I have to echo everything already said here, except to correct the review that states that this disc contains no vocals. More than half of the album does, in fact, contain a variety of vocals, from tribal chants by indigenous African tribesmen to lead vocal arrangements (mostly performed by Ray Lema), as well as some pleasingly strange narrative by Stewart himself.

Following on the brilliance of his "Rumble Fish" score, this record finds Copeland exploring traditional African music with the same kind of experimental spirit that made his previous film score so unique. While not quite as abstract as "Rumble Fish", this album fuses tribal chants, traditional African vocal arrangements and lyricism, traditional African musical arrangement, natural (animal) noises, experimental/improvisational percussion and drumming, and a variety of other clever tricks into a cohesive whole that takes the listener on a journey through the villages and plains of Africa.

The first half of the record is full of lively chants and typically melodic African song, highlighted by beautifully performed vocal arrangements and harmonies, much of which is sung in native tongue. As the album progresses, however, it takes a turn into somewhat darker territory, as it ebbs and flows through Copeland's unique and rather eccentric aesthetic filter, resulting in several instrumental arrangements that carry an energy and sense of mystique as intriguing as the Dark Continent itself. Track by track, one gets the sense that each instrumental is telling a story, attempting to describe the subjective experiences of an explorer in a foreign land, experiences that cannot be related through words. By disc's end, Copeland brings the journey full-circle, encapsulating the experience with "African Dream", a "duet" (such that it is) performed by himself and Ray Lema, which serves as a sort of "final act" or conclusion to the journey.

"The Rhythmatist" marks an important point in Copeland's development as a composer, as it is his first work to incorporate a completely different genre of music into his own unique style of composition, which is also significant in that it is one of the first works by a mainstream artist that attempts to bridge musical cultures in an authentic way. Though artists such as David Byrne, Peter Gabriel, Johnny Clegg, and Paul Simon were pursuing similar ideas during the same time-frame, it can be argued that "The Rhythmatist" was a landmark work for its time for successfully crossing cultural and musical boundaries in a legitimate way. As bits and pieces of material used for the album can be found in Copeland's solo meanderings as far back as 1980 (Klark Kent), the album was obviously a culmination of long-held ideas that had previously developed over a span of years, potentially classifying Copeland as one of the very first contemporary artists to consider such a concept. In any case, the formula would prove to be no fluke, as Copeland would return to it a number of times with consummate artistry and skill (see "Rapa Nui", "Four Days In September"). His uncanny ability to adopt, incorporate, and transform various styles of music from around the world makes him one of the most versatile and compelling composers of the last 25 years.

For anyone looking to own one of the finest artistic accomplishments of the 80s, this disc is a must-have. Though probably not the kind of fare I would recommend to casual Police fans, serious Copeland fans and ethnic music aficionados will absolutely LOVE this record. A masterpiece in every sense of the word, and though I am not quite convinced about the remastering job on this one, it is well worth the price simply because it is finally available again. Simply SHAMEFUL that it has been out of print this long.

Now, if someone would just wise up and reissue "Rumble Fish"...

Magic

Copeland demonstrates genius, American musical ingenuity... Someone else (in Hollywood) heard this stuff and had him do the score for The Equalizer. Great stuff...

Can not go wrong with anything Stewart does. This is a post Police masterpiece and should be a part of any drum fans collection.

Brilliant album from Stewart Copeland, in my opinion, sounds very much like the Police meet Paul Simon Graceland.
The first 4 songs are very much Police-like songs, without Sting's vocals. I highly recommend this album for fans of the Police.

Great listening. I knew the record all along already. Am getting very curious to see the movie now. Only found an NTSC Betamax version that I need to get transformer to a format I can see in Old Europe. Anybody any idea?

Stewart Copeland s MASTERPIECE and a rare gem of priceless musical value worldwide .NO MORE COMMENTS LISTEN AND JUDGE WITH YOUR OWN HEARS .RATE WHAT HERE ? PERFECTION ?IMPOSSIBLE .

Fine product and quick delivery.