best get his attention
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How to Get God’s Attention $1.99 “Do you want to get God’s attention with your faith? Norvel Hayes shares Biblical principles and his own personal experiences to help you do just that. So if you need healing in your body – if you need a miracles of any kind – learn what type of faith gets God’s attention and moves His hand to bless you.” |
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Attention $9.99 Track Listing: 1. Alive And Running, 2. Kingdom, 3. Lord Of All, 4. Go, 5. Beautiful Jesus, 6. Wake Up, 7. Faithful, 8. I Need You, 9. Glowing, 10. Lead Us On, 11. You Will Always Be |
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Attention Deficit Domination $12.72 Folks who know Hank Williams III best for his early retro-honky tonk material may wonder what he’s doing trying to make a doom metal album, but those who’ve been following his career closely know Hank3 is serious about his rock & roll: Williams played bass in Superjoint Ritual, drummed in Arson Anthem with Phil Anselmo and Mike Williams, and leads his own hardcore metal band, Assjack, which closes his shows in a hail of fury and noise after a set of hard-edged country. Hank3 has been fighting tooth and nail to release a rock album the way he wants to through much of his recording career, and while Attention Deficit Domination isn’t his first metal album to finally see an authorized release (2009′s Assjack took those honors), this is the deepest and darkest rock album Williams has unleashed to date. Hank played guitar, bass, drums, and keys on Attention Deficit Domination, as well as handling lead vocals and handling the engineering, mixing, and mastering. Clearly, this is Hank3 doing what he wants the way he wants to do it, so it’s a shame that it isn’t a stronger album than the often bootlegged, early Assjack material or the sessions that saw belated release on 2011′s Hillbilly Joker. Hank is a strong enough player to sound convincing on all instruments, but these sessions lack the interplay that brings strength to a good band, and the performances sound more than a little stiff, which doesn’t suit the deep, stoned vibe of these songs. Hank’s reedy tenor voice is a fine match for country stuff, but the guttural howl of doom demands something with more resonance than he commands here, and the digital vibrato added to his vocals doesn’t help. And while there are a handful of good songs here — particularly “Get Str8″ and “Make a Fall” — most of this material follows the same sonic template throughout, and while there’s no question Hank knows and loves this stuff, he has a better handle on the speedier, thrash-leaning sound of Assjack than the slow creepy crawl of Attention Deficit Domination. There’s just enough that’s worthwhile on this album to hope that Hank3 doesn’t fully abandon this concept, but this is a far cry from what he does best, and even serious doom fans are likely to find this is pretty ordinary. ~ Mark Deming, Rovi |
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Attention Deficit Domination (LP) $16.98 Folks who know Hank Williams III best for his early retro-honky tonk material may wonder what he’s doing trying to make a doom metal album, but those who’ve been following his career closely know Hank3 is serious about his rock & roll: Williams played bass in Superjoint Ritual, drummed in Arson Anthem with Phil Anselmo and Mike Williams, and leads his own hardcore metal band, Assjack, which closes his shows in a hail of fury and noise after a set of hard-edged country. Hank3 has been fighting tooth and nail to release a rock album the way he wants to through much of his recording career, and while Attention Deficit Domination isn’t his first metal album to finally see an authorized release (2009′s Assjack took those honors), this is the deepest and darkest rock album Williams has unleashed to date. Hank played guitar, bass, drums, and keys on Attention Deficit Domination, as well as handling lead vocals and handling the engineering, mixing, and mastering. Clearly, this is Hank3 doing what he wants the way he wants to do it, so it’s a shame that it isn’t a stronger album than the often bootlegged, early Assjack material or the sessions that saw belated release on 2011′s Hillbilly Joker. Hank is a strong enough player to sound convincing on all instruments, but these sessions lack the interplay that brings strength to a good band, and the performances sound more than a little stiff, which doesn’t suit the deep, stoned vibe of these songs. Hank’s reedy tenor voice is a fine match for country stuff, but the guttural howl of doom demands something with more resonance than he commands here, and the digital vibrato added to his vocals doesn’t help. And while there are a handful of good songs here — particularly “Get Str8″ and “Make a Fall” — most of this material follows the same sonic template throughout, and while there’s no question Hank knows and loves this stuff, he has a better handle on the speedier, thrash-leaning sound of Assjack than the slow creepy crawl of Attention Deficit Domination. There’s just enough that’s worthwhile on this album to hope that Hank3 doesn’t fully abandon this concept, but this is a far cry from what he does best, and even serious doom fans are likely to find this is pretty ordinary. ~ Mark Deming, Rovi |
