I thought Stewart Copeland's work on Spyro is quite idiosyncratic, so I set out to identify some of the features which distinguish it from other soundtracks.]I made a video detailing this, which includes transcriptions that illustrate examples to support my claims, in addition to a piece I wrote to prove the efficacy of my suggestions (by producing a convincing pastiche).
The analysis focuses on rhythmic and textural choices (the scope of the video made harmonic and tonal analysis of specific songs impractical, so I had to cover that topic quite broadly and somewhat crudely), and the result is that I suggest 10 things a composer could do to try and bring their piece close to that style, if they wanted to.
Hopefully someone well-versed in Copeland's music can offer more observations, or dispute some of my claims if they disagree with them. Timestamps for the video's contents are in the description, but the list appear at 8:29 and my piece begins at 10:05.
Hope this is of interest!