Golden Ivories of Gaia | Final Fantasy 7

This is a piece that I started because I said to myself, “What is it that OCR hates/has too much of more than anything?” The answer that I came up with was: Final Fantasy 7 and medleys (FF7 being the thing that they have too much of, medleys are the thing that they – the judges and djp – hate). So I had the need to come up with a FF7 medley that would be a shoe-in for the site. Well, after I wrote it, I saw that the FF7 album “Voices of the Lifestream” was still being finished up, so I sent my song to Zircon to see if he wanted to include it, and for some reason, he did! So it became the final track on the album. I still haven’t sent it into OCR although I’m assured that it would be able to pass. Unfortunately, the current mp3 is over 8 megs, and the limit at OCR is 6. Meh.

I’m Taking My Ball and Going Home | Super Dodge Ball

This piece is based on the credits music from ‘Super Dodge Ball’. I remixed it for the Super Dodge Ball album written by the Bad Dudes (which includes me) called “No Balls, No Glory.” I gave this one a very old-school ‘50s lush romantic sound. Something you’d expect to hear in a smoking lounge back in the day. Or maybe in the background of an old soap opera. The source tune was so eclectic and jumped around so much that I had a hard time sculpting an idea for it, but I think this piece does it credits (pun intended).

Tears of Contention | Chrono Trigger

"Tears of Contention" (Chrono Trigger) was a throwback to Clairvoyant Elegy. Lee Barber (TO/The Orichalon) and I had just finished a very ambient music remix (Jade Spawn), and wanted to get back to the style that people were really nuts about. I chose the source tune (At the Bottom of Night), and we went to work. Unfortunately, along the way we hit some creative snags, couldn't agree on some ideas, and eventually the piece was put on permanent hiatus. About five months later, I finally got tired of seeing it on my desktop and powered through the last section of it. TO received the piano part, thought it worked out great, and finished off production. Looking back, I don't know why this wasn't finished in a week in the first place. Another very enjoyable collaboration with a quality remixer.

Clairvoyant Elegy | Final Doom

"Clairvoyant Elegy" is one of my favorite remixes thus far. This is a collaboration between myself and TO. TO came to me one day with a remix from Final Doom that was totally finished minus a lead instrument. He had been planning on having FIDGAF (OCR) play lead guitar over his synth backbeat, but things fell through and FIDGAF couldn't do it. TO then gave me the go ahead to put my own piano spin on his piece and, a week later, the remix was finished. We couldn't believe how well it worked together (especially considering that we had substituted lead piano for guitar). I employed a Yanni-esque style to my piano playing, very similar to the work done in his "The Rain Must Fall" original. This is an instant classic with most anyone whom hears it. Download this one if you're picking and choosing.

Suicide for Two Pianos | Suicide Express

"Suicide For Two Pianos" (originally titled "Bladiator as Reuben Kee") was an entry for PRCv2-7. The source tune was the main theme for Suicide Express, a C64 game. I decided to try something a little different, so I layered multiple pianos for a duet/duo piano feel (much like Reuben Kee does, hence the original title). The moods swing from pressing waltz to sweeping melancholy to rhythmic driving. The original tune was unfortunately a throwback to a song from Blade Runner, which keeps this piece from being submitted to OCR. Also, the piece only got second place behind Analoq's quite amazing "Groovicide".

O, Say Can Yoshi | Yoshi's Story

"O, Say Can Yoshi" is a piece I came up with after listening to Dr. Fruitcake's "Mario's Tropical Paradise" (available at OCRemix). I heard the two Yoshi's Story themes that he incorporated into his medley, and enjoyed them so much that I wrote my own piano remix involving them. I had already finished the remix before I even knew what the source tunes were or where they came from. Many people say that the original tunes were really boring, but my remix made them enjoyable. I think that maybe I was deluded by the well-made remixes of these tunes present in Super Smash Brothers: Melee, and never actually heard the true originals. Altogether, this remix departs from my normal solo piano remixing style, and gives the listener something different to enjoy. This one is also a return to live recording at UT Tyler.

Shave Slave | Kirby 64

"Shave Slave" is a quirky little remix based on a tune from Kirby 64 called "Cave Rave". I remixed it for PRCv2-19 (People's Remix Competition) over at the OCR forums. Luke Williams (aka: LAOS) challenged me to a non-sequenced piano showdown, and we both did jazz-style piano remixes based on the tune. Mine somewhat leaves the realm of jazz and sounds more like ragtime or old-timey piano bar music. Regardless, it won the PRC that time around, and more importantly, destroyed LAOS in the competition.

Moon Over Rinoa | Final Fantasy 8

"Moon Over Rinoa" was my entry to the Splendid Performance competition at This was written for the first audition, called "On the Keys". It is a remix of the source tune "Waltz of the Moon" from Final Fantasy 8 (which, strangely enough, is a waltz variation on the "Eyes on Me" theme heard later in the game). I start with an almost verbatim piano waltz verse of the tune, and then transition into a 4/4 Brickman-style variation on the melody, which is finally transitions and modulates back into a high-powered waltz finish. Incidentally, it placed horribly in the competition, and was rejected at OCRemix. Still, it is a favorite of mine, and one which I will have to practice diligently if I ever want to record it live again.

Dawn Over Ivalice | Final Fantasy Tactics

"Dawn Over Ivalice" is the result of a failed FFT Piano Collections project. The project idea itself was great: do piano remixes of a set number of FFT tunes, have live recordings done of all remixes involved, write out the sheet music for each remix, then release everything together in one happy download. Unfortunately, almost all the FFT source music has the same basic tunes involved, and the remixes being put forth were AWESOME, but also very difficult to play. That being said, this was my submission to the project, recorded by me (obviously). I remixed the 40-odd second intro theme, and based the remix very solidly on the two main motifs presented there. This was to be the lead song in the project, so you can listen to this and then pretend you've lost the rest of the album.

A Dangerless Road | Super Mario RPG

"A Dangerless Road" was another piece written one fine evening. My friend, LAOS, gave me the source tune from Super Mario RPG and asked me to make a bladiator-esque piano waltz from it. After toying with that idea for about half an hour, I realized that that style wasn't going to work for this piece -- at least not that evening. I finally decided on a more new age / jazzy style, and came back to him with my finished piece (this recording) a couple hours later. Although I feel that some sections could have used more polish and fleshing out, this piece has received a lot of praise from fans of the game. Maybe someday I'll make it better and see it submitted to OCR.

Grand Valse Mario | Super Mario World

"Grand Valse Mario" came immediately following the release of Chopinesque Kirby. I had received so many requests for sheet music for the first one that I began this remix by writing it out. Within a couple of days, I had finished writing GVM and was practicing its performance. Unfortunately, the live recordings I had made were useless due to bad mics or faulty connections in the recording booth. The keyboard recording that I made is still very enjoyable, and the melodic run at 1:31 almost single-handedly makes the download worthwhile. Although in the same genre as "Chopinesque Kirby," the two pieces are worlds apart in technical style and composition.

Chopinesque Kirby | Kirby's Dreamland

"Chopinesque Kirby" is my first remix with public acclaim. I've always enjoyed the themes presented in Kirby's Dreamland (Gameboy), and have since found that I have a really good handle on writing Romantic Period waltz remixes. The majority of ideas and entire layout for this piece were put together in an evening, and a live recording was urged on by none other than JigginJonT (OCRemix). It was recorded in the Braithewaite Recital Hall at UT Tyler on their 9-foot Steinway Grand.


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