Markdown Report – holy grail finding deals at Lowes.
Clearance, discontinued, scratch and dent, special order returns
Usually Thursday - Markdown Report will go “live”.
Lowes Pro Sales "CBM - Commercial Business Management" page specifically
states, “Pro Sales is to use Markdown Report to help their customers find deals.”
Ask at commercial sales desk [PRO SALES and not
Customer Service] to print copy - they might not even know
what the report is, or how to print it. Tell him,
“Main Genesis screen and do a 5.11.12.”
Should put them on markdown screen;
click on Level 4, level 5, active markdown; then select “all”.
Report will be in print spool for associate to print. Report
comes off per department and shows old “regular” price and
new “markdown” price.
Disregard product has only “Quantity: 1” i.e., store use, stolen, or miscounted.
Put item number in Google (i.e. “Lowes item 877833”) to find
item since Lowes no longer stocks the item it will not be
found on website directly (Lowes has free WiFi). Often items
are in top stock (discontinued no longer have a spot on the
shelf) … talk to someone in department for help locating.
Look nonstock; topstock, stackouts, sidestacks, end
caps
[QUOTE="usedto, post: 14167823, member: 11551"]
[MEDIA=youtube]P9wBpmZn9nA[/MEDIA][/QUOTE]
Glad somebody mentioned LS and I didn't realize until fairly recently Al Kooper 1st
"discovered" then 2nd subsequent produced at least the early LP's ... first two arguably
include several great loud, but probably all have at least a few?
I read somewhere that some complained King/Collins/Rossington were too often recycling
Cream licks but I don't really get that; it may be true Clapton was as much inspiration as
influence but I'm not sure. LS [at least to me] seems to have given nearly anything they
borrowed enough of their own signature and/or style it seldom sounds copycat to me.
Without Albert King [among many inc. perhaps Page and Beck] seems like Clapton
borrowed enough of his fingerprint from cross fertilization to point in nearly direction.
"Whatever" IMHO was the case LS distinguished themselves in craft/execution and
Ronnie sang "Play it pretty for Duane" like he meant it. I think they weren't just serious but
sincere.
Anyhow something like "Tuesdays Gone" has some fairly delicate piano passages to
modulate the loudness to some degree, and nearly any vocal can control that some?
OTOH it's been said even as early as Sinatra's 30's records required (or complimented)
mic/vocal integrity. Leonard Chess appears to have been hot micing or close micing [I'm
not sure the difference] Muddy e.g., early on "She Moves Me" [I'm trying to remember the
song] not just vocal obviously but the mouth harp I recall saying myself "That's the
LOUDEST harp" [Little Walter] and I'm guessing the slide guitar "Going Down South"
which was around 1952. At the same time (say 1950) T-bone Walker wasn't really
cranking his amps is my impression. "Axis: Bold As Love" (apart perhaps from Cream?) is
one of earliest examples I can think of that LOOKING BACK, er, uh, doesn't matter how
loud, just keep cranking! it doesn't LOOSE much/if/anything approaching the pain
threshold. Even the vocal, although working from memory on that one. "All Along The
Watchtower" seems implicit [1st guitar solo is so stylistically "perfect" how could it be
otherwise? at some times in retrospect might be forgivable; we all tend to use our
imaginations at some point yet simultaneous try and "discriminate" based upon the
learnedness so-called of our own ear(s)] ... Reminds me, "This may get loud!" was
the spoiler on one of the Jimmy Page "Guitar for Dummies" sessions so-called and I
remember EXPLICITY thinking to myself, "Man, these guys Edge & Jack White [fan bois
say I'm a hater Lol!] are diminutive figures - barely cast a shadow next to giant Pagey -
hardly exist - and IMO begs the question - what do these disciple-clowns know about
"loud" w/r/t innovations [innovations brewing early e.g., as "Strange Brew"] LZI and/or
LZII and/or [for DYNAMICS the gorgeous song/suite/cycle] 2nd-side LZIII
Tangerine/That's The Way/Bron-Y-Aur?
