�The key points from the a la mode release are:
Performance on the basketball team standards has remained around their highest
recorded levels, during the period April to June 2008, videlicet:
- 99.9% of patients were seen inside 2 weeks from urgent GP referral
to outpatient appointment. This is a marginal increase from 99.8% in
2007-08 Q4 and the same as in the equivalent time period last year.
- 99.8% of patients were treated inside 1 month from diagnosing to
discussion for chest cancer. This is a marginal increase from 99.7%
in 2007-08 Q4 and in the equivalent period last year.
- 99.6% of patients were treated within 2 months from urgent GP
referral to treatment for breast cancer. This is a slight increase
from 99.5% in 2007-08 Q4 but a flimsy decrease from 99.8% in the same
period last twelvemonth.
- 99.6% of patients were treated inside 1 month from diagnosing to
treatment for all cancers. This is a marginal increase from 99.5% in
2007-08 Q4 and the same as in the equivalent period last year.
- 97.1% of patients were treated within 2 months from pressing GP
referral to handling for all cancers. This is an increase from 96.8%
in 2007-08 Q4 and 96.9% in the same period last year.
See this link for detailed figures.
Detailed notes can be found at the following link.
Department of Health
More info
Wednesday, 3 September 2008
Thursday, 14 August 2008
Download Bloody Tears
 Artist: Bloody Tears: mp3 download Genre(s): Metal: Gothic Discography:  Triumph Of Darkness Year: 2004 Tracks: 12  Cruel Fight Year: 2001 Tracks: 8 Bloodstone was a key radical in creating the stir from the R&B and psyche radical concepts of the '50s and '60s to the funk and contraband rock ideas of the '70s and afterward. The mathematical group began in Kansas City, spell the original members were in high gear schooling, as an a cappella doo greaseball mathematical group, the Sinceres, round 1962. They evolved with the decade, and by 1968 were ensconced in Las Vegas, playing lounges like many other somebody minor leaguers (Laddie Charles & the Checkmates, most notoriously). From at that place, they went to Los Angeles and did the unexpected: They erudite to toy instruments and became a stripe (like the Clash and Steely Dan, they never did settle on a permanent drummer). In fact, Bloodstone was a selfsame beneficial funk-soul chemical group victimization the Hendrix-derived licks of Charles Love and Willis Draffen against multiple percussion ideas to underpin a vocal blend that still owed its soul to gospel and doo guinea. (If this makes you think of the Isley Brothers of "That Lady," you're on the right cart track.) Bloodstone received no disk society interest group in L.A., however, so at the advice of its managing director, the grouping resettled to London in 1971. There, they teamed up with Mike Vernon, founder of the Blue Horizon label, who'd made his bones producing an record album with the nifty Chicago pianist Otis Spann; patrick White blue devils acts of the Apostles like Fleetwood Mac and Savoy Brown; and early Euro-rock with Focus. Vernon took Bloodstone into the studio and by early 1973, its debut single, "Natural High," had cracked the R&B and pop Top Ten, becoming the group's shaping song. Vernon produced the number one cinque Bloodstone albums, which garnered seven-spot Top 20 R&B singles, about all of which made the crop up Top 40. The group was a grown concert draw, and its album sold well, if not stunningly. Somehow, all of this was parlayed into a 1975 film contend. Train Ride to Hollywood is arguably the funniest picture of the whole '70s blaxploitation film boom, derived in equal parts from the Marx Brothers and such early spoofs as The Palm Beach Story and International House. Somehow, amidst the slapstick and the marijuana cigarette jokes, Bloodstone wedges in a pretty complete history of black vocal musical harmony music from the Mills Brothers to the Coasters to their have bad selves. They do it even bettor on the soundtrack record album. (All of the Vernon-produced Bloodstone albums contain versions of '50s and '60s oldies.) The radical then faded from popular scene, disdain a abbreviated stint at Motown, until the early '80s, when it aquiline up with the Isley Brothers' T-Neck and scored a commercially and artistically successful album, We Go a Long Way Back, produced by the Brothers. The claim track returned them to the R&B Top Ten in 1982, only although several other T-Neck singles charted, the group's recording life history fundamentally over there. Nevertheless, this heartland group had made a significant mark and bathroom lay fair call to being one of the first base to figure out its especial era's future. |
Jay-Z Gives A Shout-Out To Barack Obama On New Kanye West-Produced Song, 'Jockin' Jay-Z'
Wednesday, 6 August 2008
Beat Hackers Vs Melicia
Artist: Beat Hackers Vs Melicia
Genre(s):
Trance: Psychedelic
Discography:
Envelope CDS
Year: 2004
Tracks: 1
Exclusive: Spears' Mom Contacted Dr. Phil
Thursday, 19 June 2008
Canadian Idol Top 25: Mark Day
Mark Day, 19
Portugal Cove, Nfld.
