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Now celebrating 20 years since the original release of 'Salsoul Nugget' in April 2001, M&S enlists Mighty Mouse and Mark Knight for some amazing remix to celebrate this milestone anniversary.

Mighty Mouse pulls out all the stops with expertly chopped vocals and loops that builds intensity with a breakdown that is equal parts intense and euphoric and is sure to get the club absolutely heated.

With a career that spans across two decades, DJ & Grammy-nominated producer and Toolroom head honcho Mark Knight jumps on board the Salsoul Nugget mix package. It's fair to say Mark Knight knows his way around creating records that connect with house music lovers. 2020 highlighted Mark Knight’s more soulful house roots and follows his desire to create timeless dance records that stand the test of time, including the Sunday Shouting sampling 'All 4 Love' (feat Tasty Lopez). 2021 saw the release of ‘Everything’s Gonna Be Alright’ with Beverly Knight and the London Community Gospel Choir. For his mix of Salsoul Nugget, Mark beefs up the drums for the main rooms while being respectful to the original.

The original vocal and original extended vocal mix and original extended Klub Mix are on the flip.

The Mansion were initially a prison group formed by Charles Lorenzo Blakely in 1970 while serving time in the Green Bay Reformatory at Allouez, Wisconsin. The Mansion’s line up included at different times Michael Locke, Stanley Newburn, Carl Anderson, John Crawford, Michael Smith, Larry Moses, Ronald Hardin, Jerome Wagner, Larry Lister, Maurice Payne and Charles himself. One day while rehearsing in the prison chapel, the Mansion attracted the attention of the warden’s wife who happened to be showing some local dignitaries around. Impressed by what she heard the warden’s wife was instrumental in the Mansion being invited to perform for the city’s television station WBAY, where they recording two holiday programs. The warden later gave them permission to perform outside the prison which brought them to the attention of a Milwaukee neighbourhood program adviser by the name of Al Dunlap of the Commando Project One. It was through Dunlap that the Mansion recorded their solitary 45 release in 1974 “The Girl Next Door /Stop! Let Your Heart Be Your Guide” for a local Milwaukee label Gibbs (406). The label’s owner Bill Gibbs held the release back until some of the members of the Mansion were granted their release papers as at that time prisoners were unable to sign any contract agreements while still incarcerated. Although Charles Blakely remained incarcerated, he was later moved to a medium security prison in Fox Lake County, Wisconsin. While there he formed a gospel group, called the ‘Bell Tones’ who’s line up included Charles, Mayweather Lee, Joe Hayes, and Levell Rudd. The formation of this group was seen as major factor in Charles’s rehabilitation which led to his eventual parole in 1976. Once on the outside Charles with former ‘Bell Tone” member Mayweather Lee were joined by Charles (Sonny) Bryant and Jimmy Taylor to form a new ensemble by the name of The “Final Chapter”. As the final Chapter they recorded a solitary release for Marvel Love’s New World Label “Now I Know/Get Down For Your Action” (NW800) during 1980, a brief association that for several reasons was to eventually brake down. Although Jimmy Taylor left to pursue a career as a blues musician the remaining three members of the ‘Final Chapter’ continued to perform until they finally disbanded in 1987. Three previously unissued Final Chapter songs can be found on Soul Junction Various Artists CD compilation “We Got A Sweet Thing going On” Volume II. The Mansion’s Gibbs 45 is now is a highly prized and sort after item amongst Sweet and Group Soul collectors.

