Ricky Skaggs’ career can be said to have reached its peak in 1985, when he was named the CMA’s Entertainer of the Year. The following year, Randy Travis scored his big breakthrough and the New Traditionalist movement exploded. Ironically, that same year, Ricky Skaggs’ career began to show the first signs of decline. Although it reached #3 on the Billboard Top Country chart, Love’s Gonna Get Ya! failed to produce any #1 hits and became his first release for Epic not to earn gold certification.
Like its predecessors, Love’s Gonna Get Ya! was produced by Ricky himself, but it doesn’t contain the bluegrass flourishes that hallmarked most of his earlier work, with the exception of the spiritual tune “Walking In Jerusalem”. “Love’s Gonna Get You Someday”, written by Carl Chambers, was the album’s first single. The Western-swing flavored tune was a bit of a departure for Ricky, but it was well received by radio and made it to #4 on the Billboard country singles chart. The Don Everly-penned “I Wonder If Care As Much”, which had been a #2 pop hit for the Everly Brothers in 1958, didn’t fare as well. Reaching #30, it was the lowest-charting single of Skaggs’ major label career up to that point. With its double-track harmony, it’s instantly recognizable as an Everly Brothers tune, and though it may have been an artistic stretch for Ricky, it was a decent effort. He rebounded with the next single, a Cajun-flavored duet with his wife Sharon White called “Love Can’t Ever Get Better Than This”, which reached the Top 10, albeit barely. It’s my favorite track on the album.
There are some fine cuts among the album tracks, many of them written by some of Nashville’s finest songwriters, such as Larry Cordle, Jim Rushing, and Gary Burr. The production is occasionally dated, particularly the use of the synthesizer on “I Won’t Let You Down” and the James Taylor duet “New Star Shining” — not atypical of the era but unusual on a Ricky Skaggs album — but it didn’t diminish my overall enjoyment of the album. Rushing’s “Hard Row To Hoe”, one of many country songs dealing with the plight of the American farmer, was perhaps inspired by the first Farm Aid concert which had been held a few months before this album’s release. “Artificial Heart”, written by Johanna Hall and John Hall, suffers from some contrived lyrics but its excellent steel guitar solo more than compensates.
It’s a bit ironic that having been a key player in bringing country music back to its roots, Skagg became a victim of the success of the New Traditionalist movement. Having to compete with a new crop of talent for sales and airplay may partially account for this album’s relative lack of success compared to his earlier work. However, it’s a fine album that deserves a second listen — or a first one if you missed it the first time around. The original Epic version is out of print but it was re-released on a 2-for-1 CD along with Comin’ Home To Stay. This is probably the most economical way to acquire both albums.