This record is only worth picking up for the b-side (the a-side: Wild Thing is atrocious).
Although not stated as such on the record, Follow Me is in fact a remix version (probably the same as Follow Me - Special 87 Mix), with a hard edged, almost metallic bassline typical of many Power Records releases.
The sparse, almost minimalist arrangement and entirely synthetic production of this version has a very different feel from the original and brings out the more melancholy aspects of the composition.
Based on the discogs ratings, it’s probably not to most peoples’ taste, but in my opinion it’s an interesting take on a disco classic and definitely worth a listen for lovers of Italo and HiNRG.

Absolute killer italo masterpiece, and while not as acclaimed as others on the famous Milano-based "Gong" label, is certainly just as deserving of attention.
If you can't afford Sensitive - "Driving" (and let's face it, who can?) "Sometime" is pretty good substitute, with a similar sound, and at a tiny fraction of the price.
Both instrumental and vocal versions on this are great, and different enough to each be interesting in their own right (although the instr. will no doubt work better for modern ie; conservative, dancefloors).
"Sometime" features tight drum programming and a dark funky bassline, matched with some very well-written (and sung) lyrics.
To top it off, the break on this is one of the best in Italo-land and will really take you to another place, it gives me goosebumps every time I hear it... highest recommendation!

One of my favourite ‘discoveries’ of this year, “Come And Make Me High” is a wonderful Italo gem similar in style to Real Corporation’s “All Of The Time”, also produced / written by Leonardo Rosi.
Attempting to describe the ingredients of this great composition does not really give an impression of the whole, but nevertheless it contains classic 80s synthesized steel drums, sad and romantic male vocals in the verse and a chorus nothing short of ecstatic; in common with many other records on the legendary Sensation label.
To the average listener, this song may sound kitsch or dated; but to Italo-Disco lovers it contains all the elements for a masterpiece that must be heard, preferably on a walkman whilst lying on a beach.

I have to disagree with the previous review. As much as I think that new-wave and synthi-pop stuff would go great with the visuals of the movie, the scene of the Heavy Metal magazine (from which this movie was derived) was based almost entirely around heavy and stoner rock. If you look at record covers from these days and the “Adult Fantasy” style by featured artists such as Richard Corben, Jean Giraud, Boris Vallejo, etc. you can see the connection immediately.
For me also, the soundtrack is not that great, except for maybe Blue Öyster Cult, Devo and Riggs and even then, these tracks are *very* guilty pleasures and only enjoyable because I have a soft spot for the movie.
At least the soundtrack is better than that of the appalling update on this idea: Heavy Metal 2000. Compared to abominations such as Insane Clown Posse and System Of A Down, a bit of Cheap Trick and Journey ain’t gonna hurt anyone.
Overall, an interesting time capsule of a particular time in music and art, but a very dated one.

Walking In The Neon is indeed a great song, but if you only listen to this track then you’re really missing out! Reason being, there is much more Italo-Electro craziness lurking on this album than you might imagine, and in fact no bad or even average tracks.
For You, Only You, Talk About Me and School Years are great fast-paced tracks bordering on new wave, but my personal favourites are Fly Away, a soft, beautiful and melancholy song, Marlene, a fantastic composition a little in the 1920’s style of Taco - Puttin’ On The Ritz, and last, but definitely not least, Le Planéte Nous Régarde (The Planet Looks At Us), maybe a little tribute to Plastic Bertrand - Tout Petit La Planete, but with more electro production and cool lyrics in both French & English about the evolution of man into the technological age.
The whole album benefits immensely from a stellar line-up featuring superb production by Walter Beinat, the subtleties of Peter Richard’s voice, Gigi Tonet on synths and no doubt the participation of Italian music legend Celso Valli didn’t hurt either.
Finally, the icing on this sumptuous cake is the cover photo, which depicts Mr. Richard himself with eyebrows pencilled into sharp points, without a shirt and draped with some kind of supposedly futuristic red plastic tube. Absolute gold.

Every track on this EP is pretty solid Detroit-flavoured techno with a slight European edge, much like Raiders Of The Lost Arp/Nature Records/etc.
What really sets this record apart is the title track: “Let It Go”, no question one of the best tech-house (for lack of a better term) tracks made in the recent memory and reminds me a little of the finest music produced by Dave Angel or Ian Pooley in their more inspiring years. It’s impossible to do it justice with a description, but this track has such a nice cruising summery feel to it, without being the slightest bit cheesy.
It’s quite simple in structure, but so smoothly executed and makes me think of blasting along the beach in a Ferrari Testarossa with palm trees flying by… or at least playing Turbo Outrun on the C64.
I’m amazed this track hasn’t appeared on mix compilations by “Big Name DJs”, because it has the potential to be a massive club hit, although maybe it’s just as well that those of us who know can enjoy it in secret.

One of the finest and most accessible examples of the Italo-disco genre; this great record can be enjoyed equally by the most cynical Italo nerd and the average listener alike.
Correct me if I’m wrong, but I believe the subject matter relates to a warning about advent of technology (maybe) and contains an unfortunate spelling mistake: “A-V-I-O-D the confusion” indeed.
Adding somewhat to the mystery of this song is that two very similar versions of the same track were released at around the same time, by the same producers and on the same label. It’s bizarre that such a tiny label would bother to release the same song twice, but of course these unusual elements all add to the appeal of Italo-disco as a genre.
The other version, by Coco Bill, is somewhat rarer and more desired by collectors, but for me this one, by Larry Paul Emmet is by far superior.
The main difference between the two is that the Coco Bill version is generally more subdued and the drums slightly too heavy and muffled, whereas the Larry Paul Emmet recording is held together by a cracking electro beat, clearer sound and an addictive synth line which should get all would-be Italo b-boys on the floor.

Another killer Flemming Dalum mix and surprisingly the only one without a comment (‘til now).
Quite different from his more Italo specific mixes on the now defunct Panama Racing CD label, this mix is a wild blend of New Beat, Techno, Electro, 70s Disco Funk and the dark bassline-heavy Italo sounds FD is best known for, from the familiar to the ridiculously obscure. In addition to this, the mix is layered throughout with a multitude of cool movie samples, which really pulls the whole thing together into a soundtrack for the best trash Sci-Fi movie never made.
This one will have you checking the tracklist every couple of minutes trying to work out... "What the hell was that?!"

You can safely skip straight past this A-side on this; it’s a pretty average bit of synth-pop fluff and certainly nothing to compare with the better-known Stereo tracks - Somewhere In The Night and No More.
Moonshine, however is a very different story.
Based around what sounds like a short sample of Camaro’s Gang - Snake Your Money, but played at half-speed, with beautiful synth chords, a soft female vocal and a long break in the middle that you never want to end.
This is a real masterpiece and, like other some other equally amazing tracks in this style, such as G,A,N,G, - Incantations or Marzio Dance - The Adventure, it’s the perfect way to begin (or end) a long set.
Moonshine has that vague feeling of familiarity, but also something unknown… It really gives the feeling of floating through the clouds, drifting between consciousness and sleep.

One of the worst novelty songs in recent years, rivalled perhaps only by that crazy, crazy frog and Claude Vonstroke. The first time I heard this I immediately became profoundly depressed at the state of the world in general and with popular music in particular, a feeling echoed repeatedly whenever I walked into a bar or clothing store in the following six months.
The most depressing thing about this is soulless rubbish is that, unlike the frog, it pretends to have some air of respectability, a delusion which has unfortunately been validated with remixes by people who should really have known a lot better.