You hit the nail on the head
I'm a HUGE fan of Copeland's score for the Spyro PSX games. The cartoony thematic material, light, eccentric drums, organ and mallet/bell percussion, ambient padding is very reminiscent of the music in the Spyro games. Definitely would fit perfectly with the soundtrack for Spyro 2-3 where Copeland expanded the instrumentation palette in his pieces. It could be a replacement for one of the home-world tracks in Spyro 3 (which I found to be lacking in energy).
The composition is perfect. Catchy, good use of repetition, and development and sequencing of patterns. To me it invokes feelings of playfulness, lightheartedness, and comic mischief (flame those sheep!) It even loops seamlessly. I love the meshing of the acoustic guitar and vibraphone melodies. The breakdown with the rotary B3 organ was awesome, and the rhythmic chord stabs after was a great touch leading back into the introduction. The bassline is funky and produces a great groove and the electric piano has some interesting riffing over the top. I like the varied and well layered shaker percussion lines.
DAT INSTRUMENTATION. Lovely rhodes piano, sweet ethnic percussion, nice bubbly synth bass, again DAT B3 ORGAN. The release on the vibraphones is perfectly modeled. And the background ambiance....not only does it sound authentic, it actually develops and changes along with the music!
The mixing/levels are very clear. All the instruments are well distinguishable, good use of stereo and panning, creates a good contrast. I also like how the piece isn't overly compressed and over-saturated in effects.
So I can't find anything wrong with this piece honestly, but I still give it a 9 because it doesnt exactly have that killer melody (like the frozen altars level) or an extra-exotic instrumentation (like Sheila's lair). Perhaps the section after the break could be extended an extra 8-16 bars to make it more symmetrical to the intro-first verse area; but like I mentioned above, since it loops into the intro unoticeably it doesnt really matter. It may be able to use more variation in overall dynamics. Another technique worth exploring (not necessarily in this piece) is simply transposing all your instruments up or down for a good 8 bars or so. Copeland would use this technique quite a bit in his Spyro tracks to elongate them while not actually changing much.
Very good job, I'm interesting in hearing more from you for sure!