One of the first reviews we found was by Kerrang!, which was a bit surprising given the magazine is based on another continent. Written in a generally positive tone, it was published a few months after the album came out. They cited David Lee Roth as an early champion of Motley Crue and said the album was "chock full of hedonistic charm and contemporary commercial appeal." "Starry Eyes," "Public Enemy No. 1," "Live Wire" and "Piece of Your Action" were the tracks they noted as standouts.

Kerrang! added that Mick Mars' guitar playing showed "the rougher, raunchier side of their nature," and although Vince Neil's vocals sounded "a little strained" at times, the album was overall a "back-combed delight."

The Los Angeles Times, Crue's local paper, published their review of Too Fast for Love a month after Kerrang!'s, and they followed suit in praising the quartet for "combining melodic pop hooks with a heavy metal overdrive, sounding like a collaboration between Sweet and Deep Purple, with some Aerosmith thrown in for good measure."

Though the paper said that Crue's sound and aesthetic weren't entirely original, they noted that their music was good enough to prove that they had more to offer than a glam image.

British Columbia's The Province didn't get around to reviewing Too Fast for Love until the summer of '82, likely because the band spent the few months prior touring much of California and Nevada. The Province's review compared Motley Crue's journey of success to that of Van Halen, noting that they became "stars" before putting out a record and then getting signed. That's not entirely true outside of the Los Angeles scene, though.

"Hype aside," the piece continued, stating that the album featured "short, high-powered rock songs with speedy, sometimes grotty, lead guitar," and that "High stupidity quotient means assured success."

After the record was rereleased by a major label in August of 1982, the band experienced a bit more exposure on a wider level. Florida's The Orlando Sentinel wrote an extremely brief paragraph about it that October, which was rather negative, to say the least.

"Gag me with a shovel" was the first sentence of the review, which went on to remark that the members of Motley Crue looked "like rejects from Alice Cooper's band." They didn't have many kind words for the band's sound either, so we'll leave it at that.

Southern hospitality wasn't a thing in the fall of 1982, apparently. Louisiana's Shreveport Times also gave Too Fast for Love a scathing assessment. They called the record "dreadful" and said that the band "tries to look like KISS and sound like Rush, and fails at both." We've never considered Motley Crue much of a prog-rock band, but everyone's entitled to their own opinions.

Shockingly, New York's statement on Too Fast for Love was nicer than its southern counterparts. Newsday didn't exactly say they loved the album, but they didn't condemn it either. The started the sentiment by calling Motley Crue a "Glitter rock/heavy metal fusion by the West Coast’s answer to Twisted Sister," and also brought up comparisons to Aerosmith and Van Halen later on — Aerosmith for sound, Van Halen for looks.

At least Kerrang! mentioned that DLR was a fan of them.

Newsday went on to point out the group's use of "heavy metal cliches," which they said is most evident on "Live Wire," however they ended on a hopeful note, giving the band a chance to prove themselves in the future. Which, as we know now, they did.