Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2588
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
}

[
  "listeModal" => true
  "categorieProduitEnum" => [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
]

App\Twig\Components\ListePanier {#2665
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2668 …}
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entityManager: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -gestionPanier: App\Service\FrontGestionPanierFavori {#2667 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +listePanier: null
  +listeModal: true
  +paysForme: null
  +paysSelectionne: null
  +selectedPays: null
  +fraisLivraison: 17.5
  +montantTotal: 35.0
  +tempsLivraison: 0
  +quantite: 0
  +categorieProduitEnum: [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
  -formView: Symfony\Component\Form\FormView {#2704 …}
  -form: Symfony\Component\Form\Form {#2854 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1821
    -id: 3026
    -nom: "Carter, Gillespie, Inc."
    -informationComplementaire: "Un face-à-face légendaire entre Benny Carter et Dizzy Gillespie, porté par une section rythmique d’exception. Carter, Gillespie, Inc. est un concentré de swing, de virtuosité et d’élégance, du grand jazz, tout simplement."
    -description: """
      Sorti en 1976 sur le label Pablo Records, Carter, Gillespie, Inc. réunit deux géants du jazz : Benny Carter et Dizzy Gillespie. À leurs côtés, une section rythmique d’exception Oscar Peterson, Ray Brown et Louis Bellson offre un écrin d’une précision et d’un swing remarquables.\r\n
      \r\n
      L’album capture une rencontre au sommet entre deux générations et deux esthétiques : l’élégance raffinée du swing de Benny Carter et l’énergie inventive du bebop de Dizzy Gillespie. Le résultat est une musique fluide, chaleureuse et virtuose, où chaque musicien trouve l’espace de s’exprimer sans jamais rompre l’équilibre collectif. Les arrangements sont sobres, mettant en valeur la complicité naturelle des artistes et la richesse de leurs improvisations.\r\n
      \r\n
      À la fois accessible et sophistiqué, Carter, Gillespie, Inc. incarne l’esprit des grandes sessions jazz des années 70, une célébration du dialogue, du groove et du plaisir de jouer ensemble.\r\n
      \r\n
      - Benny Carter & Dizzy Gillespie "Carter, Gillespie", Inc. 180 gram vinyl !\r\n
      - Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Housed in a Stoughton Printing tip-on jacket !\r\n
      \r\n
      Dizzy Gillespie wrote his classic "A Night in Tunisia" in 1942 when he was working with Benny Carter. Thirty-four years later the two recorded it together for this album and gave it one of its most luminous performances. In this encounter, Carter, at 70, and Gillespie, at 60, were inspired to some of the best playing of what might be described as their later years if it weren’t for the fact that, at this writing, both were going strong into the 1990s.\r\n
      \r\n
      Among the pieces are two less well-known masterpieces, Gillespie’s "Constantinople" and Carter’s "The Courtship." Gillespie’s superb bassist of the great 1947-48 big band, Al McKibbon, is in the rhythm section with Tommy Flanagan, Joe Pass, and Mickey Roker.\r\n
      \r\n
      Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a Stoughton Printing tip-on single pocket jacket.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Benny Carter (alto saxophone), Dizzy Gillespie (trumpet), Oscar Peterson (piano), Ray Brown (double bass), Louis Bellson (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=zwZrv4K-DT0&list=RDzwZrv4K-DT0&start_radio=1"
    -referenceProduit: "Analogue Productions (Pablo) AAPJ 186"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Sweet And Lovely "
      ]
      [
        "ordre" => 2
        "nom" => "2. Broadway"
      ]
      [
        "ordre" => 3
        "nom" => "3. The Courtship "
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Constantinople"
      ]
      [
        "ordre" => 6
        "nom" => "2. Nobody Knows The Trouble I've Seen"
      ]
      [
        "ordre" => 7
        "nom" => "3. Night In Tunisia"
      ]
      [
        "ordre" => 8
        "nom" => ""
      ]
      [
        "ordre" => 9
        "nom" => ""
      ]
      [
        "ordre" => 10
        "nom" => ""
      ]
      [
        "ordre" => 11
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2028 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1902 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2016 …}
    -enregistreLe: DateTime @1773865101 {#1876
      date: 2026-03-18 20:18:21.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1773865544 {#1869
      date: 2026-03-18 20:25:44.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2022 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-carter-gillespie-inc-analogue-productions-pablo-aapj-186"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3128
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#1821
    -id: 3026
    -nom: "Carter, Gillespie, Inc."
    -informationComplementaire: "Un face-à-face légendaire entre Benny Carter et Dizzy Gillespie, porté par une section rythmique d’exception. Carter, Gillespie, Inc. est un concentré de swing, de virtuosité et d’élégance, du grand jazz, tout simplement."