On Scissor and Thread's fourth release of 2016, newcomer Villete takes a turn in the spotlight on their deep house stunner, 'Girl Next Door'. The A-side opens with the swelling pads and earnest hi-hat of Dreams". A distant voice declares everyone is devoted to their emotion, it's me and my imagination' before a springy bass line drops in, ushering in the mantra never be afraid to dream". A brassy synth further envelops the listener into the track's warm embrace as layers of percussion skitter in and out of focus. September' takes a turn for the cerebral with its' skipping hi-hats and airy pads. A springy bass line is accompanied by celestial synths that envelop the senses, making this psychedelic cut primed for after hours devastation. Villete goes even more cerebral on their introspective title cut, dialing back on the BPM, but keeping the energy high. A hushed bass and thudding kick take the backseat, allowing the hypnotizing, submerged pads and swirling, reverbed synths to take center stage, transporting dancers into eye-closed euphoria. The EP closes with the murky drum tones of Rillia". Droning pads, delicate claps, and a shy, skittering shaker keep things bubbling and light above the track's thicker than molasses kicks. Deep house maestro Darand Land takes his turn on the aforementioned track, lifting it out of the murk and straight up to the heavens and drenching it in his sun-kissed, euphoric style.

Repress !

2022 Repress
The Sound of Studio One can be identified by the great singers that it cultivated along the many great songs that these singers released. But as studio 1's dominance was slowly pulled away by the up and coming new breed of producers many of the artists would inevitably end up working for these new camps and so the songs and singers found a new audience. The reggae sound of the Studio 1 would make a great combination and the man to pull this was together Bunny Lee.
The 1960's in Jamaica was run by two main factions, Coxsonne's Studio 1 and Duke Reid's Treasure Isle. These two leading protagonists saw what some of the other great Sound System men like ' Tom The Great Sebastian' had not taken onboard, that when the tunes they imported began to dry up from the USA, their future lied in producing music. Tunes that suited the musical styles that the people of Jamaica still enjoyed. By the late 1960's thse supremacy was being challenged by the up and coming new producers on the scene, Lee Perry being one, and the other being 'Ghost of the Studios' himself, Bunny Lee. Bunny 'Striker' Lee may have inherited the moniker 'Striker' from his liking of a particular TV show called 'The Hitch-Hiker', but it would soon stand also for the considerable hits he would obtain as he was declared producer of the year in Jamaica in 1969, 1970,1971 and 1972.
For this release, we have compiled many of the great Studio hits that Bunny Lee recorded with the singers that had originally cut at the famed Studio 1. Bunny Lee's sprinkling of magic over some classic tunes....the sound of Studio 1 backed up this time Bunny 'Striker' Lee's set of star musicians The Aggravators. Proving you can't keep a good tune down, or a great producer pushing forward.....Bunny Lee strikes back....
Hope you enjoy the set.....

The Jamaican Reggae duo Dave and Ansell Collins hit big time in 1970 when they topped the UK Charts with one of the all time classic reggae singles 'Double Barrel'.
It also became one of the first Reggae hits in the USA.
The distinctive chant of singer Dave Barker calling out the intro to songs letting the listener know what about to hit them is timeless.
He also carries a great soul voice that has added magic to many a great reggae tune.
Dave and Ansell are two talented artists that on their own have added so much to the reggae sounds we know and love.
But together they have made a name that will go down in history as one of the great duo's that came out of Jamaica and onto the world's stage.
We have compiled a set of songs that show the wide ranging talents of Dave Barker and Ansell Collins..
Time to Double Up...one more time........

In 1978 a newly formed Augusta, Georgia group Marshall, Donovan and Broomfield chose to record cover versions of two songs previously recorded in 1973 and 1974 respectively by Florida siblings group Cornelius Brothers and Sister Rose. These Eddie Cornelius penned songs “Let me Down Easy” and “Since I Found My Baby” would form both sides of Marshall, Donovan and Broomfield’s first 45 single, released on group founder John Marshall’s own Augusta label. The flipside “Since I Found My Baby” would eventually gain popularity across the pond with aficionados of the UK modern soul scene of the early 1980’s and beyond.

John Marshall began his musical career in a high school group called The Fabulous Gardenias who recorded the doowop ballad “It’s You, You, You” backed with the up-tempo R n B mover “What’s The Matter With Me” released on Tommy Brown’s local Liz label (named after his wife future Motown recording artist, Liz Lands) in 1961.The Fabulous Gardenias featured John Marshall, the late Atlanta alumni Calvin Arnold, “Little” Joe Jones Jr (later of the Tams) and a fourth guy only remembered as Harold. John Marshall later sang with another Atlanta group The Tams of “Hey Girl Don’t Bother Me” fame from 1970 through to 1978.

