Nitro Deluxe ‎– Let's Get Brutal

Cutting Records ‎– CR-210
Vinyl, 12", 33 ⅓ RPM


A1 Let's Get Brutal 7:10
A2 Let's Get Brutal (Dub) 9:58
AA The Brutal House 14:07

Companies, etc.



Recorded, mixed and edited at A.I.M. Studios
Produced for Cutting Music Productions
Cutting Records Music / ASCAP
©℗ 1986 Cutting Records, Inc.
104 Vermilyea Ave.
N.Y., N.Y. 10034

Barcode and Other Identifiers

  • Matrix / Runout (Run-out Side A): A- ▷ CR-2I0-A HERbIE Jr :v)
  • Matrix / Runout (Run-out Side AA): A- ▷ CR-2I0-AA HERbIE Jr :v)
  • Rights Society: ASCAP


Reviews Show All 10 Reviews

Add Review



June 12, 2017
still love this track. First House track i heard back in 1986 when i was 13years old.
i has reconized the Electro elements but did not knew about this house chords..fantastic.
never forget. One of my nr. 10 Tracks ever.


November 24, 2015
edited about 1 year ago
This was a definitive NYC (not Chicago) project. Aldo & Amado Marin both ran seminal NYC electro label 'Cutting Records' & produced most of the labels content, however Nitro Deluxe is Manny Scretching's project. Most of the Cutting Records output was electro & freestyle, bar a few house releases including this one- the Marin bro's tape to tape skills & dub work turned anything to gold & lent an electro sensibility to house cuts like this (and the equally brilliant 'On A Mission'), due to using the same equipment & production techniques as their regular label output. Every year that passes, this ages like a very, very fine wine, & despite its instantly recognisable sound, owes much to the NYC electro & hip-hop production of the golden era- its also mastered by Herb Power Jr, of NYC's Frankford & Wayne fame. The pitch keyed vocals, overdubbed drums & simple effects make for a solid & raw jam that contains the vibe of the era perfectly.


January 28, 2015
Loving the love for this track ... what to say, except I get a little emotional every time I hear it ... one of those special cuts and although i've never attempted to compile an all-time top-ten (it's not possible, right?), I feel this would surely always have to be in there, somewhere ... Fabulous Original Raw (brutal baby!) Emotive Volatile Energy Release


May 31, 2014
I'm 95% confident that Inner City sampled the low synth stab at the very end of Lets Get Brutal and used it as the main riff in Good Life.

Sample at C; play back D# - A# - C# - G# - bit of delay, bit of eq and you're away!


January 13, 2013
Wonderfully trippy House/Electro tune, why it's 'Brutal' is beyond me?


December 8, 2012
The first house tune I ever heard, in sleepy Sussex in the UK it blew me away, my original 12" is nearly see through, I've played it sooo much! At 14 years old it was incredible and it still is. No one else understood the vibe, my musical direction was dictated by this tune and the early house tunes coming over, I still love and dj house/techno and this tune is largely to blame for my fascination with all things house. Thanks so much Nitro Deluxe you have a lot to answer for!!! ;)


August 4, 2008
edited over 5 years ago

At the time of it's release in 1986 this record blew me away. With it's ground shaking basslines, it's simplistic monotony and hypnotising synth chords it did everything to satisfy the dancer (and music freak) in me.
I remember getting into heated debates with my closest friend of the time as to whether this was a 'House' or an 'Electro' release. Thankfully my music tastes have broadened since 1986 and I no longer feel I have to put everything into it's specific genré. I can now see this for what it was. A genré breaking release that should not, and doesn't deserve to, be put in a category.
2008 and I still find I'm putting this on the turntable and trying to educate people in what real music is. An amazing release that, in the right setting, still sounds true to form to this day.


June 13, 2008
“Lets Get Brutal” is a stone cold Chicago house classic from Aldo Marin that seamlessly bridged the worlds of electro and hip-hop into the blazing new horizons of house music. Check out how the needle sharp keyboard riff instantly connects you to your booty shaking mojo! Quite why this awesome record has become a bit of a dust builder when it holds the keys another plane needs rectifying and will hopefully end forthwith! Released on his own “Cutting Records” label back in 1986 it was his one and only contribution to the cosmic dance collection but we can be rest assured that Zeus is giving it regular spins in the disco-tech of the gods! Oh turn it up! Here comes the rat-a-tat ripped sax noise shaking you just the right amount before the simple 4/4 beat pounds back in. It really does take your breath away as once again the monstrous melody mantras back in like the pied piper of Danceville. Taking us all skipping away, never to return to the matrix! We’re free I tell ya! Were all free!



November 26, 2006
edited 10 months ago
In the UK this was a ground breaking crossover track that began in the Chigago and New York Underground and transformed into being a foundation stone for the house music movement that many of us still love and indulge ourselves in today.20yrs later it has without doubt stood the test of time.


July 14, 2005
edited over 12 years ago
In the history of electronic dance music, "Let's Get Brutal" is a milestone record that sums up that crucial era between 1985, with Model 500's "No UFO's" and 1987 when primitive forms of house and techno were allied with the burgeoning genre of electro to produce a series of records that laid the foundations for a lot of what we listen to today. Aldo Marin's Nitro Deluxe project sunk as quickly as it appeared, but he left a lasting legacy with this record, which to these ears anyway, sounds as fresh as when it was released back in 1986. "This Brutal House" combines Chicago House, Techno and Electro to devastating effect, also introducing a keyboard motif that would become standard with "acid house" productions for years to come.

The analogue production of the record compared to today's efforts does sound stark, but this only contributes to giving it a harsh yet fragile nature that emphasises the limited sound that these fledgling producers could create from the hardware they had