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Review: Fresh from curating Favorite's Disco Boogie collection, Maurice returns to flex his crate surfing skills once again. This time: Album Oriented Rock. A style usually associated with US and UK acts such as Boston, Journey, Fleetwood Mac et al, Maurice reminds us it was a worldwide phenomenon that drew techniques and ideas from across the board. Here Maurice serves up long lost specials from around the world such as slinky, swooning disco-edged delights from Quebec's Diane Tell, sunkissed horn-heaven from Brazil's Juniour Mendes, chunky p-funk bass gems from Poland's Ulla and key-laden harmonic evangelism from Hawaii's Nohelani. AOR truly knew no barriers or boundaries, this is a fantastically curated collection.

Review: After the Brazilian Disco Boogie Sounds compilation, Favorite Recordings follows-up with the concept, this time focusing on its homeland language. Digging into the mysterious Charles Maurice's vinyl collection, the label and the DJ extracted 10 amazing hidden dancefloor hits, all produced between 1975 and 1984 within the French music scene.

In the late 70s, like most part of the world, France was deeply touched by the influence of American music. The Disco sound therefore quickly reached the French Pop charts, and as always, a creative and prolific independent scene emerged in the shadow of this trend, with quite unequal results, but also some obscure real classics.

Helped by a close connoisseur friend, DJ and collector Charles Maurice presents a fine selection of what he thinks represent best the amazing energy and quality of this specific movement and period. With 10 rare titles, he draws a perfect picture of the different styles and productions you could find in French record stores at that time;

On one hand, tracks by Overdrive, Marche Noir, Didier Makaga or France-Lise, were mostly composed and produced by underground artists and labels from the French Caribbean and African community, and also filled with the raw spirit and power of this Tropical stamping. On the other hand, tracks by Beckie Bell, Kelly, Le Club, or Bernard Guyvan, were all released by major French labels such as Trema, Carrere, Disques Vogue, or Pathe Marconi, and created by confirmed independent producers, acting not only in France, but also in Canada and the US.

For example, Philippe "Honeyman" Renaux was the founder of Clever label and has credits for Grace Jones, Sheila & B. Devotion, or Gino Soccio to name a few. Canadian composer and producer George Thurston is internationally known as Boule Noire, with his worldwide success "Aimer d'amour". And Pierre "Berjot" Jaubert was part of the famous Lafayette Afro-Rock Band, before becoming a prolific producer who revealed the Disco diva Chantal Curtis among others, collaborated on recordings for Motown or Tom Moulton, and even scooted the lead singer of Vladimir Cosma's most famous hit, "La Boom".

With all this talent and "savoir-faire", each of these 10 forgotten songs had nothing to be ashamed of compared to some majors' Disco hits and productions, but unfortunately didn't get the same fate. Today, Favorite Recordings and Charles Maurice are very proud to shed some light again on these gems, and hopefully offer them a new life on your turntable.

Review: Archivist, historian and dedicated crate digger Maurice continues his exploration of global AOR, a genre whose spotlight is usually hogged by successful US and UK acts. Focusing on the era's peak between 75-83 this second edition finds him striking gold in Australia (Renee Geyer Band's jazz-tickled "Two Sides"), Yugoslavia (Boban Petrovic's disco-licked "Prepad") Hawaii (Greg Yoder's Balearic Cat Stevens strummer "Things Were So Easy") and his native France (Carol Ray Band's yacht-primed boogie "Quelques Mots Gentils) Crisp production, stylistic melting pots and soft of the soul; AOR really was a global language.

Review: Last year, French record collector Charles Maurice put together AOR Global Sounds, a compilation of forgotten tracks from around the World, by artists influenced by the hazy West Coast style of Steely Dan. Here, he unleashes a follow-up, once again delving deep into the archives for inspiration. There's naturally much to admire, from the music box-heavy blue-eyed soul of Greg Yoder, and sax-laden stoner jazz-funk of O Ji Ji, to the synth-heavy disco-funk shuffle of Carol Ray Band's brilliant "Quelques Mots Gentils", and the Balkan AOR disco warmth of Bobana Petrovica. Look to the heavens, hold a loved one close and get slow-dancing.

Review: For those intrigued by the distinctively Gallic but authentically American-sounding world of French disco-boogie, Charles Maurice's ongoing compilation series should be essential listening. Here he serves up a third instalment that's every bit as good as its acclaimed predecessors. Highlights naturally come thick and fast throughout, from the mid-80s dreaminess of Maya's undeniably Balearic "Lait De Coco (Dub)" and the Brenda Taylor-ish bounce of Judy Carter's brilliant "Listen to the Music", to the Leroy Burgess style piano stabs and Patrick Adams-ish disco production of Caramel's "L'Amour Toujours L'Amour". Oh, and the late night radio warmth of NST Cophies' "Segregation", a sweet, undulating workout that will no doubt find favour with Balearic selectors.

Review: During its late '70s and early '80s heyday, France's disco-boogie scene tended towards the eccentric. Yet despite the camp, tongue-in-cheek feel adopted by many French bands and producers, much of the music was of an impressively high standard. That much is clear from Charles Maurice's second French Disco Boogie Sounds compilation. Packed full of slick, synthesizer-driven material and punchy, horn-heavy disco-funk thrillers (see the Teena Marie style "Movin" by Jackie Esam), it's a fine collection of Gallic dancefloor treats. You're unlikely to find a better example of jazz-funk positivity than Black Bells Group's "Talk Me Mam's", while Messan's "Keep Cool" is a lesson in thrusting, up-tempo disco sweatiness.

