Stereo Savage

Born on 28 november 1956 in Massa, Italy, Roberto Zanetti studied piano at the age of 14. Had his first hit in 1978: Souvenir, with the band Santarosa, which sold 200,000 copies in Italy.
In 1983 he launched his own group, Taxi (with Zucchero "Sugar" Fornaciari) and released the single To Miami.
He had chosen the Savage alias based on the comic character Doc Savage and composed one of the most popular Italo-Disco slow tracks: Don't Cry Tonight.

One of their better efforts. The R&B influence retreats in favor of a tender, melodic approach emphasizing the organ, piano, and accordions on a strong set that favors their European folk influences…

In this tape, designed for professionals and homeowners alike, Savage guides you step-by-step as he trims out parts of a house and shares his job-site savvy and secrets. You'll learn to match pieces of trim precisely, negotiate unsquare openings, and seat moldings solidly against bumpy walls and ceilings.

Colosseum II was a British band formed in 1975 by the former Colosseum drummer and leader, Jon Hiseman, following the 1974 demise of his band Tempest. Hiseman announced his plan to form the band eventually named Colosseum II in November 1974, but only Gary Moore was named as a member. Rehearsals were due to begin on January 1, 1975, but a permanent unit was not finalised until May 1975. Among musicians who almost made the group were Graham Bell, Duncan Mackay and Mark Clarke. The final line-up was completed by Don Airey, Neil Murray and Mike Starrs. The band was oriented toward jazz fusion, much of which was driven by the guitar work of Moore, leading to a much heavier sound than the original Colosseum band.

The 21st studio long-player from the British electronic music legend, Savage (Songs from a Broken World) is the follow-up to 2013's acclaimed Splinter (Songs from a Broken Mind), which saw Numan delivering his highest-charting album since 1983's Warriors. A willfully dark, narrative-driven concept album concerning the melding of Eastern and Western cultures in a post-apocalyptic world that's been decimated by the effects of climate change, Savage is awash in ambient horrorscapes, blast-furnace percussion, and electro-goth synth leads that suggest Depeche Mode by way of Nine Inch Nails. Numan made the shift from new wave robot bard to industrial soothsayer in the 2000s or so ago – his adenoidal voice is as captivating as ever – so longtime fans aren't expecting the next Tubeway Army or Pleasure Principle…

The Scorpions' two previous releases, Blackout and Love at First Sting, were mostly successful due to the band's ability to adjust with the times; with Blackout, they used the classic power rock introduced by bands like Van Halen, and for Sting they used similar melodies, but with a harder, tighter sound akin to the work of such bands as Dokken and REO Speedwagon. With Savage Amusement, the group's first studio recording in almost four years, the Scorpions experimented with more polished pop melodies that Def Leppard and the like had made popular. The end result is polished and often predictable music that, while good, on the whole fails to be as infectious as the music on their previous albums. Die-hard fans will certainly find their share of worthwhile songs, such as "Don't Stop at the Top" and "Believe in Love," but they still may find Savage Amusement to be incomparable to its predecessors.~ Barry Weber (All Music Guide)

The last album recorded by the Pretty Things before Phil May left; within months of this recording, the band split for a few years. Even more than Silk Torpedo, Savage Eye seemed to have been cannily devised with an eye toward picking up FM airplay in the U.S. There were hard rock, glam rock, and AOR rock influences from David Bowie, Queen, John Lennon, and Paul McCartney to be heard at various points, and while this album wasn't explicitly derivative of any of them, it didn't have much of a personality of its own, either. It certainly didn't sound like the Pretty Things, for gosh sakes. And although it went to number 163 on the charts and was one of only two records by the band to chart in the States, it was one of their least memorable.