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  • Floyd Collins (1996 Original Off-Broadway Cast)
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Floyd Collins (1996 Original Off-Broadway Cast) Cast Recording


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Audio CD, Cast Recording, March 18, 1997
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$39.95 $4.46

Editorial Reviews

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One thing is certain: Adam Guettel's Floyd Collins is a musical like no other on Broadway. Based on a true story from 1925, Collins follows a Kentucky farmer who seeks riches by trying to discover the largest cave in the region, gets trapped, and becomes the subject of an intense media circus (happening just above him on ground level). Floyd is never saved and the gawkers eventually pack up and move away, but don't be confused: this production is about far more than spelunking gone awry. Adam Guettel has created an infectious musical filled with Americana (plenty of bluegrass and Aaron Copland references in the music), smart lyrics, and true depth. Christopher Innvar plays Floyd to great effect, a guy so immersed in his quest for the American Dream it's hard not to fall for him. The music is gorgeous and varying--"The Riddle Song," sung by Floyd's brother Homer (played here by Jason Danieley), is funny; "The Dream" is downright angelic--and the story is simply spellbinding. Broadway in the 1990s has seen few musicals so original. --Jason Verlinde

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
  1. ACT I The Ballad of Floyd Collins 1:32$0.99  Buy MP3 
  2. ACT I The Cave, The Call: Part I: The Call 7:40$0.99  Buy MP3 
  3. ACT I The Cave, The Call: Part II: It Moves 3:09$0.99  Buy MP3 
  4. ACT I The Cave, The Call: Part III: Time to Go 1:23$0.99  Buy MP3 
  5. ACT I The Rescue, Lucky 3:32$0.99  Buy MP3 
  6. ACT I The Rescue, 'Tween a Rock an' a Hard Place 3:38$0.99  Buy MP3 
  7. ACT I The Rescue, Daybreak 3:23$0.99  Buy MP3 
  8. ACT I The Rescue, I Landed on Him 1:15$0.99  Buy MP3 
  9. ACT I The Rescue, Heart an' Hand 2:59$0.99  Buy MP3 
10. ACT I The Rescue, The Riddle Song 8:34$0.99  Buy MP3 
11. ACT II The Carnival, Is that Remarkable? 4:26$0.99  Buy MP3 
12. ACT II The Carnival, The Carnival 4:45$0.99  Buy MP3 
13. ACT II The Carnival, Through the Mountain 3:52$0.99  Buy MP3 
14. ACT II The Carnival, Git Comfortable 2:23$0.99  Buy MP3 
15. ACT II The Carnival, The Ballad of Floyd Collins (reprise) 3:30$0.99  Buy MP3 
16. ACT II The Carnival, The Dream 7:00$0.99  Buy MP3 
17. ACT II The Carnival, How Glory Goes 5:18$0.99  Buy MP3 

Product Details

  • Performer: Christopher Innvar, Jason Danieley
  • Conductor: Ted Sperling
  • Composer: Adam Guettel
  • Audio CD (March 18, 1997)
  • Number of Discs: 1
  • Format: Cast Recording
  • Label: Nonesuch
  • ASIN: B000005J4F
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (60 customer reviews)
  • Amazon Best Sellers Rank: #163,698 in Music (See Top 100 in Music)

