You fuckin beauty!!!! Destroyed my mothers house and hit the jackpot!! @bosstrabs

Can’t see Diggers doing LA if he got shafted with Hong Kong. He’s a savvy business man is uncle John.

Did hear they fucked loads of people over though.

Oh I am 100% sure it was Digweed who said that. Perhaps it was just for LA, but I could swear it was both. He specifically referenced the boat in the Getting Away With It documentary, which makes me think Hong Kong was included due to the time frame.

Just listened to Jimmy Van M’s Bedrock again and think I’m siding with CD2.
CD1 has some monster tunes in ‘Control Of Sound’, ‘Barotek’ and ‘Lacuna’, but enjoyed CD2 from start to finish more.

    That is a tough call. Not sure I agree, but I absolutely think it is up for debate. I also just listened to that one the other day. I will say this: he seriously bangs it out on that one. I forgot how fast and heavy he gets. He really lets it rip in the center to the end of disc 2. That was honestly the last time prog was good.

    Yeah man. Yum Yum into Control of Sound, into that one is a great chain of tunes.

      If you took the second Janiero out of CD2 and replaced it with Barotek, it’d be a one sided fight for me. That middle section on CD1 is filth, but I think the first 20 minutes let it dowm.

      aah I actually really like the Rui da Silva mix!

      I scrambled for anything wirh JvM’s name on it back in the day. He was a bit of an unknown entity on these shores, just popping up on Kiss 100 from time to time. Seemed to go off his game in the late 2010’s and goodness only knowns where he’s at now! Assuming the DJing took a back seat for the agency side of the business…

      Love that style of Van M’s. Saw him at the Redbox circa 05, dark shit all night with zero vox
      Hamel put his hands to some gold back then. This is a beaut….

        LT42
        He made some wicked music as did Blackwatch.

          Golden age of prog! Tell you what though, you only realise how slow the bpm’s are nowerdays when you try to mix these classic tunes in. Think it’s why people like Sasha stay away from them now, because you have to pitch them right back and they just sound off! 128-130 was a great tempo for moving on the dancefloor. Feel like crowds have just become nodding brigades in the last 10 years (not that I’m the best at cutting shapes myself).