Ricky Skaggs’ debut for Sugar Hill Records, Sweet Temptation was Skaggs’ second album overall when it was released in 1979. The album features backing vocals from Emmylou Harris, and is influenced sonically by her solo efforts.
The Carter Stanley composition “I’ll Take The Blame” was the album’s sole single reaching #86. A gorgeous stone cold traditional country ballad, it features Harris prominently on backing vocals and the overall track rests on the high twang of their vocals, a hit or miss depending on the style of country you find most appealing. I happen to love the bluegrass twang, but can see where others may not be able to warm up to it.
“Little Cabin Home On The Hill,” collaboration by Lester Flatt, John Hartford and Bill Monroe is another fiddle centric ballad, this time finding our protagonist mending a broken heart by crying out his pain in his cabin home. This bluegrass tune is stellar, as Skaggs and Harris’ vocals blend seamlessly and the mournful fiddle echoes the ache felt by the main character.
The fiddle also takes center stage on “Put It Off Until Tomorrow,” co-written by Dolly Parton and Bill Owens. Parton released the tune herself three years later as a duet with Kris Kristofferson from a double album entitled The Winning Hand, a project consisting of unreleased tracks on the Monument label. Skaggs’ version once again finds Harris on backing vocals, and the tune straddles the space between country and bluegrass, finding a nice home somewhere in the middle. I like the subdued atmosphere of Skaggs’ version the best although Parton provides a nice prospective by flipping the gender roles.
Skaggs keeps Sweet Temptation alive with a few banjo and dobro centric tunes in the middle of the album. “Baby I’m In Love With You” is a fabulously plucky love song that takes after old-time country, Stanley’s “Baby Girl” is a delightful traditional bluegrass thumper, while “I Know What It Means to be Lonesome” has a wonderfully fast acoustic arrangement that doesn’t quite fit with the sad themes of the song and Skaggs’ vocals are a rare misstep as he sings the track in too high a key. Skaggs rectifies this on “I’ll Stay Around,” another traditional bluegrass tune that ranks among my favorite tracks on the album.
The title track written by Cliffie Stone and Merle Travis is another masterful tune and an album highlight. I love everything about the song from the wonderful combination of dobro and steel that lead the arrangement, to Skaggs’ pitch perfect vocals. Travis also sang the song, (his version can be heard HERE), but I much prefer the vibrancy Skaggs brings to the song.
The quietest song on the album, Stanley’s “Could You Love Me On More Time” puts Skaggs’ vocal front and center, backing him solely with an acoustic guitar. In lesser hands this naked approach could’ve been disastrous, but Skaggs pulls it off with effortless ease.
The most blatantly country track on the project is “Forgive Me,” which Wayne Walker wrote with G. Paul Sullivan. Another stellar tune, it somewhat foreshadows the direction Skaggs would take in the 80s, when he became a genre superstar. It’s another standout track on the album.
What surprises me about Sweet Temptation is the level in which Skaggs knows himself as an artist. He was only in his early 20s in 1979 and yet he sang with a confidence of someone twice to three times his age. This keeps Sweet Temptation from sounding like a less then project, an early representation of an artist still learning where he fits in the country music landscape. Instead its essential listening from an artist who hadn’t yet hit his prime, although you wouldn’t know that from listening to this.