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101 Ways To Get And Keep His Attention $10.99 “With her straightforward, tell-it-like-it-is style, noted relationship author Michelle McKinney Hammond offers this fresh new perspective on how to attract a man’s attention–and what to do once you’ve got it. From her survey of more than a hundred eligible men, Michelle has expertly painted a realistic picture of what really attracts men to women and then generously shares her enlightening discoveries with her readers. This user-friendly relationship guide is a must-have for all women who wants a secret look into the mysterious world of men.” |
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How to Get Your Husband’s Attention $5.99 She says one thing, but he hears something entirely different. Why does that happen so often, and what can a woman do to bridge the communication gap? In his 25 years of private practice, psychologist David Hawkins has helped hundreds of women communicate more effectively with their husbands. In this concise and inspiring guide, he offers straightforward, intelligent answers to nagging questions women face in dealing with this sensitive topic: How can a wife get a husband’s undivided attention? How can she be honest without hurting his feelings or starting a fight? Should she expect him to change? Readers will find the encouragement and motivation they need to press through to the ultimate goal: reconciliation and greater intimacy in marriage. |
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Get Funky With Me: Best Of $11.99 Full title: Get Funky with Me: The Best of the TK Years [Westside].This compilation covers the hitmaking years of Peter Brown, a musician who had some notable dance music hits in the late ’70s and early ’80s on the Miami-based TK Records label. This label is best known as the home of funky disco acts like K.C. & the Sunshine Band and Jimmy “Bo” Horne, but Brown’s work took a different tack. The songs on Get Funky With Me: The Best of the TK Years pursue slick, carefully crafted sound that has more to do with studio-driven dance acts like Chic. Like Prince, Brown recorded the majority of his instrumentation on his own in a home studio and added frills like orchestration and backup vocals later. The result is a sound that feels lush yet has a hand-crafted touch: “Dance With Me” is a bouncy disco outing that blends sprightly strings with an insistent bass-driven groove, and “Do You Wanna Get Funky With Me” is a reggae-tinged slice of dance funk that features Brown trading vocals with a brassy female chorus over a sumptuous production full jazzy horns and percolating synthesizers. There is also the occasional ballad; the standout is “Without Love,” which layers hymn-like vocals over a track that marries subtle strings to dreamy synthesizer hooks. Get Funky With Me: The Best of the TK Years also throws in a pair of modern remixes, both of which lack the handcrafted charms of the original tunes. Overall, the songs presented here are lightweight (especially in the lyrical department) but this is forgivable because they were obviously intended as fun, lighthearted dance music. More importantly, his music triumphs over such shortcomings because he has an undeniable knack for crafting hooks and layering them in a hypnotic fashion: for instance, “Can’t Be Love – Do It to Me Anyway” weaves minimalist keyboard riffs and chant-like vocal hooks into an entrancing synth pop epic. All in all, Get Funky With Me: The Best of the TK Years is a solid disco collection that is well worth a spin for anyone who has enjoyed Brown’s hits. ~ Donald A. Guarisco |
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Attention Deficit Domination [Digipak] $9.99 Track Listing: 1. In the Camouflage, 2. I Feel Sacrificed, 3. Bend, 4. Make a Fall, 5. Livin Beyond Doom, 6. Demon’s Mark, 7. Aman, 8. Get Str8, 9. Goats “N” Heathans |
