Ryan Gosling and a half dozen lines make The Nice Guys worth a viewer’s time. It wasn’t as if anybody really talked about it, but things were getting decidedly weird.” The 1970s. So does ambience, of course: “There were rubber masks, hands, rats, insect, bloody cuts, and a codpiece laying around the control room.
Still, the two guys were there and they cared about what they were doing, and the result is that some information’s bound to come though. I can report that the book tells you as much about the album’s production and musical choices as a curious fan might want to know, but sadly this material proves a bit more than the authors are capable of explaining. That’s two people to write the book and only one to read it, since the typos and broken-backed sentences suggest no one saw it before I did. His co-author is Hernan Rojas, who’d been the album’s assistant engineer. The speaker above is Ken Caillat, who produced Tusk with Richard Dashut and then, with the passing of decades, wrote up the experience in Get Tusked: The Inside Story of Fleetwood Mac’s Most Anticipated Album. Half an hour later, he emerged “weak legged, with a permanent smile on his face.” He’d gone in there with Sweet Connie, “the infamous groupie who was namechecked in Grand Funk Railroad’s hit ‘We’re an American Band.’… She supported herself as a substitute teacher when not on the road.” Yes, the 70s. I might drop my margarita,’ I teased back.” Later: “Oh my God, is that pharmaceutical cocaine I see?” Another moment of echt 70s: “She had asked us for a bowl of ice cubes, which she took into the small room with her.” She also took along Lindsey Buckingham, guitarist of Fleetwood Mac. ‘Well, I hate to get my hands all greasy. Here we go: “‘Would you like to some lotion on my boobs or should I,’ she teased.
Next best is that there’s a word missing-ah, the 1970s, when everything but computers and recording gear was steadily turning to shit.
The best thing about this quote is its all-time classic final attribution.
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