Casanovas Revenge* ‎– Let's Work

Label:
Invasion Recordings ‎– PAL-7248
Format:
Vinyl, 12", 33 ⅓ RPM
Country:
Released:
Genre:
Style:

Tracklist

A1 Let's Work (Club Version 1) 5:46
A2 Let's Work (Club Version 2) 6:10
A3 Here We Go (R U Ready) 3:20
B1 I Can't Take It (Chep's Down) 6:24
B2 I Can't Take It (Vocal) 6:18
B3 Chep's Beat Junky Edits 3:21
B4 The Dope Jam 3:21

Companies, etc.

Credits

Notes

Produced for Casanova Productions
Co-produced for Beat Junky Productions
Recorded and mixed at Casanova Sound Studios, Queens, NYC
Tracks A1, A2, B1 & B2 mixed at KCC Audio, NYC
Special thanks: Sergio Dean

Barcode and Other Identifiers

  • Barcode (Scanned): 015151724811
  • Barcode (Text): 0 15151-7248-1 1
  • Matrix / Runout (Label side A): PAL-7248A
  • Matrix / Runout (Label side B): PAL-7248B
  • Matrix / Runout (A-Side Runout Etching): DMS [Roman numeral 2] HERbIE JR [stylised smiley face] A2 PAL-1248-A
  • Matrix / Runout (B-Side Runout Etching): DMS [Roman numeral 2] HERbIE JR [stylised smiley face] A1 PAL-1248-B
  • Matrix / Runout (Runout Stamp Each Side): ▻
  • Rights Society: ASCAP

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DomCasual

DomCasual

December 17, 2011
edited over 4 years ago
Something of a unique record in that the editor/co-producer Chep Nuñez's "Beat Junky Edits" is not merely a fantastic, heavily multi-edited track, but a promotional piece for the editor himself. The late Nuñez was a prolific and heralded master of editing as it existed in the era started by electro. Not to be confused with the early disco edits of the 70s nor original recording studio editing, multi-edits (aka "machine gun edits") were arguably started by the numbing edits of the Latin Rascals for their legendary radio shows. Splicing small bits of other records into a master track already edited with pounding, stuttered, programmed beats, these edits spread out across electro, house, freestyle, rap, and nearly every style of dance music in the 80s. In many cases, the most avant and just plain bugged (I DID say 1980s yunno) version of a track was the editor doing their thing, a proper shredding up and rebuilding of the base song innocently stashed on the B-side, sometimes labeled a "dub". Nuñez here takes the track and wraps it around a vocal sample about himself and then works the track into a lather, adding other vocal samples to the breathless breaks in between those chaotic drum patterns. Nothing else on this otherwise good 12" compares. If ever you need a sample of why people consider the studio wizards of this era to be utter geniuses-- or merely to explain what edits are-- this is the document.