Saved Records celebrates 100 releases with Saved100, featuring 20 original productions and remixes. Mark Fanciulli takes a look back at some of his personal highlights of the label he runs with his brother Nic.
The track which made me want to get involved with the label
Magik Johnson’s ‘Eastern Lights’ from 2007 is a track I remember hearing that really stuck with me. It has a real punchy bassline that pulls you in and these moody-sounding pads layered over the top.
The track which made me realise Saved was going to be around for a while
I know its biased coming from me but when Saved001 came out in 2004 I thought that both of the tracks were great. They were two different styles that made a well-rounded package, and there was a big hype with it too. It felt like further big things were to come from the imprint.
My favourite release on Saved
That’s probably the hardest question you could ask me as I have so many for different reasons. If I really had to pick one it would be the Mark Broom artist album Acid House, from 2010. The release was extra exciting for us as it was the first artist album that Saved put out and after that we delivered albums from other artists such as Steve Mac and Spencer Parker.
The track which took us by surprise
When we sign a track we do so because we like it and also because we believe it will do well. I remember signing Lauren Lane’s first original works for the label and expected it to do very well. The tracks had a great groove to them along with the positive feedback and ‘Cool Kids’ is still in the Beatport tech house top 100 more than six months on, which is absolutely amazing. Be sure to check out Lauren’s follow up single on Saved100 called ‘Everyday Weekend’.
The track which reminds me of my favourite Saved party
A couple of weeks ago we were playing at Spy Bar in Chicago, which is definitely one of the best venues in the US, and early on in my set I was playing Philip Bader’s ‘Back’ (which is available on Saved100). Phillip’s productions have always had a great edge to them and been able to move a dancefloor and when this track got going it worked the floor really well.
The track which got unfairly overlooked
I think there have been a few tracks which have been unfairly overlooked, however this is one of the unfortunate things that comes with this industry. We put 110% into every aspect such as the mastering, artwork and promotion, but sadly due to the market saturation things do often get missed. A recent track that I think got unfairly overlooked was the Phil Weeks remix of Carlo Lio’s ‘What It Is’.