It’s interesting that in some varieties of music, specific strains, there’s a religiosity imbued. For the most part, when this occurs, the music doesn’t wind up being popular by industry standards. But the listener of religious music unquestionably comprises a base of the buying public. And while folks might pander to that crowd, there are those performers who come by its relative fervor in an authentic manner.

Mandolin player and bandleader Doyle Lawson, whose been playing music for the better part of the last fifty years and has led this ensemble since the eighties, takes his group through a soul filled selection of gospel inspired bluegrass tunes on Beyond the Shadows.

Re-issued a few years back, there seemed to be a swell in appreciation for this type of music, somehow linked to the then quickly expanding hippie summer festival circuit. The interest has abated to a certain degree, but pretty much anyone should be able to appreciate what’s here.

While the music is not as deviant from the molds of hillbilly styles as Lawson’s appearances in JD Crowe’s New South or the Country Gentlemen, Quicksilver is an entertaining band with an eye towards succinct musicality and of course, auld tyme music.

No real instrumental workouts appear among the twelve songs here, but what does wind up holding the listener’s attention is the ability of each player to sing part of a harmony – and it’s a big one.  A full one-third of the album is comprised of a cappella numbers (“Babylon’s Falling,” “When the World’s on Fire,” “Hiding from the Storm Outside,” “We’ll Sing in Gloryland”).

First appearing and unrivalled by the other vocal numbers, “Babylon’s Falling” sports a simple chorus, repeated numerous times, but somehow doesn’t ever grow tiresome. In the display, a message of returning purity is obviously discussed, but the repetition serves as a sort of vocal solo, each singer repeats an idea conveying an ever-deepening conviction in God.

The tracks with musical accompaniment stick to similar themes with Lawson singing, “There’s one dear friend who waits for me,” or “I shout and sing because I’m Free/My Lord delivered me.”

The whole affair sports more down tempo gospel style then barn burning bluegrass. So, it’s more traditional in values and scope.  But after eighteen years between the original pressing of the album and now, the music still sounds vibrant. And oddly enough Lawson doesn’t sound as if he is preaching. It just sounds like he believes.