#stuart copeland

Every bomb you make

Every job you take

Every heart you break

Every Irish wake

I'll be watching you

Every wall you build

And everyone you've killed

Every grave you've filled

All the blood you've spilled

I'll be watching you

Oh can't you see

You belong to me

There'll be a bill to pay on that judgment day

For every empty plate

Every word of hate

Those you subjugate

Those you violate

Roger with Stuart Copeland of The Police.

The Police - Every Little Thing She Does Is Magic (Official Music Video

Car il ne faut pas oublier que s’il est l’un des Grands Batteurs du Rock, malgré son gout prononcé pour les short grotesques, Stuart Copeland est aussi l’auteur de la B O d’un film culte: Le “Rumble Fish” de Francis ford Coppola .

Malheureusement la BO de “Clearwater”, le titre Anglais,(Un p’tit hommage à la BO du film de Reisz écrite par le mythique “Creedence Clearwater Revival”) ,est restée à l’état d’ébauche . Le titre Français devait être “Mangroves”.

Don’t Box Me In - Stan Ridgway & Stuart Copeland

There's multiple reasons why I don't like Stuart Copeland's Spyro soundtracks in general, and most of them have to do with instrument choice. One of my biggest issues with Copeland's tracks is that he picks particular instrumentation that just makes the soundtrack sound more suited for a game about a hoppy bunny that never gets hurt or runs into any real danger than a game about Spyro - he tends to use soft-sounding pianos, uses certain drums that are soft, and if he does have a guitar in a track, it never is something like a guitar or a leading bass. It's always a soft, muted bass that you may not notice it. Of course, I'm not saying that the soundtrack should be all hard rock and nothing but, but you got to admit it just doesn't feel like you're playing a DRAGON, rather a cutesy bunny that never really gets into any real danger.

Another thing I don't like about his music style is the constant use of the drum roll at the beginning of some of his songs. It feels like he's being all cutesy with it, trying to remind people that he was the drummer for The Police back in it's heyday, and a good chunk of the time, it doesn't fit with the rest of the song he's going for. Sargent Byrd's theme is the major exception to this, as it compliments the brass and the militaristic theme Copeland was going for with it. Any other time, it feels like Copeland tacked it on for the sake of reminding people of his drumming days.

One other major thing that turns me off from Copeland's music is that at times, the themes don't match the stages. When's the last time you heard chill music for a volcano level? You'd think a level centered around one active volcano, and another with a setpiece of a volcano would be more ominous sounding, yet both Magma Cone and Skelos Badlands sounds more like a jaunty bunny walk through a park. Yeah, the Skelos Badlands music didn't actually fit, and the less said about Magma Cone's music, the better.

Call the Cops: Stewart Copeland Turns 70

You can’t be a Police man at 70. Only an ex-Police man.

Drummer Stewart Copeland knows this. Born July 16, 1952, the former musical cop on the beat turns 70 today.

Though the Police have been defunct - save for a reunion tour in the aughts - since 1986, Copeland has not been eating donuts and doing nothing.

His latest rock opera, “The Witches Seed,” premieres in Italy later this month. He’s scored films and co-founded the supergroups Oysterhead with Trey Anastasio and Les Claypool and Gizmodrome with Adrian Belew.

Though he’s a retired officer at the beginning of his eighth decade, Copeland has no plans to slow down. He can’t, as he told the Washington City Paper earlier this year.

“It’s a river that flows,” he said of being creative. “It just comes out. And people who have this river that flows, they compose. None of that is to say that it’s any good. If it comes out and if you’re very lucky, the stuff that comes up matches the zeitgeist and other people like it too.”

People also like cake - cake with 70 candles.