Mötley Crüe

While Mötley Crüe undoubtedly deserves recognition as trailblazers, their debut album, "Too Fast For Love," stands apart from the typical sound of the high-haired pop metal that would come to define the 1980s. From the electrifying opening riff delivered by guitarist Mick Mars in "Live Wire", to Vince Neil's unwavering insistence in the closing track that "the show must go on" (and it certainly would!), the album offers a solid half-hour of in-your-face, punk-influenced, and unapologetically sleaze-metal.

The way it sounds makes perfect sense when we consider that the primary (well, almost exclusive) composer, Nikki Sixx, was a fan of acts like Aerosmith, Cheap Trick, New York Dolls, and British glam legends such as David Bowie and Sweet. Combining catchy hooks with heavy instruments and a rebellious appearance, Mötley Crüe embodied the quintessential rock band of the 1980s. As MTV claimed more and more airspace, what could be more fitting than a band comprised of four caricatured, image-driven, almost superhero-like personas?

Yes, voices usually deteriorate over the years, but Vince Neil's vocal performance on this album is undeniably great. Even though Nikki Sixx penned the music, it was Neil's distinctive and sharp vocals that served as the band's defining characteristic at the time, with their snarling tone. Meanwhile, there's no denying that the driving force in Mötley Crüe's music was the guitar work of Mick Mars, the band's oldest member and surely its most prominent musical talent. Notably, he has now been replaced by ex-Marilyn Manson guitarist John-5 (the less said about that, the better). And no, we won't overlook Tommy Lee, who, despite his equally well-known non-musical endeavors, remains an excellent drummer.

There were scarce indications of just how colossal this band would become based on this album. At times, it stumbles completely, notably on the aimless "Merry-Go-Round" and the self-repeating "Come On And Dance" (whose idea was that cowbell?). However, more often than not, it offers a refreshing burst of raw, fresh energy. It commences and concludes with strong cards ("Live Wire", "On With the Show") and boasts a particularly formidable title track. Yet, for me, the somewhat overlooked classic remains the irresistible, power-pop-esque "Starry Eyes".

This album was released twice, with the Electra version from 1982 being a slightly polished take of the self-released one (the band started Leathür Records with then-manager Allan Coffman). The date and tracklist on display here are from the Leathür version, which is, although less known, still the first release of the album.

Removing "Stick To Your Guns" from the Elektra version was a mistake, as it is not among the weakest moments on the initial release. Also, its 1981 single's B-side "Toast Of Your Town" should probably have been included. The latter was picked up by another California band, Pretty Boy Floyd, for their incredibly glammy "Leather Boyz With Electric Toys" debut album in 1989. The band owed more than one of their songs to Mötley Crüe.

The 2003 CD reissue contains, in addition to all of the aforementioned, a version of The Raspberries' brilliant "Tonight" and does exactly what any good cover song should do, giving it a completely different vibe while retaining its strengths.

"Too Fast For Love" is an essential release in all its sloppy, filthy ruthlessness.

When playing the "Use Your Illusion" personal cut game, my version would look like this:

1. Live Wire
2. Public Enemy #1
3. Take Me to the Top
4. Toast of the Town
5. Piece of Your Action

6. Starry Eyes
7. Stick to Your Guns
8. Tonight
9. Too Fast for Love
10. On with the Show