Orchestralli (2004), by Stewart Copeland

This live CD captures Police founder and drummer Stewart Copeland touring Italy in 2003 with an orchestra and a percussion ensemble performing symphonic versions of his music from Rumble Fish and The Equalizer, as well as his other original works.

The music is jazzier than usual for Copeland, which is not at all a bad thing, but it is ironic, especially considering that Copeland called out his former Police band mate, guitarist Andy Summers, a couple of decades earlier for making jazzy records. In addition to the prominent saxophone, parts of the album have a Kenny G vibe to them, which is not a knock against Stewart Copeland – or Kenny G!

 

Jazz or no jazz, this is a very engaging and exuberant concert. The sound fidelity and quality are excellent, with the intricate and expert playing of the orchestra and the percussion ensemble coming through loud and clear.

 

Of course, Copeland’s unbridled energy on the drums, percussion, and especially the hi-hat make this a rousing and dynamic performance.

 

--Raj Manoharan

Spyro (2022), by Stewart Copeland

WOW! Stewart Copeland has had a long and varied career – being the founder and drummer of The Police, composing film and television soundtracks, recording globally sourced solo albums, and writing operas and orchestral symphonies – but his work for the Spyro videogame series is perhaps one of his best and most beloved accomplishments. Just by virtue of the game’s massive worldwide popularity, this is obviously Copeland’s widest exposure since The Police, and his brilliant work here is worthy of that opportune spotlight.

The soundtrack was released officially for the first time in 2022 a year prior to the game’s 25^th anniversary, enabling people like me who are not videogame fans or enthusiasts to fully immerse themselves in the immense, thrilling, and engrossing sonic environments of the score.

 

The tracks contain elements of all of Copeland’s work up to that point and then some. Copeland’s compositional quirkiness shines through alongside mainstream themes that are grand and epic in scope.

 

All of the tunes are composed and generated entirely with keyboards and synthesizer samples. Naturally, the drum and percussion sounds are intense and give the album a kinetically propulsive edge.

 

Copeland’s Spyro music is to videogames what Jan Hammer’s Miami Vice music is to television and as such is a kindred spirit to that latter work.

 

For those not familiar with Stewart Copeland’s talents beyond The Police, Spyro is probably the best introduction to all of his wondrous musical idiosyncrasies.

 

--Raj Manoharan