(1982),[8] Terry became the first producer to sample the music of Arthur Russell, whose sound he deemed ideal to "get snippets from", and he titled the track as an inversion of "Go Bang!".

[4] Along with "Can You Party" and Black Riot's "A Day in the Life", both released in the same period, "Bango" helped endear the house scene to Terry's intricate production style.

[4] Terry planned To the Batmobile Let's Go to be one of six albums he would release by the end of 1988 under different pseudonyms and labels, alongside those of Royal House, Black Riot, Orange Lemon, Swan Lake and Masters at Work.

[19] By late 1988, Terry had completed Batmobile for Sleeping Bag, Royal House's rap-influenced Can You Party for Idlers and an intended Black Riot album for Fourth Floor which took influence from soul and R&B.

[3] Batmobile was recorded at Brooklyn's Loud House,[20] the home studio which Terry operated in his front room,[14] a set-up he deemed inexpensive and comfortable.

"[26] Music writer Justin Langlands notes how breakbeats combine with electro programming "while synth lines bounce off fragments of records", with each track utilizing "sampled sound as rhythm as an end in itself".

[23][26] A tensely jittering track,[30] "It's Just Inhuman" features a passage where the instrumentation drops to reveal one melody, before a James Brown-style horn part appears and numerous samples briefly overlay to create a moment of heavy dissonance.

[29][33] The record was promoted to dance and contemporary hit radio,[34] and peaked at number 56 on Billboard Top Black Albums in its fifth week on the chart.

[37] A further single from the album, "The Circus", was released in the US in April 1989 with house and dub remixes,[38] while a 1995 re-release of "Weekend" reached number 28 in the UK.

[26] Justin Langlands of NME applauded Terry for creating the complex music in his own home studio, and noted that the album featured the most "unsung vocal sounds" since "the heady days of Trojan compilations".

"[22] A reviewer for Music & Media named it "Album of the Week" and believed Terry's skills lie in combining sampled backing tracks with "winning rhythm" to create "new themes".

[25] Musician wrote that the album exemplified genuine acid house and praised "Back to the Beat" for its "scattershot samples and muscular, hypnotic groove".

[28] Frank Kogan of Spin believed that the tracks did not gel as an album, considering them to be too short "to establish their own flow", and wrote that Terry's "great little rhythm and sound effect thingies don't have the fun impact they'd have coming in the midst of a disco night".

[27] In another review for Record Mirror, James Hamilton felt that, due to almost half of the tracks being available on singles, the album did not contain "much that's new and essential", but added that among the "fresh cuts", "The Circus" is "certainly hot".

[30] A writer for Blues & Soul felt that while Terry's "genius" lies in his technical method, with him only ever being "as sharp as his toys", the album featured music with staying power.

[43] In 1992, The Wire included the track in its list of "The Top 50 Rhythms of All Time", having been nominated by Ian Penman for the presence of "shadowy NY rhythm-twister maverick" Arthur Russell.