One is the soundtrack from his movie, the other is from his NBC radio days, various bits. That one actually came from Gary Dellabate’s collection. He sold a bunch of stuff to a local shop.
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That really sucks. I hope he has good insurance and is able to recover.
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Me too @eric.kiser but even money can’t replace the vintage guitars from the 40’s and 50’s that he has in there. I’m just hoping he got them off the walls before they got destroyed.
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they definitely off-gas harmful volatiles it turns out 
In unrelated news, Musicians Friend sent me a 20% off coupon, so I ordered that purple Stiletto Studio 5 that’s exclusive to Guitar Center and its affiliates that I wanted. $200 off puts it at what I feel is a more appropriate price anyway. EMG HZs and a screw-shut battery compartment in a $1000 bass?? GTFO Schecter lol…
Might be time to sell on my Schecter Stiletto Extreme 4… or keep it until I at least finish B2B. Though I have some other more-than-fours I’m comfortable with my muting on…
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Well, as it turns out, this is not the be all that ends all either.
I started copying over the bass part of a song out of this book for easier reading, and very quickly found typos! (Score notes not equaling the tab directly below it).
Also, listening to the isolated bass from Abbey Road on the recently posted video here, it is clearly different, not just a flub here and there. The second verse of a song is so, so, so different as recorded and this book simply has the first verse being played over again.
So (as the geeky engineer I am) I sat with this book, and Constantine’s score, and the slowed down isolated bass, and found each is correct in some spots, neither is correct in all spots.
I am sure Con did not have the isolated bass and has done a pretty good job, but missing some very key elements that create a certain groove.
I am also thinking that the book is written more of an ‘as intended’, vs. a ‘the take on all the albums’. For example - Based on some reading, the Beatles used take 39 of Polythene Pam to get the rhythm ‘just right’. Meaning they were adjusting and adapting as they went. Not sure what take was written in the book, but it might not match.
I know this minutia is kinda moot, and you should play it how you want to, but I want to play it as it is recorded. So, I have some homework to do. I think it will be a good ear training exercise, especially with the rests and getting the groove just right. I do notice an up vs. down pluck can make it seem like a small rest is in there, but there really aren’t any.
Moral of the story - everything is bull$hit at some level.
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Another thought for me to ponder . . . 
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Yes, I noticed comments on Amazon for this book, regarding the small format making it hard to read, and that there were errors. As far as I’ve seen, most books of Beatle music have error problems, at least in some songs (not my own finding, since I don’t read music, but as reported by people commenting in reviews). So I wonder if there will ever be a book that can transcribe what we hear on their recordings correctly.
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What is nuts is that with the tech today it is pretty darn easy to do, even by ear, once separated.
I am going to take She Came In Through The Bathroom Window and do my best to sort out the song as recorded and cover it. Maybe even Polythene Pam before it as well.
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Jackson - nope
Spector - wow
T-bird - cool
Squier - needs setup
Warwick - sweet - both
Gene Simmons Axe - worst case ever
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Yeah, not that i need one but that Spector sounded great!
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Jackson needed a setup. Tone was fine, fret noise was not.
The fact that it’s a Rickalike with Fender body and ESP headstock - well I like mutts but hmm.
Spector sounded like a Spector/Warwick. No surprise.
The Grabber also needed a setup and didn’t have the cool sliding pickup, so basically just a big heavy Gibson with single-coils - nope nope nope.
T-Bird - finally we get some double humbucker sound, also looks great, but Gibson + neck dive - no.
HB needed a setup too, but tone was great
Squier - FFS set these basses up first, you hacks.
SG - another double-buck but sounds on the muddy end, classic look, but Gibson with mudbucker so nope.
DDX - muddy and sounded like it was overdriving
Sire Marcus Miller - setup dammit
HB GuitarBass - stop trolling
Bronco - mud
Tribe Avalanche - yeah, sweet, great double buck tone there - reminds me of my TRBX604
Warwick 'vette J/J - sounded like a 'wick with J/J
$$ - double buck so ofc I liked it, was slightly overdriving but
tone was very good
Epiphone non-reverse bird - tone surpised me for an Epi until I noticed they added Bartolinis
Iceman - sounded great
Cort Gene Simmons - never, plus it sounded like a generic P/J so - get a different P/J
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The Tribe has Aguilar Super Doubles in it which are really nice humbuckers, too. Great looking bass.
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So it’s been a busy week for me GAS wise. Traded my Mij fender Fretless no lines for a Yamaha cp40 stage piano. Just have to rearrange the play room for the stand and extra amp.
Then on the same day another guy traded one of the Squier P bass with the Sterling Ray24CA Butterscotch. That’s surprising fun and sounded great. Oh while we are on the same picture the fender deluxe active special was a trade with my 5 string Squier classic vibe jazz bass. The fender has some serious distortion, it turned out to be very poor wiring so after cleaning it up and resolder all the pots it was a great trade for me.
That brings me to tonight. I was offered a trade on reverb to my 2012 Stingray classic for another stingray it’s a complete opposite of mine so it was exciting for sure.
It’s a 2019 stingray special charcoal sparkle with black hardware, 18v preamp, roasted maple neck
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Totally. Oh well I’d better keep him I guess 
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Ah you did it! Excellent and congrats.
Looks great!
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Thank you thank you 
I need to get a new gig bag now - it’s flipping massive …
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