IN GOD’S TIME
Barry Scott & Second Wind
Rebel Records

As an older 2009 release—June to be precise—Doyle Lawson & Quicksilver alum Barry Scott’s solo debut would seem to have passed its “sell by” mark as far as reviews are concerned. But your faithful friend and correspondent admits to overlooking it and thus comes forward begging forgiveness for his trangression. In God’s Time is one memorable gospel album, an outstanding display of high caliber musicianship, stirring harmonies and well crafted original songs, all serving Scott’s various messages about the nature of faith and the Heavenly experience as well as the tribulations besetting people of faith. Of the 14 songs here, Scott himself composed seven; Second Wind’s bass/tenor singer Jason Leek contributed (and sings lead on) “In That Land,” a spare (vocals-guitar-mandolin), calm, enumeration of the rewards awaiting our arrival in Heaven; and a smart assemblage of covers rounds out the song selection, not the least among these being Dottie Rambo’s country gospel gem, “Is That The Lights Of Home?,” which Scott softly and tenderly renders as Andy Ruff (dobro), Ron Inscore (mandolin) and Aaron Till (triple fiddles) sprinkle subdued, atmospheric fills around the soundscape before winding down to an ensemble sigh at the end. Scott’s songs tend towards the introspective, reflective side, taking a real-life experience and seeing something larger in its meaning. One of the best, “When the Eagle Flies,” is an easygoing but heartfelt delineation of the pain of parting from loved ones to go on the road to make a living, with the singer finding solace in the thought that the purpose of the leaving and the returning will be revealed to him in God’s time, you might say. A similar travel theme animates his “On the Wings of Angels” (“on the wings of angels I’ll make it home one day”), a toe-tapping bluegrass item in which Scott’s tender lead vocal describes how the hand of God, in the form of the angels’ guidance, promises safe passage to “the pearly gates” when a life’s journey is ended on Earth. Putting a fine point on the narrative arc, Scott closes the album with a family reminiscence, a gentle, shuffling “Daddy’s Dream,” fueled by an exquisitely delicate, fingerpicked guitar courtesy guest Vince Gill, recounting how a father’s thwarted musical ambitions are realized every time his son takes the stage. The love and support the patriarch lavished on his offspring imbues every word Scott sings, and is returned in the sincerity, and emotion, evident in his delivery. The track begins and ends with a scratchy snippet of an old home tape recording of a very young Barry Scott singing along with his dad on a gospel number. This beautiful, fleeting moment, not overtly gospel in any way, nevertheless bespeaks Barry Scott’s character and values, underscoring the strength of his spiritual orientation as much as any other words he’s uttered on this remarkable disc. –David McGee

Buy it at www.amazon.com