Customer Reviews

Up on the Ridge

5 star:		(38)
4 star:		(6)
3 star:		(5)
2 star:		(5)
1 star:		(2)

 

 

I eagerly bought and listened to Dierks Bentley's first three albums. They were different than everything else on the radio; true, he was pretty much following the formula set down by Waylon Jennings (and even lifted a few of Waylon's rhythms), but it was still a nice change from the regular mainstream pace. And then Bentley kind of petered out; MODERN DAY DRIFTER and LONG TRIP ALONE just weren't as good as his debut, even if they featured a handful of amazing songs.

That's why I didn't really pay attention when Bentley released a new album (I completely ignored his last couple). Yet, when I began listening to the tracks and discovered that it was a bluegrass album, I bought it. I'm all for mainstream singers cutting loose Nashville's chains and doing what they want (I'm waiting for the day Toby Keith decides to give radio the finger...still waiting...I should probably give up...). UP ON THE RIDGE is, at its heart, a bluegrass concept album, filled with minor-key songs about love and life. Some have decidedly upbeat lyrics ("Fiddlin' Around"), and some use up-tempo melodies to convey not-so-happy lyrics ("You're Dead to Me" and "Bad Angel"). Yet this is not a feel-good album; it's an album by a man not quite happy with his musical surroundings (Bentley hasn't had a genuine hit in a few years, I don't think), who has decided to play outside radio. RIDGE won't have much radio success; in this day and age of hick anthems, blindly patriotic lyrics, and bubblegum pop sensibilities, country music has turned its bearded cheek to bluegrass. So be it; quite a few of us don't even bother turning the radio on anymore (God bless satellite radio, though).

Bentley is joined by a few compatriots, notably from outside mainstream country: Del McCoury, Chris Thile, the Punch Brothers, Jamey Johnson, Miranda Lambert, Kris Kristofferson, Vince Gill, and producer/songwriter Jon Randall. Some of the material here is top notch: Bentley shines on Kristofferson's darkly humorous "From the Battle to the Bottom," even if he doesn't capture the original's whimsy (and Kristofferson, unfortunately, is not in top form voice-wise, though he's still a welcome addition); "Down in the Mine" is a hauntingly beautiful tune; "Bad Angel" features engaging performances by Lambert and Johnson, two of the few reasons to actually listen to contemporary country music. Some other songs are solid, if not among Bentley's best, and while Bob Dylan's "Senor" is a wonderful skeptic's tune, it doesn't quite fit Bentley or the album (it's more Chris Thile's territory, which is probably why he sings on it).

Overall, UP ON THE RIDGE is a solid album from a man who's finally doing what he wants (again; I still say his debut album was a fine example of classic-style country music). It won't sell as well as his previous records, and it won't overwhelm radio with any hits, and casual fans who expect the usual mainstream affair will be turned off. But those of us who appreciate high-caliber music with genuine soul, music that comes from an old, deep place that is never mined out, will rejoice at the album. It's not a classic, and it has its weak spots, but it's still a fine return to form for Dierks Bentley, who's still one of the more promising country artists out there.

This is a great album and the most listen-able work the Punch Brothers have done so far.

Why mention the Punch Brothers?

Well, Dierks Bently is a smart, smooth, singer songwriter who has brains, humor and a balanced taste that shows he appreciates good song writing and fine musicians. He gathered together some great music here.

But in my mind, the most amazing feat he accomplished was to show that the Punch Brothers are at their best when they are eased back in musical music. Too bad they don't find this kind of musical ease on their own. They make one top-notch backup band -- like hiring the Eagles in 1973. How do you pull off that kind of a coup? I guess brilliance recognizes brilliance.

As with the work of those greats, this album is far greater than the sum of its parts.

You will buy no better set of songs for many years.

Got my hands on a copy of the CD this morning.

My goodness ... this is good.

Takes a lot of courage to step away from "them that brung ya" to the dance, but by taking a break from his pop-infused country and making friends with some blazing bluegrass, Bentley proves he's more than just a pretty face. He co-wrote 5 of the tunes, including the title cut and my favorite, "Draw Me A Map." He also covers Dyan and Kristofferson, with a little Verlon Thompson thrown in for good measure.

Alison Krauss, Kristofferson, Jamey Johnson and Miranda Lambert also make guest appearances.

This one will be in rotation on my CD and iPod for a long time to come. Look for "Up on the Ridge" to clean up at awards time.

Enjoy!