From my point of view practically nothing. I never bought any Edge/White Stripes records
since they seemed flatly inferior. And I don't really listen much Zeppelin anymore, but it
stands up very well, looking back, LOUD, same as at least 3 of the Miller-produced
Stones' records Bleed thru Exile and even parts of GHS or BB.
But those 3 owe a good deal to Bobby Keys and Mick Taylor and esp. perhaps Ry
Cooder tho if only is true - the "true" story of what happened at Olympic Studios according
the way Cooder tells it, or told it, w/r/t the "Weekends Richards spent telling Ry to record
to reel virtually everything slide licks and/or lap pedal runs that he could possibly think of!"
[Reads, "Richards took his own little Slide for Dummies course a la (or AT THE
EXPENSE of) Cooder" and essentially the Master gave the pupil virtually the Keys to the
Kingdom and got repaid with little-more-than one point, on one side of one album ... so it
still makes sense. It's PLAUSIBLE and to my knowledge Keith hasn't denied it, and
virtually out-of-nowhere there's beautiful slide and/or pedal all over Bleed, out of nowhere.
Apparently Taylor was soon nailing it likewise (to staggering effect - live takes of "Love In
Vain" '69 Roundhouse & Leeds &tc.) and I've no idea who Al Kooper was but his pedal
steel part on Exile is brilliant.
It's been said good artists borrow and great ones steal. Stones seem to have made great
exploitative value of whatever they could get their hands on, and ask yourself "what would
you do?" for a split second. I'm no expert but over time it's pretty obvious ensemble
effects in-studio couldn't be reproduced live the way one might hope. Se la vie. Page had
the same problems w/ dubbing/flanging/phasing/double-tracking [studio sounded great -
live not-so-much.] So sometimes it sure seems (having listened to records w/ fine-tooth-
comb) there's plenty reasons "live experience" may have been lacking. Supposedly "they"
tried to make up for it, improvisation, whatever, but with gillions of bootlegs out there now,
sometimes the "best we could hope for" was things like Taylor's soloing (not on the
studio) YCAGWYW. The talent was undeniable, but given the expectations there's plenty
"disappointed" Who/Stones/Zep fans that expected to hear live what could only be
accomplished in a controlled setting, and arena acoustics was a whole nother matter. So
it wasn't the same. There's no denying. ... It's old hat, no reason beat-it-into-the-dust,
overstate the obvious, &tc &tc which is just about exactly what I did. Whew. I just think
some things belong in absolutely relative terms, and stacks of 100W Marshals did
(accomplished) what? Maybe ask Pete Townshend. He was there. Does that mean he
knows better? Maybe not. Hard to say. For sure, anyway, the early Who hits were great
lofi loud, or loud lofi, whichever, fantastic rhythm guitars for midrange-laden AM radio.
Here's a pretty good counter-example: The Faces "Devotion" sounds live pretty much
what it did in studio.
It occurs to me, there's two things, for loud, where first, The Kinks deserve honorable
mention, and last, "Gimme Shelter" is reminiscent of, little brother [or 2nd cousin] to
(Hendrix) "All Along The Watchtower," and I think they share the stage for "raw impact"
although among the count 'em four Hendrix solos (1st of the 4 obviously - the one
Richards - like the rest of us - honed in on!) Hendrix is far more fluid, technically more
complex and difficult, but the Stones' arrangement and production propelled it to "near
even draw," despite Dylan's lyrics were almost as ominous, or bleak, "Gimme Shelter" is
nearly apocalyptical. It's why I'd say "Both loud as hell, intentionally, and effectively a
close call, with Watchtower 9.5 and Shelter 10.0 on loudness scale.
Sophisticated loudness of sorts.
Anyhow for concert fidelity I'm not so sure something like YesSongs, the album, or the
movie, was better. A little maybe. Better than The Song Remains The Same? Even that's
a bit-of-a-joke (and tired one). "We" were in Jr. High (or younger) when a lot of this was
happening and I never really digested (fully) any of it "live," and so "loudness" might have
meant something like, "You mean on headphones?" until much later, after bootlegs. Try
e.g., Jethro Tull live Isle of Wight 1970. Early Tull albums were blues and jazz but the
performances were progressive, and loudness in Martin Barre didn't come across well on
stage. The ultimate irony is that Tomy Iommi was once briefly a member of Tull - right
before Barre joined. It's apparent Ian Anderson was pulling away from "heavy" and
towards "prog" with full intent. It could have gone either way? How's that possible?
