Following on from
Peach Fuzz and very appropriately titled -- it was, indeed, the band's seventh record --
Seven finds the latter day
Enuff Z'Nuff lineup finally in place with guitarist Monaco joining the band and various folks, including sax player
Mars Williams and violinist
Johnny Frigo, filling in the corners. There are no big surprises on
Seven, but those who appreciate the band's ever enjoyable aim at feeding the
Beatles and
Cheap Trick through power pop, glam, and metal of all stripes will enjoy this once again. "Wheels" starts off the album on an utterly predictable but still flat-out great note -- "Strawberry Fields Forever" keyboards, "Penny Lane" trumpet, harmonies, solos, a lyrical picture of being just on the edge and more, and there's not one thing wrong with any of it. From there the foursome, with
Vie and
Z'Nuff handling production and doing a great job of it, make their fine, hummable way through a dozen tracks. Both singers sound wonderful, with plenty of chances to showcase their sweetly fragile vocals on any number of dramatic yet never melodramatic songs. "On My Way Back Home," a nicely anthemic number with a killer end section, the descending chord structure of "Down Hill," and the unplugged, folky vibe of "It's No Good" and (partially) "We Don't Have to Be Friends," one of the band's best anti-love songs, are all great numbers. There are a couple of odd misfires -- "LA Burning" has the weird, out-of-it feeling down, like an even more screwy version of
Tweaked's "Stoned," though the group was about five years late to make a topical statement about the Rodney King reaction. The later reissue of
Seven included three bonus tracks, most notable of which is another open, tip of the hat to eternal band inspiration
John Lennon, a cover of "Jealous Guy."