Winger's 'dropdown' in their career was - among other reasons - the Beavis & Butthead cartoon series (for those who remember). An amazing band, offering both 'mainstream' party hits (Seventeen, Can't Get Enough etc) but also artistic hard rockin' tunes (Time To Surrender, In The Day We'll Never See) in their first two 'hair Metal' albums. 1993's Pull was the case (related to this comeback album), in controversy.
Kip Winger played with Alice Cooper in his Constrictor (1985) and Raise Your Fist An Yell (1986) albums. Hence, Alice's reference proves Kip's skills alone. 1988's Winger (or Sahara, you choose) and the sophomore In The Heart Of The Young (1990, on Atlantic again) sold as hell. The 'dark' side of Kip & Co was not unveiled that much. It was Pull that aroused as such. Did not sell that good - 1993, remember what the hell went on that year in the Music World? - and (music industry, my ass) Winger disbanded. Pull showed intelligent music, weird compositions, expressive vocals by Kip and an 'esoteric' philosophy around. This blend carried on to Kip's solo releases - This Conversation Seems Like A Dream (1997) and Songs From The Ocean Floor (2000). Now, thirteen years from the band's latest release, IV knocks at our door and the message is clear.
Kip Winger, Reb Beach (Whitesnake, ex-Dokken), Rod Morgenstein (ex-Dixie Dregs) are the three original members featured in 2006's lineup. John Roth played on the Pull tour replacing then fellow axeman Paul Taylor. Last but not least, composer/keyboardsit Cenk Eroglu (cooperated with Kip and Reb on 2005's interesting Xcarnation project) completes the crew. A rather 'creative' quintet, I was so sure on their performance but there was much of anticipation for what formula the band would lay upon.
IV shows too little of Winger's early days. Nearly no 'party' tunes, the album will definitely disappoint people who would expect another Easy Come easy Go or Madelaine. Nope, no way. The album is based on the basics of Pull plus Kip's afterwards solo releases. Meaning: 'dark' creations, lots of atmosphere, passionate but somwhow pessimistic vocals from Kip, excellent songwriting, a 'misery' approach, sufficient FX, marvellous choir vocals (the band's trademark, anyway), mystic rhythms, progressive thinking, flat track listing 'flow'...what else? All the 'pros' and 'cons' in one sentence.
Many tunes can be compared to the shit Don Dokken had in mind in his 90s Dokken releases, to give you an idea. Right Up Ahead puts you in the picture in its 'roaring' darkness. On A Day Like Today is appropriate for falling asleep while listening to radio and Your Great Escape features some furious Reb Beach soloing (the proper way). Four Leaf Clover reminded me of Progressive Rock bands' 80s releases (e.g. Marillion). Well, now that I recall, Marillion's atmosphere is alike in this album...
If you can stand the melancholy of Kip Winger's Pull-and-onwards discography, you'll find lots of interesting stuff in this album. But, in case you want to shake your head to cheesy tunes again, keep away. I don't know if Kip does not like this style anymore - a Winger reformation would be a fair judgement to expect something like this - or if does not simply 'have it' anymore (again). I'll see the band onstage in three weeks and will keep you posted.
The grade wolud be higher for a new band's debut album.