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Attention, Blah Blah Blah $12.99 Track Listing: 1. Possession (Not the One by Danzig), 2. Mustache T.V., 3. Palestinians Are Not the Same Thing as the Rebel Alliance, Jackass, The, 4. Does Anyone Else in This Room Want to Marry His or Her Own Grandmother, 5. I, Professional Gambler, 6. Out to Everyone, 7. Friend, Please Stop Smoking, 8. Head With Arms, 9. I Am Downright Amazed at What I Can Destroy With Just a Hammer, 10. Lying to You, 11. Dear Atom, You Do Not Want Children. Love, Atom, 12. For Aliza, Whenever She May Sleep, 13. Matt Werth Speaks |
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Lets Get It On (Japan) (Shm) $37.99 This 2-CD deluxe edition of LET’S GET IT ON features various session recordings leading up to or associated with the landmark 1973 release, which is also included in its original form.Personnel includes: Marvin Gaye (vocals, piano); Melvin “Wah Wah” Ragin, Don Peake, Arthur Wright, Louis Shelton, David T. Walker, Robert White, Eddie Willis (guitar); Plas Johnson, Bill Green, Ernie Fields, Buddy Collete, Ernie Watts (saxophone, flutes); Chuck Findley (trumpet); George Bohannon (trombone); Joe Sample, Marvin Jenkins, Herbie Hancock (piano); Earl Van Dyke, Johnny Griffith (keyboards); Emil Richards, Victor Feldman (vibraphone); Wilton Felder, James Jamerson (bass); Paul Humphrey, Uriel Jones (drums); Eddie “Bongo” Brown, Bobbye Hall Porter (congas, bongos);The Miracles; The Originals; The Monitors.Producers include: Marvin Gaye, Ed Townsend, David Van DePitte, Hal Davis, Willie Hutch.Principally recorded between 1970 and 1973. LET’S GET IT ON originally released on Tamla (329). Includes liner notes by Ed Townsend, David Ritz, Ben Edmonds and Harry Weinger.All tracks have been digitally remastered.Relishing the artistic freedom afforded by the success of WHAT’S GOING ON, Marvin Gaye recorded this sultry paean to sex. Where its predecessor relied on complex arrangements, the straightforward sound of LET’S GET IT ON focused attention on its tight rhythms, strong melodies, and Gaye’s expressive, nuanced singing. For sheer sensual come-on, it’s hard to beat the title track, one of the finest celebrations of the joys of human chemistry ever recorded. But the self-explanatory “Come Get to This” and “You Sure Love to Ball” aren’t far behind in terms of passionate execution and visceral impact.Though LET’S GET IT ON has its reflective moments, notably the beautiful ballad “Distant Lover,” Gaye’s focus is on the here and now, and the intensity of his vocal performances and the silky, fluid feel of the arrangements inform the sensual “carpe diem” philosophy. Just as WHAT’S GOING ON opened the floodgates for political soul music, LET’S GET IT ON defined the “lover man” genre populated by luminaries like Al Green, Barry White, and Isaac Hayes. |
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How To Get a Guys Attention $10 How To Get a Guys Attention – Howcast |
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Attention Deficit $11.14 A quick-witted and diverse rapper able to deliver punch lines at breakneck speed, Washington, D.C.’s Wale debuted and then thrived in the underground mixtape world, releasing a handful of well-received full-lengths before getting to work on his official major-label debut. It’s the reason why Attention Deficit had a cult following the day it arrived on shelves, but the unexpected advantage to this 21st century style of artist incubation is that the wide variety of producers (Mark Ronson, DJ Green Lantern, Cool & Dre, and others) and guest vocalists (Lady GaGa, Bun B, Gucci Mane, Pharrell, and more) are surprisingly in tune with this “newcomer,” all obviously aware of his post-Kanye, post-Lil Wayne, alternative-meets-hardcore style. True to its title, the hyperactive album is filled with grand statements, provocative jokes, and busy productions, and yet, it’s an accessible listen first time out, thanks mostly to Wale’s natural delivery and quirky sense of humor. Take “Chillin,” which crafts an instant floor-filler out of a sample from the ’70s hit “Na Na Hey Hey Kiss Him Goodbye,” guest star Lady GaGa acting as Rihanna to Wale’s Jay-Z, plus a string of T-shirt worthy lines, best being “I remain a Giant and you Jeremy Shockey.” Elsewhere it’s the Nintendo-loving “I would invest in a poncho/’Cause I won’t punch out like Glass Joe,” but heavier topics like social commentary (“90210″), bittersweet sentimentality (“Diary”), and flat-out joy (“Beautiful Bliss”) are all well within this talented rapper’s grasp. The biggest complaint has to be that the early single “Nike Boots” is missing, but otherwise, this unique debut does not disappoint. ~ David Jeffries, Rovi Performers: Dapkings – Horn; Slunp – Timbales; The Dap-Kings – Horn; Alex Greenwald – Vocals; Godfather – Keyboards; Ju Ju – Keyboards; Ju-Ju – Keyboards; JuJu – Keyboards; Ms. Kim – Vocals; Stephen Breuhaus – Guitar; Tre – Vocals; Victor Axelrod – Piano; Weensey – Vocals |