One of the things the judges on the Idol shows are always wary of is a male competitor singing a song that�s been written for a woman to sing.
Then again taking the risk of not only singing the song, but altering it so that it works for you can be quite impressive. That was the case for Mark Day, 19, of Portugal Cove, Nfld.
This small-town guy with a big voice decided to take on Celine Dion�s It�s All Coming Back To Me Now, as well as the Power of Love, for his audition with the Canadian Idol judges.
�Everyone always says not to sing songs like these ballads because it�s hard to get that range � but my range for a guy is really big and loud and strong,� Day tells Metro. �When I sing it doesn�t sound like a copycat or an imitation, it sounds like a guy singing the original and (the judges) really liked it. So I�ve never had anyone say that I sound like a copycat.�
The thing about Day is that he can be the guy next door; the one people at home can think, �I know that guy, he�s in my English class.� And he knows how to work his magic.
�I�m the next Canadian Idol because I�m relatable,� says Day. �I�m a big boy from a small town, in a big city on a big stage. I have a good voice. I don�t want to sound cocky or contrived, but I know I can sing and I know I can perform.�
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Wednesday, 11 June 2008
Further Seems Forever
Artist: Further Seems Forever
Genre(s):
Other
Rock: Punk-Rock
Indie
Blues
Discography:
Hide Nothing
Year: 2004
Tracks: 10
The Moon Is Down
Year: 2003
Tracks: 10
How To Start A Fire-Advance
Year: 2003
Tracks: 10
How To Start A Fire
Year: 2003
Tracks: 10
Further Seems Forever
Year:
Tracks: 3
The genesis of this Pompano Beach, FL, band started from trey groups: Strongarm, Shai Hulud, and the Vacant Andys. Originally light-emitting diode by vocalizer Chris Carrabba, Further Seems Forever was rounded out by guitarists Josh Colbert and Nick Dominguez, bassist Chad Neptune and drummer Steve Kleisath, first recording the song "Vengence Factor" for a Deep Elm Emo Diaries compilation. In July 1999, the group released a split EP with Recess Theory titled From the twenty-seventh State. The band, known for its power pop only also for its Christian emocore tinges, released its debut full-length, Sun Myung Moon Is Down, on Tooth & Nail in March 2001. The group by and by changed singers when Carrabba went on to pursue his solo material full-time as Dashboard Confessional.
Further Seems Forever continued on with sometime Affinity frontman Jason Gleason at the helm. He brought an intensity level to the music in a different form than Carrabba's previously more vulnerable vocals, and he was first-class honours degree introduced to fans through tracks the set contributed to the Rock Music: A Tribute to Weezer and Kindling Goes Pop compilations. Guitarist Derick Cordoba replaced Dominguez for February 2003's How to Start a Fire. It was a potent travail proving that Further Seems Forever was more than precisely its former singer (Dashboard Confessional had gone on to be an emo sensation). As circumstances would accept it, though, Gleason exited the group as work on a third record album was beginning. Undeterred, the rest of Further Seems Forever got in striking with vocalizer Jon Bunch, whose possess stria, Sense Field, had recently dissolved. Bunch soon signed on for mic duties, and Enshroud Nothing appeared in August 2004.
Fall of 2004 was exhausted on spell with Sparta and Copeland earlier the group headed indorse out with the Starting Line in the first part of 2005. Further Seems Forever went on a brief hiatus that November, which eventually lED to a formal proclamation that they were vocation it quits in early 2006. A leave hitch happened in natural spring of that year, following the March button of Hope This Finds You Well, a life history retrospective that included fan favorites, rarities, and B-sides. 567 Records then issued the CD/DVD The Final Curtain in early April 2007, which included unreleased material and footage of Further Seems Forever's last show on June 17, 2006 in Atlanta.