Another: Ronnie Montrose was a great side-man for Van Morrison's "Tupelo Honey."
That's even less likely. But it happened, most definitely did happen. And
"Locomotive Breath" got very, very loud. I've yet to try it for fidelity, like Babba O'reily, or
Won't Get Fooled Again (which ch
It's almost ridiculous how much "better" bang-for-buck you can get for $1k speaker
system now [assuming 2.1 or 2 good front pair + decent sub (tho for me that's crazy and I
stack 2 good bookshelf over 2 old-school) i.e., 10" towers w/ dual woofers tho it was $1k
2005 (used towers $100 2020) Lol!] that in terms of "content" I almost always
find myself "revisiting loud" stuff from early-70's that I thought was
PHENOMENAL content mind you content that I was personally "discovering" early-
80's laughably a-decade-too-late. That includes early ZZ Top & Allmans w/ Duane & Little
Feat &tc &tc 461 Ocean Blvd &tc... and tended to prefer that some over the loud big 3
Who/Stones/Zep and X-ing a lot of GFR and Sabbath and Uriah Heep and Deep Purple
and Nazereth and ... well "something happened" and even tho was (looking back) pretty
much happening everywhere i.e., the 2 and 3 note phrases, 1/8ths and 1/16ths, repeated
endlessly and rhythmically underlaying palm-muted staccato, think the song "Hot
Blooded," because EVERYBODY KNOWS "Hot Blooded" so-called "heavy" sound from
Foreigner albeit "later," apparently after blue-blooded or dyed-in-the-wool heavy metal
had cemented itself, Foreigner came along and congealed or coalesced a "sound" to
spectacular financial success that I absolutely loathed & detested. The "solo," or dare I
say "The" solo,
Then there's the "dance" thing, or rather, lack-therof.
For fans of the Survivor album (and Steve Gaines obviously) the 1977 Asbury Park NJ
show B&W pro-shot [ScrewTube video] is pretty spectacular. The sound is "only average"
(at best) but I streamed it to hifi stereo where it's at least "acceptable" ... the
performances [Gaines in particular] are transcendent [the three numbers fresh from LP
come in hot] and can't help but wonder if there's HQ sound "out there somewhere" beings
the "presence" of the thing would easily rival Reed's R 'n R Animal. Those are two very
different beasts, and for one, "That Smell" is something everybody's heard a la FM radio,
a million times, but it's incendiary live, same as "Heroin" w/ alt. guitar(s) giving it a whole
new shot in the arm, so-to-speak. Sorry for the druggy i.e., druggie theme but some of
these are good w/ or w/o. Maybe both Lol!
I could say more - I like a lot - about Lou Reed's great [loud] live record, w/r/t what was
said by OPs earlier, but I got the impression was OK to speak fondly of
an organic freak ... Bowie seemed more synthetic ... even the cover of the Animal made
Lou out to look a little like Rock n' Roll Jesus. Or more aptly "Jesus' son," ... rushin' on his
run. He did it, well, "That we wouldn't have to." Even if it's a squirrely metaphor it's great
sonic theater, despite what an "authentic" Reed guitar was supposed to sound like? Peter
Paul & Mary? I dunno. I think it's an iconic, transcendent LP, "Heroin" guitar(s) [never
mind the Intro] were brilliant amplified cacophony and organized chaos, the kind of legacy
leftover the wake of Stones' blatant hedonism and pseudo-sophisticated decadence;
hardly expected anything less a true NYer. Best punk-esque music I ever heard, and I
was a huge fan of The Who (early singles a la the Meaty Beaty Big & Bouncy 8-track I
found in 5th grade and cranked to 10 on older brothers' headphones both "loaners" so to
speak). Going back, the Who singles were lo-fi, but really didn't matter, was lo-fi
midrange Maximum R&B as reported Lol!
