One of the top mandolin players in bluegrass music since the early days of his career in the 1960s, Doyle Lawson incorporated traditional gospel quartet singing into his music after forming his own band, Quicksilver, and honed his unique bluegrass-gospel sound to a remarkable intensity. Lawson was born in unincorporated Ford Town, Tennessee, near Kingsport. Several members of his family sang in local gospel quartets, but the Lawsons also listened to The Grand Ole Opry on the radio during the years when Bill Monroe was creating the music that took the name of bluegrass. Monroe inspired young Lawson to take up music and to learn the mandolin. He borrowed his first one at age 11 from a member of his father's gospel quartet and eventually taught himself the five-string banjo and guitar as well. In 1963, Lawson began playing banjo with Jimmy Martin & the Sunny Mountain Boys. He moved to Kentucky and played with various groups before joining J.D. Crowe & the Kentucky Mountain Boys in 1966, first on guitar and then on mandolin. Lawson made his recording debut with Red Allen on the album Bluegrass Holiday and temporarily returned to Martin's band in 1969 but otherwise stayed with Crowe until 1971 and recorded two albums with him.
Lawson's next album, Once and for Always, appeared that year and featured both bluegrass and gospel tunes. In 1986, Lawson recorded the all-gospel Beyond the Shadows with new players Scott Vestal on banjo, Curtis Vestal on electric bass, and Russell Moore on guitar, and the following year brought the first of several a cappella gospel albums, Heaven's Joy Awaits. Lawson & Quicksilver gained a reputation for razor-sharp gospel harmonies that incorporated virtuosic vocal moves drawn from the African-American gospel tradition as well as from white quartet singing (some of it already rooted in black styles). Lawson recruited new members into Quicksilver but maintained consistency in the group's style. Continuing to record mostly gospel music, Lawson explored styles and presentation modes of the past in such albums as Gospel Radio Gems (1998), which was recorded with only a single microphone.