Later in 1978, John Marshall having relocated to Augusta, GA the previous year was casually emptying the contents of his mailbox outside his home when a car suddenly pulled up. The driver called out “Hey I recognize you, you’re John Marshall you used to be with the Tams!” The driver continued to introduce himself as John Donovan stating that he too was a singer, followed by an impromptu performance, and hey! sure enough he could sing! A later introduction to Charles Broomfield (John Marshall’s next-door neighbour at that time) would lead to the formation of the group Marshall, Donovan, Broomfield with the addition of Mary Marshall and Pat Donavan (the then, two John’s respective wives) as backing vocalists. The previously mentioned group’s first release the John Donovan led “Let Me Down Easy/Since I Found My Baby” was recorded at the now defunct Jam Studio’s in Atlanta. Upon release, the “Let Me Down Easy “side received considerable local radio play but only led to the group performing a handful of local shows. On the strength of the group’s first release a second 45 release followed in 1980 “Let’s Dance/That’s Love” both sides of this 45 were penned by Charlston, South Carolina native, Harold Thomas who John Marshall knew from his time with the Tams, Thomas having once been part of Bill Pinkney &the Original Drifters and later the Tams management teams. This second 45 never gained the same local attention of “Let Me Down Easy” and after three years together the Marshall’s, Donovan’s and Charles Broomfield went their separate ways. John Marshall lost contact altogether with his former group members and left the music business taking up employment at International Paper Mill until his retirement in 2013.

Due to the current resurgence in popularity of “Since I Found My Baby” with copies regularly selling for four figure sums, Soul Junction have reacquainted ourselves with John Marshall to you bring you “Since I Found My Baby” backed with “Let Me Down Easy” with the addition of the excellent and lesser, known stepper “That’ Love” making this an excellent value 45 release.

For the first time since its inception 36 years ago, Steve Hiett’s elusive Down On The Road By The Beach is finally made available outside of Japan. Most recognized in the fashion sphere as an English photographer and graphic designer, Hiett‘s transportive audio portraits amplify his serpentine guitar to the infinite blue, recorded across Paris, Tokyo and New York with no coastline in sight. Now widely celebrated as a desert island disc, very little is actually known of its unfathomable genesis.

A career devotee of Brian Wilson’s ground breaking harmonies, Hiett shot The Beach Boys for Rolling Stone - as well as The Doors, Miles Davis and Jimi Hendrix (in one of his final performances at the 1970 Isle Of Wight Festival) - while establishing himself as a fashion photographer. Decamping to Paris in 1972, he began what would become 20-year collaborations with Vogue Paris and Marie Claire, printing his signature warm, saturated and vibrantly hued snapshots.

In 1982, representatives from Tokyo’s Galerie Watari visited him to propose a solo exhibition. Asking if he could insert a 7” of original music into the back of the exhibition catalogue, Hiett laid down ‘Blue Beach - Welcome To Your Beach’ in a Parisian radio station, playing all of the instruments himself, and two more cuts in New York with Yoko Ono, The Doobie Brothers and Steely Dan hired-gun Elliot Randall. Once dispatched, the phone began ringing off the hook with requests for him to fly to Tokyo. Assuming these long-distance callers were wanting him to check proofs for the book, it wasn’t until he arrived that he discovered CBS/Sony had facilitated an entire album. Heitt hastily gripped some petty cash, bought a guitar and retreated to his hotel room to start writing.

Entering the studio the following day, he was further surprised by a waiting room of session players known as Moonriders - one of Japan’s most acclaimed rock bands of the 1980s. Intimidated by their indecipherable sheet music, Hiett suggested Randall join them and with money being no object for major labels at the time, his wingman was on the next plane out of New York to finalise the high production indulgence. Near-ambient arrangements that float in a space between The Durutti Column, Steve Cropper and Ashra, Down On The Road By The Beach also crowns Hiett the master of recontextualization with his zero-gravity blues visions of Roll Over Beethoven, Santo & Johnny’s Sleep Walk and the 1967 Eddie Floyd soul hit Never Found A Girl.

