Parkway Records rocks up with its very first album, WPKY Jams. A cracking compilation, it’s a super label sampler, that recalls Syncopate’s classic Black Havana collection, since the selections come in different flavours, at various tempos, but all have their roots in house. Drivetyme’s FM Jamming, for example, struts its stuff at just 105 BPM. Referencing `80s gear, like Nu Shooz, and creating a collage of rap samples and interview snippets, set to a cool, chilled kalimba / marimba groove. At the other end of the sonic spectrum Trey Risque’s frisky Fairlight-esque freestyle comes in at around 120. Search The Night, Trey’s first material since 2016’s Night With The Boys, is packed with locking and popping robotic percussion and stabs of ORCH5 strings that’ll have older listeners looking for a roll of lino, while flashing back to releases on Emergency Records, Jellybean at NYC’s Funhouse, and Arthur Baker getting New Order confused.

Most of the numbers come from established Parkway Records family members. T Kutt – Mind Fair / Rotation Soundsystem misters Dean Meredith and Ben Shenton teamed with Loveface’s Simon Greatbatch – add another “t” to their name and follow up 2015’s The Feeling with Whatt U Say (115BPM). A terrific tribute to the dubby disco sides, such as Three Millions’ I’ve Got The Hots For You, that Larry Levan would play. All flatulent bass frequencies and synthesised showers. A spaced out falsetto panning around your stereo. The track sounds like a lot of fun was had making it, and that sense of joy is infectious.

Tom Giles returns as The Whole Truth and contributes 2 tracks. Falling (115BPM) is what they used to call “garage” – “loved up”, optimistic soulful house, full clever key and percussion fills. Light, bright, and spirit-lifting. Believe was released as a stand alone 12 earlier this year, but here it’s re-presented in a brilliant Mark Seven “Purple” mix (118BPM) that’s a heartfelt homage to the sound of early Prince – Let’s Go Crazy, Lady Cab Driver, Controversy – and his Minneapolis mutation of P-Funk. The beat’s kind of rocky, the rhythm guitar razor sharp, while the synths are a ringer for the dexterity of Dr. Fink. The bottom end, though, is 21st Century heavy.

Mark, in addition, offers a couple of his own productions. As Parkway Rhythm he gives us the pumping positivity of Keep Reachin’ (115BPM). Cannily crafted from conga, cowbell, and sun-drum interplay, Marks adds a really fancy solo on top. As Parkwerks he treats dancers to the tribal thump of Inherit Dub (117BPM), whose chopped up chants and funky organ summon scenes of Tony Humphries back spinning at New Jersey’s Club Zanzibar.

One new name is Charley Kelly, whose You Gave Me Love (110BPM) is the album’s darkest, delightfully sleazy, moment. Like Trey Frisque it’s freestyle-falvoured, combining a growling low end with a colossal kick, and similar, say, to the output of Canada’s Big Shot.

A smart label showcase, with, in case you hadn’t noticed, a lot of seminal `80s dancefloor influences flying about, WPKY Jams is also solidly sequenced. So much so that you could have it play at any party from start to finish, and start to finish again.*

Parkway Presents WPKY Jams is out now. While the Parkways’ Bandcamp page is currently drawing a blank, the vinyl should be in one of your favourite stores, such as Juno, or Rana-Musica and Strada if you’re based in Japan like I am. 

*I’ve been wondering if Mark will do one of his mind-blowing Mastermixes as a promo.