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Ultimately, it's Up on the Ridge's overall aesthetic that proves Bentley's deep respect for-and his legitimate, intuitive understanding of-country traditions, even as he uses those traditions in forward-thinking, progressive ways.
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While it's unlikely country radio will champion this album, somewhere in the great beyond, Bill Monroe is smiling approvingly.
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Dierks Bentley epitomizes the New Nashville ideal, but on Up on the Ridge he goes old-school with a set of acoustic bluegrass jams.
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These cuts may not have the snap of classic bluegrass, but they do give Up on the Ridge a sense of country crossover, illustrating that Bentley is shrewd enough to walk the line between commercial and artistic concerns.
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His established fans will appreciate his foray into some new territory, and casual fans can use Up on the Ridge as a stepping stone to discover another closely related genre of music.
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Up on the Ridge works best when it fully embraces the bluegrass concept, rather than trying to meld it with other country sensibilities.