Review: Pascal Rioux's Favorite Recordings hasn't put out a dud record since its inception back in 2006 and, along with introducing us to artists like Onra, the imprint is surely one of the most complete sources of disco and nu-disco available on the market. Their most recent series, AOR Global Sounds, have all the makings of future classics, and this is especially true given the fact that all of its tunes have been lost in the depths of time and greedy Discogs sellers. The third chapter in the series features tunes from between 1976 and 1985, carefully curated by Charles Maurice with the aim of showcasing various disco artists from around the world that have been influenced by the inimitable 'Westcoast' boogie sound. Make no mistake, these tunes are all rare-as-hens-teeth, and you're unlikely to find them pressed up on wax anywhere else. Although each tune features a different artist, from Stratus through to Funky Team or even Brazil's Willy Santana, this is very much an LA kinda thang. An essential comp for anyone serious about their boogie joints...

Review: Pascal Rioux's Favorite Recordings hasn't put out a dud record since its inception back in 2006 and, along with introducing us to artists like Onra, the imprint is surely one of the most complete sources of disco and nu-disco available on the market. Their most recent series, AOR Global Sounds, have all the makings of future classics, and this is especially true given the fact that all of its tunes have been lost in the depths of time and greedy Discogs sellers. The third chapter in the series features tunes from between 1976 and 1985, carefully curated by Charles Maurice with the aim of showcasing various disco artists from around the world that have been influenced by the inimitable 'Westcoast' boogie sound. Make no mistake, these tunes are all rare-as-hens-teeth, and you're unlikely to find them pressed up on wax anywhere else. Although each tune features a different artist, from Stratus through to Funky Team or even Brazil's Willy Santana, this is very much an LA kinda thang. An essential comp for anyone serious about their boogie joints...

Review: Charles Maurice shows off his digging skills once again with a collection of tunes that does exactly what it says on the tin. He delves into the album oriented rock archives of countries as far and wide as France, the United Kingdom and Venezuela to come up eight rare and hidden gems. The series started back in 2015 and still makes for essential listening now with gems like 'Don't Take It Away' by Westside - a love song about a new relationship, recorded in Minnesota and mastered on Sunset Bld. Sugar Cane's 'What You Do To Me' is another loved up gem with real romance in the chords.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


For those intrigued by the distinctively Gallic but authentically American-sounding world of French disco-boogie, Charles Maurice's ongoing compilation series should be essential listening. Here he serves up a third instalment that's every bit as good as its' acclaimed predecessors. Highlights naturally come thick and fast throughout, from the mid-80s dreaminess of Maya's undeniably Balearic "Lait De Coco (Dub)" and the Brenda Taylor-ish bounce of Judy Carter's brilliant "Listen to the Music", to the Leroy Burgess style piano stabs and Patrick Adams-ish disco production of Caramel's "L'Amour Toujours L'Amour". Oh, and the late night radio warmth of NST Cophies' "Segregation", a sweet, undulating workout that will no doubt find favour with Balearic selectors.

Review: For those intrigued by the distinctively Gallic but authentically American-sounding world of French disco-boogie, Charles Maurice's ongoing compilation series should be essential listening. Here he serves up a third instalment that's every bit as good as its' acclaimed predecessors. Highlights naturally come thick and fast throughout, from the mid-80s dreaminess of Maya's undeniably Balearic "Lait De Coco (Dub)" and the Brenda Taylor-ish bounce of Judy Carter's brilliant "Listen to the Music", to the Leroy Burgess style piano stabs and Patrick Adams-ish disco production of Caramel's "L'Amour Toujours L'Amour". Oh, and the late night radio warmth of NST Cophies' "Segregation", a sweet, undulating workout that will no doubt find favour with Balearic selectors.

Review: On his fourth exploration of the world of global "Adult Oriented Rock", French crate-digger Charles Maurice focuses on the period between 1977 and '86. That means a greater emphasis on synthesizers, dusty drum machines and the kind of sparkling melodies that would once have drifted from daytime radio at an alarming rate. There's much to enjoy throughout, from the dewy-eyed synth-soul of Arlana's "When You Call My Name" and the breezy boogie of Omega Sunrise's "Too Hip", to the sparse Balearic bliss of Isabelle Mayereau's "Orange Bleue", the flute-laden easy listening hum of Fernando Toussaint, the sax-happy '80s sleaze of Special Occasion's brilliant "Flyin' To Santa Barbara" and the jaunty Latino jazz-funk of "Mellow Out" by Pacific Dreams.

Review: On his fourth exploration of the world of global "Adult Oriented Rock", French crate-digger Charles Maurice focuses on the period between 1977 and '86. That means a greater emphasis on synthesizers, dusty drum machines and the kind of sparkling melodies that would once have drifted from daytime radio at an alarming rate. There's much to enjoy throughout, from the dewy-eyed synth-soul of Arlana's "When You Call My Name" and the breezy boogie of Omega Sunrise's "Too Hip", to the sparse Balearic bliss of Isabelle Mayereau's "Orange Bleue", the flute-laden easy listening hum of Fernando Toussaint, the sax-happy '80s sleaze of Special Occasion's brilliant "Flyin' To Santa Barbara" and the jaunty Latino jazz-funk of "Mellow Out" by Pacific Dreams.

Review: French groove connoisseur Charles Maurice digs deep into Brazil's once-thriving boogie and disco movement. All tracks recorded between 1977-84, most of them rarely - if ever - released outside of Brazil, it's a bounty of beautifully produced silky soul curated, arranged and delivered with authenticity. Highlights include the syrupy harmonies and Chic-style guitar and bass foundations of Brenda's "Natureza Viva", Lady Zu's cat-like mic purring on "Valeu A Pena" and the soaking wet synth/slap bass fusion and jazz chords on Rosana's "Alegria No Ar". Sun kissed.