Curt Collins

One of the greatest albums of all time begins with the soft murmur of an orchestra warming up instruments, then suddenly plunges into the raunchy “Sergeant Pepper’s Lonely Hearts Club Band,” and from that first song, you just know it’s going to be an exhilarating ride. (If you don’t know this artist and this album, YouTube it quickly before your mommy puts you down for a nap.) First impressions are important, and although Curt Collins’ third release, Another Day, limps out the gate on a sprained ankle, it finishes the race a surprisingly decent album.

Collins is every middle-aged person’s hero. Husband, father, and former public school band leader, this self-described “rocker at heart” left the security of a regular job and moved to Nashville to fulfill his passion for ministering to people through music. This project is a collaboration with Curb Records artist, Jamie Slocum, who produced the album and wrote/co-wrote six of the 12 tracks (as opposed to Collins’ two credits as songwriter.) Pursuing songs worth recording is a strength of Collins, who says he’d “…probably never do an album with all my own songs; because there are too many great tunes out there.”

Which makes it all the more puzzling that he opens the album with “God of Second Chances,” a jazzy, upbeat song laced with electric piano and brassy, Chicagoesque (the band, not the city) horns. It’s not that bad, but it just doesn’t suit his everyman persona. And if you happen to like hearing middle-aged soccer dads belt out Christian jazz, you’ll be disappointed because it doesn’t set the correct tone for the remaining songs. Far better to open with “Never Givin’ Up On Me,” co-written by Collins, with it’s fast pulse and thoroughbred rock guitar.

Luckily, things improve sharply with a cover of Richard Page’s “Shelter Me,” a lazy drawl of a song that suits Collins’ voice, which is second cousin once removed to that of Gary Chapman. “Shelter Me” is a superbly chosen secular song (songs that don’t overtly reference God or faith) that becomes brand new, its meaning elevated to an inspirational plane by virtue of the album’s context. “Sometimes the fight just ain’t there / Shelter me / I am one who needs another / I’m a book without a cover / Cover me” (”Shelter Me.”)

Collins’ cover of Stevie Wonder’s “Higher Ground” is similarly transformed, although redoing a Stevie Wonder song is like trying to bake up your own Oreo cookie: it’s never going to be as good as the original. This album also includes two hymn makeovers. The bubbly, electronic “Blessed Assurance” is less effective than the redo of Kristian Stanfill’s version of “Jesus Paid It All,” but “Blessed Assurance” is whiny under the best of circumstances.

In addition to an uplifting message of God’s refuge, a strong secondary lyrical theme is the nature of time. “One day I’ll worship You in Glory / And I’ll be free from all this hurt I’ve known / Just give me the strength to endure all this / For another day” (”Another Day”). “It takes time, time, ’til you’re forever changed” (”Time”). “God I need You to forgive me of all my wasted years / They’re hiding here in my empty space” (”Wasted Years”). “Wasted Years” is a poignant and effective ballad.

In this impatient age of MP3 sampling, it’s important to begin with a great song that whets the appetite. Although “God of Second Chances” is iffy, “Shelter Me,” “Another Day,” “Wasted Years,” and the airy “Once Again” are mellow rock arrangements with a lot of appeal. Collins is a mature artist drawn to good tunes and good lyrics, and Another Day ends on a solid note.

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