Published on Apr 11, 2001
Seven, the appropriately-titled seventh release from Chicago’s
own Enuff Z’Nuff, is a disc which confuses me.
Oh, it’s not that Chip Z’Nuff and crew miss the target with this
disc. If anything, having the freedom from a major label at the
time seemed to allow the band a kind of creative independence that
they might not otherwise have enjoyed. This means that the harder
rock aspect of this disc is turned down (though not completely
off), and Z’Nuff and guitarist/singer Donnie Vie are allowed to
focus on the song, not the hit single. It’s an interesting concept,
though it’s one that takes a little time for the listener to warm
up to.
Make no mistake, this is still Enuff Z’Nuff as their long-time
fans will remember them – though the Beatles influence has never
been stronger than it was on this album. “Wheels” sounds like it
could well be Enuff Z’Nuff’s “Strawberry Fields Forever,” thanks to
the mellotron-like sounds in the chorus and the harmony vocals.
Likewise, “L.A. Burning,” a combination of an indictment of the
riots in Los Angeles around that time with King’s X-like harmonies,
is a powerful piece of music that sticks with you.
What is striking about
Seven is that much of the music seems to have roots in
acoustic guitar. Oh, sure, there’s plenty of electric guitar work
(and lots of room for guitarist John Monaco to show his skills),
but one gets the feeling that this disc could have easily been just
Vie and Z’Nuff on dual vocals and acoustic guitar and bass,
respectively. “Clown On The Town,” “It’s No Good” and “Still Have
Tonight” are but three examples of this. (“Still Have Tonight” is
another example in Enuff Z’Nuff’s career of a song that could well
have been a hit single – that is, if radio had been willing to give
these guys a fighting chance.)
I freely admit that I like the harder edge to Enuff Z’Nuff’s
music, and that it took me a listen or two to get used to the
acoustical edge that
Seven highlights. But this disc turns out to be a solid, if
occasionally confusing, effort that marked a return to form
following the historical piece that was
Peach Fuzz. And while this disc doesn’t quite match up to
the masterpiece that was
Tweaked, it’s still a nice disc in it own regards.