In order not to disrupt the career of The Police, which at the time was an emerging band, Copeland chose to record under the pseudonym "Klark Kent".

Released as a single by A&M in 1978, "Don't Care" reached number 48 in the UK Singles Chart[1] When Klark Kent was subsequently invited to Top of the Pops to perform the song, Copeland, Sting, Andy Summers, Kim Turner, Florian Pilkington-Miksa and Miles Copeland showed up wearing masks to disguise their identity.

Copeland's voice couldn't be heard through the mask, which was also deemed as particularly scary by the show's producers, so he eventually had to drop it in favour of heavy make-up and shades, making his real identity quite clear.

[2] The success of "Don't Care" prompted Copeland to record and release three other singles - "Too Kool to Kalypso", "Away from Home" and "Ritch in a Ditch".

Like the first two of The Police's albums, Klark Kent was recorded on a minimal budget at Surrey Sound Studios in Leatherhead, with Nigel Gray engineering.

In all the pictures in the album Copeland can be seen wearing a black and yellow sweater with hooped stripes in reference to how Sting originally earned his nickname.

Japan Kollected Works is a compilation of songs that Stewart Copeland wrote under the pseudonym Klark Kent released on CD in 1995.

It includes all the songs from Klark Kent, four "Klark Kent" non-album single tracks ("Too Kool to Kalypso", "Office Girls", "Thrills" and "Office Talk"), a new version of "Love Lessons", a song originally recorded by Colts (Stewart Copeland and Derek Holt) in 1986, and two previously unreleased tracks - "Strange Things Happen" and "Stay Ready".

"Strange Things Happen" had been recorded around the time of Copeland's journey to Africa prior to producing his LP and film The Rhythmatist (1985).

[6] In a retrospective review, Paul Collins of Allmusic panned the Klark Kent album, arguing that Copeland only recorded it for ego-driven reasons, and that his vocals make the songs unbearable.

[3] Despite this, Allmusic also made Kollected Works an album pick and published a review by Richard Foss declaring it to be "inventive new wave pop of the highest order" and "a record that combined the musical sensibilities of the Police and the lyrical concerns of Weird Al Yankovic".

Foss applauded the album's humor and eccentricity, while contending that the tracks also have plenty of musical depth to make them hold up to repeated listens.