    -description: """
      Sorti en 1976 sur le label Pablo Records, Carter, Gillespie, Inc. réunit deux géants du jazz : Benny Carter et Dizzy Gillespie. À leurs côtés, une section rythmique d’exception Oscar Peterson, Ray Brown et Louis Bellson offre un écrin d’une précision et d’un swing remarquables.\r\n
      \r\n
      L’album capture une rencontre au sommet entre deux générations et deux esthétiques : l’élégance raffinée du swing de Benny Carter et l’énergie inventive du bebop de Dizzy Gillespie. Le résultat est une musique fluide, chaleureuse et virtuose, où chaque musicien trouve l’espace de s’exprimer sans jamais rompre l’équilibre collectif. Les arrangements sont sobres, mettant en valeur la complicité naturelle des artistes et la richesse de leurs improvisations.\r\n
      \r\n
      À la fois accessible et sophistiqué, Carter, Gillespie, Inc. incarne l’esprit des grandes sessions jazz des années 70, une célébration du dialogue, du groove et du plaisir de jouer ensemble.\r\n
      \r\n
      - Benny Carter & Dizzy Gillespie "Carter, Gillespie", Inc. 180 gram vinyl !\r\n
      - Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Housed in a Stoughton Printing tip-on jacket !\r\n
      \r\n
      Dizzy Gillespie wrote his classic "A Night in Tunisia" in 1942 when he was working with Benny Carter. Thirty-four years later the two recorded it together for this album and gave it one of its most luminous performances. In this encounter, Carter, at 70, and Gillespie, at 60, were inspired to some of the best playing of what might be described as their later years if it weren’t for the fact that, at this writing, both were going strong into the 1990s.\r\n
      \r\n
      Among the pieces are two less well-known masterpieces, Gillespie’s "Constantinople" and Carter’s "The Courtship." Gillespie’s superb bassist of the great 1947-48 big band, Al McKibbon, is in the rhythm section with Tommy Flanagan, Joe Pass, and Mickey Roker.\r\n
      \r\n
      Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a Stoughton Printing tip-on single pocket jacket.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Benny Carter (alto saxophone), Dizzy Gillespie (trumpet), Oscar Peterson (piano), Ray Brown (double bass), Louis Bellson (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=zwZrv4K-DT0&list=RDzwZrv4K-DT0&start_radio=1"
    -referenceProduit: "Analogue Productions (Pablo) AAPJ 186"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Sweet And Lovely "
      ]
      [
        "ordre" => 2
        "nom" => "2. Broadway"
      ]
      [
        "ordre" => 3
        "nom" => "3. The Courtship "
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Constantinople"
      ]
      [
        "ordre" => 6
        "nom" => "2. Nobody Knows The Trouble I've Seen"
      ]
      [
        "ordre" => 7
        "nom" => "3. Night In Tunisia"
      ]
      [
        "ordre" => 8
        "nom" => ""
      ]
      [
        "ordre" => 9
        "nom" => ""
      ]
      [
        "ordre" => 10
        "nom" => ""
      ]
      [
        "ordre" => 11
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2028 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1902 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2016 …}
    -enregistreLe: DateTime @1773865101 {#1876
      date: 2026-03-18 20:18:21.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1773865544 {#1869
      date: 2026-03-18 20:25:44.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2022 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-carter-gillespie-inc-analogue-productions-pablo-aapj-186"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
}

[
  "produit" => App\Entity\Produit {#2045
    -id: 3014
    -nom: "Spellbinder"
    -informationComplementaire: "Avec Spellbinder, Gábor Szabó propose un album envoûtant mêlant jazz, influences d’Europe de l’Est et grooves latins. Un disque au charme intemporel porté par sa guitare singulière."
    -description: """
      - Gabor Szabo "Spellbinder" 180 gram vinyl pressed at Optimal in Germany !\r\n
      - Part of the Verve Vault Series !\r\n
      - Mastered from the original analog tapes by Ryan K. Smith at Sterling Sound !\r\n
      \r\n
      Spellbinder, released in 1966 on Impulse! Records, introduced Hungarian guitarist Gabor Szabo to a wider American audience with a set that blends modal jazz, Eastern European folk influences, and 1960s pop textures. Recorded in May 1966 at Rudy Van Gelder's Englewood Cliffs studio and produced by Bob Thiele, Spellbinder features Szabo in a quintet setting with pianist Chick Corea (in one of his earliest recorded sessions), bassist Albert Stinson, drummer Chico Hamilton, and percussionist Willie Bobo.\r\n
      \r\n
      The record's standout moment is a reimagining of Sonny Bono's "Bang Bang (My Baby Shot Me Down)," which Szabo transforms into a darkly lyrical modal meditation. Elsewhere, the group blurs the lines between jazz improvisation and global rhythms, bridging bop vocabulary with the expanding musical frontiers of the mid-1960s. The Verve Vault Series is always mastered from analog tapes and pressed on 180 gram vinyl at Optimal.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Gábor Szabó (guitar, vocals), Ron Carter (bass), Willie Bobo, Victor Pantoja (percussion), Chico Hamilton (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=0psywusHh1Q&list=RD0psywusHh1Q&start_radio=1"
    -referenceProduit: "Verve Records (Vault Series) 2941"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Spellbinder"
      ]
      [
        "ordre" => 2
        "nom" => "2. Witchcraft"
      ]
      [
        "ordre" => 3
        "nom" => "3. It Was A Very Good Year"
      ]
      [
        "ordre" => 4
        "nom" => "4. Gypsy Queen "
      ]
      [
        "ordre" => 5
        "nom" => "Side B : "
      ]
      [
        "ordre" => 6
        "nom" => "1. Bang Bang (My Baby Shot Me Down)"
      ]
      [
        "ordre" => 7
        "nom" => "2. Cheetah"
      ]
      [
        "ordre" => 8
        "nom" => "3. My Foolish Heart"
      ]
      [
        "ordre" => 9
        "nom" => "4. Yearning"
      ]
      [
        "ordre" => 10
        "nom" => "5. Autumn Leaves / Speak To Me Of Love"
      ]
      [
        "ordre" => 11
        "nom" => "6. My Foolish Heart"
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2047 …}
    -label: Proxies\__CG__\App\Entity\Label {#2050 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2059 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2052 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2054 …}
    -enregistreLe: DateTime @1773423292 {#2042
      date: 2026-03-13 17:34:52.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1773863993 {#2043
      date: 2026-03-18 19:59:53.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2056 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-spellbinder-verve-records-vault-series-2941"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3242
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2045
    -id: 3014
    -nom: "Spellbinder"
    -informationComplementaire: "Avec Spellbinder, Gábor Szabó propose un album envoûtant mêlant jazz, influences d’Europe de l’Est et grooves latins. Un disque au charme intemporel porté par sa guitare singulière."