I had no idea then what R&B even stood for. For sure the Animal album was (and
is) pure hifi and the neighbors know it! Even as a freshman, the girl in the apt. downstairs
from me one time stopped and said, "That's some great music, don't know exactly what it
is, but fantastic stuff." And she was into New Country and/or New Wave or some-such-
thing. She probably got a few good doses of "2120 S. Michigan Ave" around midnight
which really WAS Maximum R&B so I can't be totally sure which, might have even been
Them's "Out Of Sight," or some of the "authentic" JB & His Famous Flames ...
If it weren't for her I'm almost certain somebody else would have called the cops. Rather,
if it weren't for occasional psychedelic relics like Faces' "Devotion," or perhaps some
(practically any) the other Jimmy Miller-produced deep cuts Exile or pre-
Exile [CYHMK mentioned around 4 times by OPs so assume it's user friendly which it
is] would have fit the bill. Good 'n loud MEANT good (n' loud) but if you cranked the wrong
stuff [ - swear Steve Marriott not only swallowed a brillo pad but gargled in gasoline - take
that as compliment if you like Janis Joplin - inc. one-hit-wonders like 30 Days In The Hole]
you'd get arrested, beings was common as dirt; familiarity breeds contempt. By around
1982 "You Got The Silver" [Sway was great but too distorted] wasn't nearly so
commonplace as once was. Never hurts to throw in a little Jackie Wilson and/or
something slightly more robust like Solomon Burke or Bobby Bland [generally NOT the
No. 1 Top Hits] even Aretha or Brother Ray on Atlantic, despite being a little more
vocalese, in modest doses, w/ honkin' sax & all, was pretty loud. Don't quote me on this,
but "That girl downstairs" in-every-likelihood, managed somehow, to become a fan
of Astral Weeks [more than a decade after release] thru the floorboards. No sax,
spectacular jazz-style bass mighthave done it, and great horns trombone-esque on
"Young Lovers Do," perhaps. Who knows? But she was a blond-little-hottie and maybe
THAT was the only buffer between me, the cops, and the "other" neighbors at-least-two-
sides up. Only speculate, if there was any conspiracy, like anywhere else, she was the
swing-vote. I dunno.
These are clear memories; once I got so wasted (empty stomach) on pale beer and
stumbled into the apt. to stumble further into bed spins, a real maelstrom, the dreaded
3.2% vortex, and only "Miles Runs The Voodoo Down" would resuscitate. Miles truly
saved my life that night, assuaged the delirium, or at least prevented me from puking my
guts up? Being a white guy, spring 1982, I severely doubt anybody in that little building
had heard Bitches Brew, freshman/sophomore, or paid any attention if they did. It was
THAT night I recognized how great album that was/is but only later, "pretty loud horn &
Chick Korea & John McLaughlin" i.e. Revisited, did neighbors get the fuller dose. Beer-
brain rollin' & tumblin' only needed "so much" and sober it was much better upping the
volume [again for MY sake nobody else or maybe SHE would come up one night? yea,
sure, in my nocturnal dreams Lol!]
She prolly knew I had every Bob Dylan album up thru BOTT, but blasting that stuff makes
no sense. I had just got "into" King Curtis or was just getting into him via the Allman's
incredibly-deep-cut "Soul Serenade" (live) only available the box set. With Duane of
course practically the only thing worth noticing. I think I had only one Little Feat album by
then, but it was great, their 1st.
Moral: little blondie, her senses, unlike mine nearly had been in Jr High, likely hadn't
been DULLED & Corroded vis a vis GFR and/or Van Halens and/or Aerosmithereens and
any number the watered-down versions (Americanized for arenas) of
Kinks/Who/Stones/Zep, not to mention the primordial EC/Duane type-combo (never
emulated, sometimes imitated). And Stevie Ray hadn't raunched-things-up yet, either, tho
Albert Kings' "Cold Feet" [bring any electric blues fan to a cold sweat] nearly blew up my
best speakers.