Produced in coordination between Be With, Efficient Space and the artist, this definitive reissue is restored from original masters with vivid reproductions of the Down On The Road By The Beach exhibition catalogue, intended to accompany its original release, and extensive liner notes penned by fellow Steve Hiett obsessive Mikey IQ Jones.

Following on from last year's acclaimed ‘R.O.I.’ album, Manchester’s favourite sons Aerial Salad are set to return to the fray with a brand new 5-track EP titled ‘Roi de l’herb’ to be released June 27th via Venn Records.
Having released their ‘Dirt Mall’ album during lockdown, which was a pretty grim time to put an album out, the release still eventually opened up some exciting doors for the band and captured Aerial Salad at their most Aerial Salad; loud, brash, silly and emotive.
This led swiftly to 2024’s ‘R.O.I.’ album that marked a real evolution in the band’s sound and songwriting.

“R.O.I. is a concept album but rather than being about a band, it’s from the perspective of an individual pushed to the brink of insanity by the ever-present quest from commercial success,” explains singer and guitarist Jamie Munro. “The idea came from my job; I’ve been working in the tech industry in ‘sales’. ‘Return on investment’ was probably my most uttered phrase for a few years, I was sick of it, sick of having no positive impact on the world and sick of the tech bro, double espresso, thirsty thursdays, work hard - play hard bollocks culture that comes with it. ‘R.O.I.’ is me saying ‘know what, you can actually earn a lot of money in life, even without the fallacy of educational infrastructure and financial privilege, however, it comes at the cost of your soul, time and energy. ‘R.O.I.’ is called such because it’s in the opposite pursuit, it’s not about a return on a financial investment, it’s about doing something with your life that’s enjoyable.”
This brings us crashing into 2025, no longer in the same line of spirit destroying work, with some seriously exciting gigs on the horizon, Aerial Salad wanted to kick off the next era of the band with a short, fast and hard EP and have served up 5 absolute bangers that sit somewhere between ‘Dirt Mall’ and ‘R.O.I.’ The EP is called ‘Roi de l’herb’ because of the track ‘King Of The Grass’: “We tour and play a lot in France, we’ve played most of our “best” gigs in France, so out of curiosity I wanted to see if the title would translate well, naturally, when the translation contained both “ROI” and l’herbe” - I though, fuck it, that’s about as spot on a title for this EP as we can possibly muster.”
‘King of The Grass’ is about the band’s bassist Mike Wimbo who works for Rochdale council on the greens team, which means he spends his life in the pouring rain chopping down overgrown hedges and mowing lawns. Elsewhere on the EP, ‘Inject Your Blood’ is another romantic love song inspired by the TV series ‘True Blood’ (“I’d inject your blood, into mine just to feel you close”), ‘Wires’ rages against the world of AI and GPT, whilst the EP’s opening track ‘My Girl’ is a chaotic, high energy catchy punk song, nothing profound, nothing complicated. It’s a punk song as god intended, a few chords and a load of shouting.
“The EP is like the teaser for what’s next,” summarises Jamie. “The overall hook for this EP is one of hope, that by sticking to what you believe in you can do anything.”

