Stewart Copeland

Stewart Copeland
Stewart Copeland (b. 1952) ‘The Rhythmatist’

The inspiring ‘Rhythmatist’ Stewart Copeland, drummer with The Police, went on to compose film scores. My preferred ones are the rock masterpiece Rumble Fish (1983) and his score for Oliver Stone’s Talk Radio (1988) with its MIDI toccatas. When playing kit, I enjoyed the unorthodox way he places the downbeat on the 3rd of the 4/4 instead of on the usual 2nd and 4th. His precision, his quantum, filigree hi-hat work and his polyrhythms made me experiment with rhythm and computers in my own scores. I was lucky enough to meet and talk with Stewart Copeland at St John’s, Smith Square, London in the 1980s at a concert of electroacoustic music. He was dressed in silver boots and a jump suit.

I found the picture above inspiring. It comes from the back of the Rumble Fish album sleeve. Copeland stands in lab coat as a scientist, in front of an unplayable and therefore musically-symbolic lyre (under a working marimba). The image mixed the freedom of rock, with a (tongue-in-cheek) ‘scientific’ approach to music and a representation of the history of music: freedom, symbolism, history and science all merged into a picture, decorating a fantastic, original score.

In Rumble Fish, Copeland assisted ably by sound designer Richard Beggs, uses sound metaphors in fascinating ways, e.g. heartbeats, pounding industrial pile-drivers, scooter exhausts, car horns, ‘beggar-man’ solo violin and alarm clocks – his own ballet méchanique accompanied on drum kit! The film opens with the sounds of tiny struck bells over Francis Coppola’s images of sped-up cloud formations: precision + cloudiness: diametric opposites collide. I loved also the way he used (what sound like) reversed sounds for the cue Father On the Stairs. – They come across as a fusion of traditional music and floorboards creaking.

Stewart Copeland
Stewart Copeland in the studio

Francis wasn’t looking for music. He was looking for something else that had never been put in a film before. …It’s all very quirky. Were were all working for somebody who demanded innovation.

Stewart Copeland

There’s a fascinating documentary on the production of the score to Rumble Fish.

No-one plays kit like Stewart Copeland. He treats notes like drums, being more preoccupied in their triggering and rhythmic patterns, than the harmony they generate. It’s as if he’s playing a keyboard with a pair of sticks.

Leave a Reply

Your email address will not be published. Required fields are marked *