Prime Cuts: Love Grows Wild, Draw Me a Map, Fallin' for You

Call it progressive bluegrass or acoustic Americana, Dierks Bentley has indeed taken a chance with this new disc "Up on the Ridge." Though he has built up a cachet of hits including 7 number i hits and 3 number 1 albums, few with his stature would take such a risky excursion by recording an album worth of bluegrass/acoustic entries. Patty Loveless, Lorrie Morgan and Alan Jackson had taken such detours before in recording such side projects, but they were fraught with commercial disappointment at the chagrin of the money-hungry record executives. Considering the fact that lead single and title track "Up on the Ridge" has already made headlines in the top 40 region of the country charts, looks like Bentley will be the exception to the rule. This time round, Bentley has ditched long time friend and co-producer Brett Beavers in favour of former recording artist and songwriter Jon Randall Stewart to warm the co-producer chair. And if you are a fan of old time bluegrass and wouldn't mind a contemporary slant, this disc is choked full of great tunes. With Bentley co-writing only 5 cuts with new tunes coming from Nashville's top scribes including Shawn Camp, Paul Kennerley, John Scott Sherrill, Verlon Thompson and Suzi Ragsdale. And up the bar on the standard of the songs, he has audaciously turned Bob Dylan's "Senor (Tales of Yankee Power)" and U2's "Pride" into bluegrass covers.

Of note also is the line up of artists that are brought in for some grab of credibility and star power. As if to win him some brownie points with bluegrass purists, Chris Tile and the Punch Brothers join Bentley on a sped up version of Dylan's "Senor (Tales of Yankee Power)" where Bentley goes around searching for his missing girl. The search doesn't sound that lonesome with Chris Tile's smooth Vince Gill-like tenor that goes so well with Bentley's more rugged vocals. Miranda Lambert adds rawness to "Bad Angel" -a quasi-Gospel romp about a man shrugging off vices at the "crossroads of Salvation and Temptation Streets." While Jamey Johnson with his world-weary gruffness brings a realistic feel to the man's battle with the bottle. Kris Kristofferson, on the other hand, sounds worn out and short of breadth on "Bottle to the Bottom" that becomes distracting. While the Alison Krauss' echoey vocals sounds like she was singing in a well on the progressive bluegrass title cut "Up on the Ridge"--a pretty non-descript song relative to the rest of the album.

Of the newer songs, Shawn Camp and Paul Kennerley's bluesy "Fallin' for You" is hypnotic with a robust melody made even more delightful with its banjo and fiddle licks. "Draw Me A Map" finds Bentley on more romantic grounds as he croons with affection to find his way into his lady's heart. A definite must for those who like to experience the warmer side of Bentley. Julie and Buddy Miller, often earmarked by their eccentric Americana endeavours, have ironically submitted the most commercial viable track here. "Love Grows Wild" sounds like a future hit with its catchy melody and it's endearing lyrics. Bravura is Bentley to taper U2's "Pride (In the Name of Love)" chiming guitar riffs into something more rustic without sacrificing an iota of the song's spiritual and social depths.

Bentley has indeed taken a chance to go all out to record "Up on the Ridge" with little nod to commerciality. He just lets his respect and love for tradition show. And as a result, this will indeed pay off with dividends of pure pleasures to those who like their country uncluttered. With this new disc, Bentley has made the bluegrass/acoustic ridge viable again.

I'm extremely unimpressed at the majority of what is now pitched as "country" music. I like Lady Antebellum and Sugarland as much as anyone but it's not necessarily country. Pop or adult contemporary, yes, but a southern drawl or the occasional steel guitar doesnt automatically constitute country music to me. Then Dierks Bentley puts out this album that shirks all that is popular by radio's standards. Much of it is (gasp!) bluegrass. There are plenty of big-name guests on the album and the U2 cover is one of my favorites. I've been listening to this album for months and havent gotten sick of it yet, which for me, is saying a lot...

I hadn't even planned on buying this album so soon, but when Amazon raised the price on Chely Wright's Like Me: Confessions of a Heartland Country Singer by a couple bucks, I decided to wait on that and instead added this album by Dierks Bentley to my shopping cart. I liked him from the first time I heard "What Was I Thinkin'" back in 2003, but for one reason or another, I haven't kept up with his albums since 2006's Long Trip Alone. Anyway, I'm thrilled to have indulged and bought what may be the strongest album in his discography to date.