Customer Reviews

4.4 out of 5 stars

Most Helpful Customer Reviews

19 of 20 people found the following review helpful By Christopher on December 13, 1999
Format: Audio CD
Much has been written about Adam Guettel's place in the future of musical theatre -- however, FLOYD COLLINS is an important piece of composition for any serious music lover. Mr. Guettel bursts beyond current style and form to develop a musical architecture all his own; many Guettel fans have said that no composer -- theatre composer or otherwise -- has ever affected them so deeply. I'd recommend FLOYD COLLINS to not only Sondheim fans, but to anyone who enjoys the composition of Copland, Stravinsky, William Bolcom, John Addams, or Kurt Weill.
I've met many musicians who've been injected with Guettel euphoria -- once this music gets under your skin, it refuses to leave. The coolest thing: the drug never wears off.
Like all good composition, FLOYD COLLINS appreciates with time. It's rich in detail and meaning; even two years later, I still notice something new each time I hear it. This is an ideal Christmas gift for any modern classical, or contemporary musical theatre listener!
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9 of 10 people found the following review helpful By A Customer on December 4, 1999
Format: Audio CD
Floyd Collins is a wonderfully passionate, innovative and inspiring score. One of the things that delights me greatly, is Guettel's complete lack of predictabilty - take "It Moves" in this song, the melody takes twists and turns so taht the listener never knows where it is going. Guettel is truely a great melodist, along with all the other qualities that make him a great composer of musical theatre. There are momenst of biting humour in this score - as in "Is That Remarkable" - a song sung by the press coming to "cash in" on Floyd's situation. There are moments of anger, and biting disonance - as in "Git Comfortable", and there are moments which are truly touching and spine chilling - as in "How Glory Goes" where Floyd finally accepts his death (this scene inparticular was wonderful to see on stage.)
Stephen Sondheim has said that Guettel is the future if the modern musical and I, in turn, would agree with him. Adam Guettel gives me hope for the future of the modern musical. I have always been disapointed in the past with the so called "new Sondheims", with this one, I am not - and I look forward to hearing very much more of his work.
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5 of 5 people found the following review helpful By Aidan Reilly on April 2, 2006
Format: Audio CD
I live in West Virginia, only seventy miles from where this story takes place. I've been exposed to Appalachian rhythms since I was born.

And right off the bat, as soon as the beautiful melody kicks in on "The Call", it's immediately apparent that Guettel knows what he's doing. The gorgeous orchestrations sweep carefree from tempo to tempo, making brilliant use of Appalachian fiddle, banjo, and acoustic guitar, in addition to more traditional musical theater instrumentation. The melodies in each song careen along, bouncing off different musical genres, taking bits and pieces here and there, and with seemingly no regard for traditional song structure. The end result is genuinely American - Guettel can evoke more emotion and history in a single piano line or fiddle sting than any other composer currently working. I realize this is pure, fawning adulation, but listen to Floyd harmonize triumphantly with his echo on the wrenching final track, How Glory Goes, and tell me you're not moved.

The cast is perfect, every member displaying a rangy and powerful voice. Christopher Innvar's rich, earthy baritenor rings clearly in all of his songs, bringing all of Floyd's emotion and yearning to life. It doesn't hurt that his acting is without flaw, either. As Floyd's little brother Homer, Jason Danieley navigates the stratospheric upper ranges of his tenor with ease. His voice is strong, crystal clear, and possesses astounding range. Theresa McCarthy, Don Chastain, Cass Morgan, Jesse Lenat, and Martin Moran are uniformly excellent in their supporting roles, and look for a young Brian D'Arcy James as one of a group of muckraking reporters.

There is not a single bad song to be found.
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13 of 16 people found the following review helpful By The Cosmoknot on August 16, 2005
Format: Audio CD
Sometimes you can go to your local music store (or amazon.com, if that tickles your fancy), buy a soundtrack to a show you have never seen before, listen to it, and immediately fall in love with the show and really dont care that you havent actually seen a production of it. Unfortunately, Floyd Collins does not happen to be one of those shows. I have found that people who see the show and run out and purchase the soundtrack are much happier than those who pick up the CD without having see the show. I was one of the people who never saw Floyd Collins, but heard about Adam Guettel in a roundabout fashion and emptied my piggy bank to risk it on this CD. The results were mixed.

When you first listen to Floyd Collins, a few things make themselves immediately clear. First is that their accents are dumb. There is no way getting around the fact that some music and lyrics that had the potential to be timeless are dragged down by silly Southern backwater twangs. While it may have given the show some sort of realism, it does nothing but hamper the recording. Next. There are no "tunes". By that I mean that there are no clear memorable melodies (with the one obvious exception being the ballad of floyd theme that is eerily catchy), and you probably wont suddenly start whistling one of the songs the next day as you are knitting or driving to work or whatever. The songs are made up of notes that dont fall on the beat and dischordant harmonies. It is beautiful, but unconventional, which really sets the tone for the entire show.

The main thing that really took away from the Floyd Collins experience by not having seen the show was matching the songs up with some actual storyline.
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