For those expecting more of the same of Reyn’s previous outing will be mightily surprised to find out this CD is nothing like that at all. Galway Remixed is minimalist, pure and unsophisticated. All the 11 tracks a dealt with in the same way with it’s mild dance approach. The melodies are enhanced SID with accompanying beats and sounds nothing more than that.

It’s been done countless times before on RKO with varying degrees of success. Though admit ably this is much better production wise. Even though reyn’s talents just haven’t been used to the potential he most certainly has.

A major factor of the CD that lets it down that it’s neither quite dance or well anything else for that matter. It’s sort of a mish mash of everything that doesn’t seem to match.

I could go into detail about each track, but I won’t mainly because it’s the same all the way through. That’s not always a bad thing mind you, but in this case it is.

I delayed reviewing this CD to see if it would grow on me, but it hasn’t. It’s just too minimalist and under achieves in most areas. It’s one of those CD that you listen to and drift away from the CD without realising it as the tunes plods on. Before you know it it’s finished leaving you thinking well where was it? Have I missed something? So you play it again and the same thing happens leaving you empty and unsatisfied.

The CD fails to grab the listener in any department what so ever. It just doesn’t grab you by the collar and says, Play me. Yeah I’m big time disappointed in this CD and I can’t say there’s a single area that captivates me.

There will be people who like this CD, I have no doubt about that. The people who like accuracy and the fact that reyn has stayed true to the original compositions will undoubtedly gain a few fans along the way. But for me I’d rather listen to the originals for this type of accuracy.

There’s a simple equation to sum up this new release - Martin Galway plus Reyn Ouwehand equals remix magic! Let’s look at the 11 tracks on offer:

This Galway masterpiece is very tricky to emulate in it’s entirety, but Reyn has pulled it off. When the intro ends at 2:40, the rhythm kicks in with some gentle bell sounds underneath. This section builds and repeats up to 6:50, where it changes again with lots of chords and an authentic-sounding lead. From 9:20 onwards, the breakdown of the tune is handled brilliantly, with some awesome echo effects.

This track seems to be remixed a lot, and this version is a lot better than Drax’s attempt that added too much. Apparently Martin set out to write a cover of a Level 42 song, and it became something totally different. The lead voices throughout sound like Galway, the rhythm track is strong without overpowering and there are so many layers to it. You keep thinking it is going to end.. and it carries on, changing and growing until it finally fades away..

After the amazing Jarre cover of the original, Martin came up with this unusual tune that isn’t very Chinese, but does have a great melody. The cover keeps a lot of that atmospheric, dream-like feeling. The big bass and electric piano of the start sound like Vangelis, the percussion joins in after a minute, and the rapid arpeggios at 2:15 work really well. The bass then returns with some filtered sounds, and the melody gently creeps back in until the final fade.

Famous for the advert’s artwork by Bob Wakelin and the strange monochrome sprites, this cover has a very Ibiza feel to it - I was particularly reminded of Played-a-live by the Safri Duo. The deep-sounding bass at 2:30 really rocks, particularly when the faint chords kick in; a very effective part of an unusual tune that has no strong melody. Cleverly, the original refrain returns at the end.

A true classic among Galway’s repertoire, Reyn has wisely chosen to stick close to the original with this cover, and it works very well indeed. The haunting lead voice and great bass are all present and correct, but I was disappointed that remix wasn’t longer since it only lasts 2:24.

The 4th Dimension compilation from Rack-It was unusual (four games for the price of one), the Sensible Software game was unusual (particularly the female sprite) and the title tune must rank as one of the most unusual tunes of all time. The classic fly buzzing intro has disappeared, but a strong rhythm with an echoing bass compensates. The second section has a lot of different layers to it, and then the lead returns to make it even more complex. The fade at the end is very nice as well.

Back to another Sensible Software classic, I adored this tune (and the cover) from the first moment I heard it. It has such an epic, space-like feel to it that you feel yourself drifting away.. Anyway, back to the review. The sounds that start this cover off are very spaced-out (like the original) and the beautiful heart-beat rhythm starts up. Perhaps this track is too short as well, but it will impress you.

Inspired by a Jan Hammer instrumental from the TV show, you drive around Miami in your car to the accompaniment of this tune - and Reyn has captured it well. It does sound like Jan Hammer, and towards the end it reminded me of Moby as well. The unusual chords of the original are replicated perfectly, although it does take a long while to build up and does not develop very much. It is the longest track on the CD, and I have to say it is not my favourite Galway tune, but it works.

This may seem a strange choice for a tune, particularly with the other jingles and tunes inspired by the Jerry Goldsmith soundtrack Reyn could have chosen. However, there is a lot of depth to this cover of the drum patterns that play while you enter your name for the high score table. (If you’ve never played it, the letters are on-screen in the shape of a helmet, and you move a cursor around to enter your name). Several percussionists take turns to add to the track, and towards the end there are touches of breakdance and Herbie Hancock as 80’s chords join in.

Perhaps Sensible Software’s games inspired Martin to develop his music, or was it the other way round? This is a very strong cover, and the changeover section is handled superbly. (Apparently, the tune was left unfinished and Martin added the second section at a later date - and was not happy with the result, until he heard it in the finished game.)
It sets off at a slightly faster tempo than the original and builds quickly, with giant gongs adding depth. The dance rhythm soon kicks in, although the lead through this section is perhaps a little too quiet. Then comes the familiar changeover to the mysterious ending, which has had some funky drums added to it and a very plinky-plonky lead.

Actually, this track kicks off with the swirling, surreal notes of the bonus section with added rhythm. It all sounds very similar to the original 64 version, although the middle section of the tune becomes too cluttered with too much happening - the falling chords, bass and synth fills plus the drums. As the track builds towards 5:00, we get the classic explosion sound and everything falls apart.. and the Latin rhythm of the high-score tune takes over (at a very quiet volume) and gently fades out to the end. A great way to end the CD.

Once again, High Technology Publishing come up with the goods. The combination of Reyn and Martin leads to some excellent tunes that are relaxing, mysterious and uplifting at the same time. To continue the mathematics metaphor, Reyn has added a lot to his covers without taking away the Galway magic that made the tracks so memorable. Any C64 music fanatic should purchase this now!