Die 'weiße' LP GREATEST HITS" ist erstmals 1977 bei RAK erschienen und war nach einer Reihe von Top Hits die erste "offizielle" Best Of von Smokie.
Mit den Singles aus den ersten drei Alben, die für diese Kopplung ausgewählt wurden, sind schon reichlich Hits versammelt. Die zur Erstveröffentlichung bis dato völlig neuen 'Non-Album' Tracks sind dann allerdings für den Aufstieg der LP in den Legenden-Status verantwortlich. 'Living Next Door To Alice' wurde als erste neue Single ausgekoppelt und ein Welterfolg sondergleichen. Mit 'Lay Back In The Arms Of Someone' hat das Album zudem eine zweite neue Single, die ebenfalls zum Top-Hit avancierte. Das Album erreichte Platin Status in Deutschland, war 67 Wochen in den Charts, davon allein 8 Wochen auf der 1 und auch in vielen anderen Ländern in den Top 10, darunter mit einer #6 Platzierung auch der heimische Markt der Band, England.
Da die Erfolgsserie mit den folgenden Alben und Singles wie ‚'Mexican Girl'‚ 'It's Your Life' oder 'Needles And Pins' anhielt erschien 1980 die 'goldene' GREATEST HITS VOL.2 und wurde ein weiteres Chart-Album für die Band. Ebenso wie die erste Greatest Hits ist auch Vol 2 durch verschiedene Vertragswechsel bis heute nicht wieder neu aufgelegt worden. Bis heute! Jetzt werden beide Alben zusammengefasst und zudem mit einigen weiteren Erfolgstitel, die der Erstveröffentlichung nachgelagert waren, ergänzt. Damit sind diese Kult-LP endlich wieder aufgelegt und das auch gleich noch auf hochwertigem 180g Vinyl die sich auf dem Plattenteller in strahlendem Weiß präsentieren .

Another step outside the box for Ripple Music as Shotgun Sawyer embrace rocked-up Americana in the vein of Bruce Springsteen and Tom Petty with a touch of 60's garage rock thrown into the mix.

Multi-talented artist Poppy Ajudha will be announcing her sophomore album, titled ‘Poppy’, which will be released 22nd November 2024. This follows Poppy’s triumphant return to releasing music this year with the release of 'My Future', following a two year hiatus. ‘Poppy’ was created alongside Mike Malchicoff (Kanye West/King Princess) with contributions from the likes of producers Maestro (Rihanna), Fred Ball (Alicia Keys/Raye/Mariah Carey), Grades, (Kali Uchis, Dua Lipa, Britney Spears), and Travis Sayles (Ariana Grande).

Poppy says: “I can’t believe I’m writing this, but my sophomore album is finally coming out! After numerous trips back and forth from London to LA, millions of revisions to perfect each song and a lot of moving the track listing around, I’ve made an album I’m so in love with, with people who I felt truly seen by, who I respected and found a natural synergy with. I really put everything into this album, it is a reflection of my growth over the last 2 years, an outward pouring of my raw vulnerability, the inner workings of my chaotic brain and the deep desire I have to challenge myself with everything I do. I’m really proud of what we made, and I hope that when you hear it, it means something to you too.
Thank so much to all the special people who contributed to the making of this project, the producers, engineers, musicians, visual creatives, the friends who listened to me while I processed my life in order to write it down, I wouldn’t have been able to manifest this dream without you.”

Alongside the announcement of her upcoming album, Poppy has also released new single ‘Lean On Me’, a bold pop banger about the importance of community and showing support for each other even during challenging moments. ‘Lean On Me’ was written by Poppy with production from Wesley Singerman (Kendrick Lamar/Anderson Paak).

On ‘Lean On Me’, Poppy says: “We realise true friendship in the moments we are most vulnerable with each other. When I wrote ‘Lean On Me’ I was going through a breakup and struggling to make sense of my world. My friend who was experiencing their own kind of grieving found the time to give me the advice I needed, and the next day I wrote this song about the power of friendship, community, unconditional love and showing up for each other through our hardest times.”

