I think few would dispute that the Motley Crüe story is one of the most worn out in the rock catalogue, with their exploits having been told to the point of overkill.
Written by: Dangerzone
ARTIST: Motley Crüe
ALBUM: Too Fast For Love
LABEL: Leathur
SERIAL: M/C1281-2
YEAR: 1981
CD REISSUE: Discogs Reissue List
COUNTRY OF ORIGIN: USA
LINEUP: Vince Neil – vocals * Mick Mars – guitar * Nikki Sixx – bass * Tommy Lee – drums
TRACK LISTING: 01 Live Wire * 02 Come On And Dance * 03 Public Enemy #1 * 04 Merry Go Round * 05 Take Me To The Top * 06 Piece Of Your Action * 07 Starry Eyes * 08 Too Fast For Love * 09 On With The Show
Background
I think few would dispute that the Motley Crüe story is one of the most worn out in the rock catalogue, with their exploits having been told to the point of overkill.
Including this are the bands origins, with the unlikely formation of the foursome which included veteran Mars hooking up with Sixx, who was part of failed rockers London. Neil had cut his teeth as part of Rock Candy and was (then) friends with Lee, who persuaded Vince to join the Crüe.
The rest is history of course and who isn’t aware of their grimy lifestyle on the Sunset Strip in the early 80’s? The bands aggression and combative nature spilled over into their music and the resulting debut’s raw edge is something few bands have ever matched in any genre.
The original mix of the album was released on Leathur Records in 1981, but when the band signed to Elektra the album was remixed by Roy Thomas Baker, with most people claiming the impact from the original was lost.
It doesn’t dilute anything in my opinion, with the guitar work by Mars being some of the crudest and gutter-level ever captured on record. One thing is certain the band never sounded so unpolished ever again.
The Songs
If there was ever a perfect way to introduce your musical agenda then ‘Livewire’ is surely it, the mixture of speed and attitude reminiscent of Montrose and Van Halen on their first efforts. This sounds far more underground than those though, U.S. metal at its purest.
‘Come On And Dance’ seems to have been forgotten over time, but it’s still one of the Crüe’s heaviest riffs on vinyl, all swagger and bluster. This set the stage for so many bands in the 80’s it’s unfathomable, especially Neil’s whiny vocals.
The chugging rhythm of ‘Public Enemy #1’ is a type of metal that was so far removed from the NWOBHM that it is uniquely American and seemingly more advanced as well. It shared the same bottom of the barrel production values as many of its English counterparts, but has a touch more verve about it.
The songwriting of ‘Merry-Go-Round’ is proof of Sixx’s impressive songwriting skill for a youngster, showing good lyrical sense and musical compatibility, which wouldn’t always be the case in the 80’s for him.
The toughness of ‘Take Me To The Top’ is dangerous and downright heavy, making it laughable when you hear deluded thrashers claiming how wimp the Crüe were and how their mission was to destroy their ‘glam’ rock. What were they listening to? This song is true American metal, the way it was meant to be played. It’s true the Crüe had a more dolled up image, but in the early days it was more about leather and mock Satanism than anything.
The class continues with ‘Piece Of Your Action’ and the ominous riffs from Mars leading into a hugely melodic chorus, another obvious early trait of these hooligans. This hasn’t dated one ounce in 30 plus years, still as streetwise as if it was still 1981 and heavy metal was a force to be reckoned with.
‘Starry Eyes’ shows a more melodic side to the proceedings and in fine form too, not quite AOR but with ragged elements of the genre intact, the guitar work beckoning it away from being lumped into the category. The chanted hook of the title track is appealing and the range of Neil is noticeable here, a great singer in the making.
The melancholy strains of ‘On With The Show’ soon evolve into a ready-made anthem, presenting the band in a light they wouldn’t quite sound like ever again, despite their best intentions.
In Summary
As you might have surmised there isn’t one bad track in the lot here, an instant classic obviously. Back in 1997 a certain reviewer thought otherwise however.
During that year the band released remastered versions of the early albums and in a Metal Hammer review, alternative and punk music ridden hack James Sherry belittled the debut, claiming the only reason Motley Crüe made it big was because the underground had yet to be exposed. What an idiot.
As I wrote above Motley Crüe were the underground, having come from the bottom and recorded the album on a shoestring, building their reputation by word of mouth and energetic live shows. So what bands was Sherry on about? The Butthole Surfers? Maybe Sonic Youth?
That comment has sickened me for years, just like his one star rating. I think most of us here know the difference, with the album setting the band up for decades to come, proving how superior they were from the start.
Motley Crüe on Video
Click to go to YTM album page.