Friday, 6 June 2008
With subtle moves, Jaheim masters the oh-so-fine art of mood swings
It’s a good thing R&B artists like Jaheim still exist.
While a sea of sex-obsessed imposters rely on cliches and simplistic come-ons to boost their sales, the 30-year-old singer has managed to retain his urban sensibilities, and still bring a sense of shy charm and old school-class to the genre.
And his husky baritone, alternately cool and blazing, is second to none.
During last night’s 75-minute set at the Berklee Performance Center, the ghetto heartthrob moved timidly, with the stiffness of someone recovering from a back injury, but sang with the voice of a latter-day Teddy Pendergrass.
It is this duality that makes him so entrancing.
The New Jersey native emerged to an impatient crowd and led off with “Voice of R&B” off his fourth and most recent album, “The Makings of a Man,” backed by four singers and a five-piece band. From there, he worked over his musical catalogue, including “Put That Woman First,” the classic stylings of “She Ain’t You,” and the tale of a reformed thug, “I’ve Changed.”
He sported three different suits, threw sweaty towels into the audience, brought out a bucket of roses for adoring female fans and drank hot tea between songs. He rarely addressed the crowd, but wasn’t quite aloof, either. Instead, he seemed to understand that working the masses can be done subtly, with a variety of moods: lively during “Fabulous,” romantic during “Looking for Love” and contemplative during “Have You Ever,” with slight dance movements drawing screams from the three-quarter capacity crowd.
Ladies rightfully swooned over the well-muscled, tattooed singer - never moreso than when he tore his shirt off during the night’s final song, “Just In Case” - but his complex appeal extends far beyond the surface.
Mostly, it’s in his ability to spin a street tale one moment, then embody quiet elegance on an abbreviated, but powerful cover of “A House Is Not A Home,” originally recorded by Dionne Warwick and later sung by the late Luther Vandross, and seem perfectly at home in both places.
An opening set from Boston’s own Lovely Hoffman suggested that the young singer has some work to do - mainly staying on key and not pulling the mike away at key moments - but has the energy and vocal chops to make the toil worth it.
While a sea of sex-obsessed imposters rely on cliches and simplistic come-ons to boost their sales, the 30-year-old singer has managed to retain his urban sensibilities, and still bring a sense of shy charm and old school-class to the genre.
And his husky baritone, alternately cool and blazing, is second to none.
During last night’s 75-minute set at the Berklee Performance Center, the ghetto heartthrob moved timidly, with the stiffness of someone recovering from a back injury, but sang with the voice of a latter-day Teddy Pendergrass.
It is this duality that makes him so entrancing.
The New Jersey native emerged to an impatient crowd and led off with “Voice of R&B” off his fourth and most recent album, “The Makings of a Man,” backed by four singers and a five-piece band. From there, he worked over his musical catalogue, including “Put That Woman First,” the classic stylings of “She Ain’t You,” and the tale of a reformed thug, “I’ve Changed.”
He sported three different suits, threw sweaty towels into the audience, brought out a bucket of roses for adoring female fans and drank hot tea between songs. He rarely addressed the crowd, but wasn’t quite aloof, either. Instead, he seemed to understand that working the masses can be done subtly, with a variety of moods: lively during “Fabulous,” romantic during “Looking for Love” and contemplative during “Have You Ever,” with slight dance movements drawing screams from the three-quarter capacity crowd.
Ladies rightfully swooned over the well-muscled, tattooed singer - never moreso than when he tore his shirt off during the night’s final song, “Just In Case” - but his complex appeal extends far beyond the surface.
Mostly, it’s in his ability to spin a street tale one moment, then embody quiet elegance on an abbreviated, but powerful cover of “A House Is Not A Home,” originally recorded by Dionne Warwick and later sung by the late Luther Vandross, and seem perfectly at home in both places.
An opening set from Boston’s own Lovely Hoffman suggested that the young singer has some work to do - mainly staying on key and not pulling the mike away at key moments - but has the energy and vocal chops to make the toil worth it.
Friday, 30 May 2008
Wonder Woman - The Things They Say 8240
"I want that WONDER WOMAN costume - but it's probably too revealing." Model GISELE BUNDCHEN would love to dress up as the hotpant-wearing superhero - but wants to protect her modesty.
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