2024 Repress

at mule musiq, we've focused on shining light on the many aspects of what electronic music can be, putting out house, techno and ambient releases on our main label, while releasing alternative-leaning dance music through our endless flight imprint. but with the launch of our new label, studio mule, we are stepping away from electronic club music for a bit. the label will not be tied to a specific genre, as we will instead focus on releasing any kind of music that we feel is a little bit different and interesting, but somehow make sense in this day and age. for our first batch of releases, we will be focusing on japanese music.
to be honest, i have been watching the recent rise of global interest in japanese music with a skeptical eye, not sure of how to feel about all these labels overseas licensing great albums that were birthed in our country. but then, i was told by somebody i greatly respect that i should do something similar with mule, and put our own spin on it, which sounded like a good idea to me. after a period of procrastination, i finally got around to doing it. we are starting things off with a compilation of japanese disco, boogie and soul music that we selected from a modern dance music perspective — the kind of songs that we feel would intrigue music fans across the world.
at first, i started seeking authentic-sounding disco that sound like it could have been recorded in the states, but after struggling to get licensing rights for many of those tracks, i started to wonder if that was really the direction we should be going in. when we start new labels or projects, we often come up with the title or artwork first, before deciding on the actual music. we came up with the title midnight in tokyo first, which dictated that we needed to find music that would be a perfect soundtrack to listen to at night in tokyo. we ended up compiling a selection of tracks that you could both listen to at home, and play in clubs at certain time slots. the compilation also ended up sounding a lot more pop than we initially imagined...
during the selection process, we did not care whether the tracks have been reissued already or not, and how rare the original copies of the records were. our sole purpose was to gather a handful of songs from across labels, major or otherwise, that we felt could be listened to for many years to come — even after this whole japanese music trend dies down. although we put together this release mainly for listeners outside of japan, the compilation can also be a chance for japanese music lovers to rediscover the greatness of domestic music, as we did during the process.
the compilation starts off with the afro disco classic 'mi mi africa' by harmonica player nobuo yagi, which was also included in the compilation mastercuts.
'silver top' is a jazzy fusion disco taken from composer, arranger and multi-instrumentalist nobuyuki shimizu's first album, which he released when he was 19. the track features singer epo, whom he worked with many times over the years as an arranger.
'samba night' is by vocalist keisuke yamamoto and his band piper, from their masterpiece second album summer breeze. a delightful city pop number that should appeal to tatsuro yamashita fans.
'akogareno sundown' is a japanese soul classic, sang by singer haruko kuwana (the sister of well-known musi-cian masahiro kuwana). recorded in hawaii and produced by mackey feary band, known for the soulful classic 'a million stars.'
'koiwa saiko (i'm in love)' is a mellow and groovy track by singer aru takamura, the great-grandchild of sculptor kouun takamura, whose son kotaro takamura is a famed poet and sculptor. can be thought of as japan's answer to cheryl lynn's 'got to be real.'
'what the magic is to try' is a cult electropop track by honma express, a project helmed by producer kanji honma. hailed as japan's trevor horn, he is also known as the producer of legendary techno pop band tpo.
'colored music' is a song by colored music, a duo of pianist ichiko hashimoto and her partner atsuo fujimoto, who have gone on tour with ymo. taken from colored music's sole album, the japanese rare groove treasure is a mesh of new wave, synth pop and jazz influences.
the dubby electronic new wave disco 'electric city' is a b side of pop idol group shohjo-tai's debut 12' single, but the girls aren't actually singing on it, making the instrumental one of japan's greatest '80s dance tracks.
'love is the competition' is a breezy disco jam by okinawa-born bilingual artist hitomi tohyama. featured on her album next door, the song's melody seems like an interpolation of the whispers' 'it's a love thing.'
taken from mariah project's diva yumi murata's first album, 'krishna' is a funky and soulful rockin' disco cut.reminiscent of chaka khan's 'i know you, i live you,' 'live hard, live free' is a song by jazz vocalist eri ohno who is known for her work with dj krush and singing on the soundtrack to anime rupin the third.
'rocket 88' is a melancholic disco number by singer minnie. though the track was released through sapporo's independent label paradise records, the superb production quality suggests otherwise.
closing out the 13-track compilation is japanese disco staple 'tokyo melody,' sang by half african and half swedish american singer shoody and backed by tetsuji hayashi's disco band the eastern gang.

Recorded in 1956 for the EmArcy label, Vaughan joins with Hal Mooney and his orchestra to dive head-first into a collection of iconic ballads and standards. Opening with Billy Strayhorn’s “Lush Life”, Vaughan weaves her way through the set, which showcases her at her best. Rodgers & Hart’s “My Romance” is a notable performance, and the raw emotion in “I’m Afraid the Masquerade Is Over” is palpable. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.