What makes Up on the Ridge so appealing is that it's obviously not a commercial record. From start to finish, this is a modern bluegrass album. I'm sure the marketing department would prefer to call it "acoustic," but with Chris Thile, Del McCoury and The Punch Brothers making appearances, it's impossible to deny what this album really is. The guests (who also include Miranda Lambert, Jamey Johnson and Kris Kristofferson) don't feel like they were inserted to bolster sales, either; rather, their appearances are very organic, akin to what Vince Gill did on his These Days (Dig) (Slip) box set project a few years back.

U2 fans will be surprised to hear Bentley's arrangement of their "Pride (In the Name of Love)," as Kristofferson fans will be by "Bottle to the Bottom" (which includes a vocal appearance by the song's originator). Talk about taking a song and making it your own! I was less taken by "Bottle" simply because the up-tempo arrangement runs too counter to the forlorn nature of the lyrics--but that may just be because I'm more familiar with Kristofferson's original version. Otherwise, the traditional/public domain "Rovin' Gambler" stands out as a story song following a gambler from a bad run of luck to prison for murdering a cheater. It's been covered countless times before, and Bentley's run through it with The Punch Brothers calls to mind equal parts Bill Monroe and Marty Robbins.

I used to like to evaluate whether an album could be "background" noise, and Up on the Ridge can be that...but it's a work of art and ought to be listened to and not just heard. You don't even need a friend around; Bentley's provided enough in the creation process that you're really just crashing his jam session by putting on the album.

Dierks Bentley is a man with a dilemna. He got where he is today by more or less fitting comfortably on your country music radio dial. He was never a pretty boy in tailored "cowboy" clothes but he was undeniably sing along catchy. Well, it seems he's been harboring a desire to stretch out a bit and make an old timey, honest to goodness, country bluegrass album. What's a habitual top forty resident to do? You want a comparison to this album? Steve Earle's album "The Mountain" with the Del McCoury Band springs to mind. Maybe Ricky Skaggs back in the days when he was getting radio airplay and maintaining his country integrity. Well, Del never really got along with Steve because of his prickly attitude and salty language but he and Ronnie show "Up On The Ridge" to lend Dierks a hand and it's a match made in heaven. Del even contributes a killer vocal on "Pride In The Name Of Love". Yes, that "Pride In The Name Of Love". Trust me, it makes a great bluegrass tune. Whenever the McCourys aren't burning up the strings, there are stellar turns by Nickel Creek alumnus Chris Thile and The Punch Brothers, Tim O'Brien, Bryan Sutton, Allison Krauss, Sam Bush and Vince Gill. Oh wait, there's more. The reigning king and queen of outlaw country, Jamey Johnson and Miranda Lambert, accompany Dierks on "Bad Angel". Heck, Dierks may have used them as examples when he convinced Capitol Nashville that a real country album might actually get played on the radio. I'm not done yet. The greatest living songwriter of our time, Kris Kristofferson joins Dierks for a rendition of his very own "Bottle To The Bottom". The impressive things about this album is that Dierks is not overshadowed by his all star lineup. He co-wrote five of the songs and all the stellar hired help only serve to accentuate a whole bunch of positives that make up Dierks Bentley. This is guaranteed to be one of my top country albums of the year. Dierks, this is killer, dude!

If you have any inclination toward bluegrass, this is your download. I have been around for more than 50 years an this is the best album I have ever heard. Every song is a keeper. I find myself with one or another in my mind most the time. This sets the new standard for bluegrass. Exceptional.

I've heard Dierks Bentley before, but never quite like this. I'm used to his middle of thwe road country pop music. While it's good, it's not really memorable. This disc is memorable. Dierks Bentley has returned to his roots and created the kind of music that I think Bill Monroe would be making if he were alive today. This is updated, current bluegrass that is relevant to today's listener.

I may not be a musical "expert" to the point where I'm going to pick apart and analyze every note, every nuance to the songs on Up On The Ridge and compare them to bluegrass artists old and new. But, as someone who is definitely an expert at appreciating GOOD music, I can tell you right now that Dierks Bentley's new CD is one I play almost every day, all the way through EVERY time (can't say that about a lot of CDs these days) and when it's done, I'm humming the tunes to myself for the rest of the day and night. There isn't ONE false note on this CD as far as I'm concerned and it leaves you feeling uplifted, which is what music is supposed to be about in the first place. Love Dierks, love bluegrass (in ALL its various incarnations) and this is certainly an effort he can be proud of. I highly recommend it!