me feel what I felt when I wrote them. Nicky knew that. That was a very big part of our relationship. Making sure Nicky felt okay. That he was happy, making sure he was having a good time.

WARREN: Night after night, it was packed shows, with a screaming crowd. With people singing along to every word. And then it always ended with Billy going back to his hotel room and the rest of us staying out partying until we found somebody to screw.

Except Daisy and Niccolo. They stayed out later than everybody. Everybody went to bed knowing Daisy and Niccolo thought the night was still young.

DAISY: The drugs aren’t so cute anymore when you wake up with dried blood under your nose so often that cleaning it off is part of your morning routine, like brushing your teeth. And you always have new bruises and you don’t know why. When there’s a knot in the back of your hair because you have forgotten to brush it for weeks.