Alex Ball’s 70s Cop Show Music: Funky Chords, Crunchy Brass, and a Rhodes Mk8 on Patrol

Alex Ball kicks things off with a bang, diving straight into the smoky, suspenseful world of 70s cop show music. If you’ve ever wanted your life to sound like a car chase through downtown, this is your jam. The Rhodes Mk8 takes centre stage, looking flashier than a disco ball at a footy club, and sets the vibe for the whole escapade.

Alex’s approach is all about capturing that drama-meets-funk energy. He’s not just here to noodle on some keys—he’s laying out the blueprint for music that’s equal parts tension and toe-tapping swagger. The intro is a cheeky nod to the era, promising a deep dive that’ll have you dusting off your aviators and prepping for action.

Right out of the gate, Alex reveals the magic behind those iconic cop show themes: it’s all about chromatic climbs and harmonies that smack you like a magpie in spring. Forget boring major and minor chords—this is the land of smush, crunch, and polychords stacked like a meat pie with extra sauce. He shows how walking those top notes up chromatically, then building chords underneath, creates that signature tension and release.

It’s not just about theory, though. Alex encourages experimentation—stacking unrelated chords, spreading cluster notes across octaves, and using deliberate rhythmic shifts to keep things spicy. The result? Drama, funk, and a sense of urgency that’ll have you feeling like you’re about to bust a crime ring at the local servo.

Alex drops some golden nuggets for anyone chasing that authentic 70s sound. First up: keep your mix simple and your arrangement tight. He reckons 90% of the magic is in the composition, not endless plugin chains—if your parts aren’t fighting each other, you’re halfway there. When everyone hits the riff together, it sounds massive without needing to drown it in effects.

He also stresses the importance of thinking like a TV orchestra—limited tracks, real players, and disciplined overdubs. Don’t go overboard with layers; stick to a realistic ensemble and let the parts breathe. Alex’s own arrangement could be played by fewer than 20 people, which keeps things punchy and believable.

Mixing-wise, it’s all about minimalism: one plate reverb for the whole band, a bit of tape and vinyl flavour, and a focus on getting the vibe right at the source. If you want to hear how these tips work in practice, you’ll have to watch the video—there’s only so much 70s magic you can squeeze into text before you need to let your ears do the walking.