    -description: """
      - Gabor Szabo "Spellbinder" 180 gram vinyl pressed at Optimal in Germany !\r\n
      - Part of the Verve Vault Series !\r\n
      - Mastered from the original analog tapes by Ryan K. Smith at Sterling Sound !\r\n
      \r\n
      Spellbinder, released in 1966 on Impulse! Records, introduced Hungarian guitarist Gabor Szabo to a wider American audience with a set that blends modal jazz, Eastern European folk influences, and 1960s pop textures. Recorded in May 1966 at Rudy Van Gelder's Englewood Cliffs studio and produced by Bob Thiele, Spellbinder features Szabo in a quintet setting with pianist Chick Corea (in one of his earliest recorded sessions), bassist Albert Stinson, drummer Chico Hamilton, and percussionist Willie Bobo.\r\n
      \r\n
      The record's standout moment is a reimagining of Sonny Bono's "Bang Bang (My Baby Shot Me Down)," which Szabo transforms into a darkly lyrical modal meditation. Elsewhere, the group blurs the lines between jazz improvisation and global rhythms, bridging bop vocabulary with the expanding musical frontiers of the mid-1960s. The Verve Vault Series is always mastered from analog tapes and pressed on 180 gram vinyl at Optimal.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Gábor Szabó (guitar, vocals), Ron Carter (bass), Willie Bobo, Victor Pantoja (percussion), Chico Hamilton (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=0psywusHh1Q&list=RD0psywusHh1Q&start_radio=1"
    -referenceProduit: "Verve Records (Vault Series) 2941"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Spellbinder"
      ]
      [
        "ordre" => 2
        "nom" => "2. Witchcraft"
      ]
      [
        "ordre" => 3
        "nom" => "3. It Was A Very Good Year"
      ]
      [
        "ordre" => 4
        "nom" => "4. Gypsy Queen "
      ]
      [
        "ordre" => 5
        "nom" => "Side B : "
      ]
      [
        "ordre" => 6
        "nom" => "1. Bang Bang (My Baby Shot Me Down)"
      ]
      [
        "ordre" => 7
        "nom" => "2. Cheetah"
      ]
      [
        "ordre" => 8
        "nom" => "3. My Foolish Heart"
      ]
      [
        "ordre" => 9
        "nom" => "4. Yearning"
      ]
      [
        "ordre" => 10
        "nom" => "5. Autumn Leaves / Speak To Me Of Love"
      ]
      [
        "ordre" => 11
        "nom" => "6. My Foolish Heart"
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2047 …}
    -label: Proxies\__CG__\App\Entity\Label {#2050 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2059 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2052 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2054 …}
    -enregistreLe: DateTime @1773423292 {#2042
      date: 2026-03-13 17:34:52.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1773863993 {#2043
      date: 2026-03-18 19:59:53.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2056 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-spellbinder-verve-records-vault-series-2941"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
}

[
  "produit" => App\Entity\Produit {#2066
    -id: 3025
    -nom: "The Best Of Miles Davis"
    -informationComplementaire: "Plongez dans l’âge d’or du jazz avec Miles Davis. Entre 1956 et 1961, le trompettiste redéfinit le son du jazz moderne, entouré des plus grands. Une sélection incontournable, élégante et intemporelle, où chaque note raconte une histoire."
    -description: """
      Cette compilation de Miles Davis rassemble une sélection essentielle d’enregistrements réalisés entre 1956 et 1961, une période considérée comme l’un des sommets de l’histoire du jazz moderne.\r\n
      \r\n
      On y retrouve le célèbre quintet de Miles Davis avec notamment John Coltrane, dans des sessions mythiques pour le label Prestige. Ces morceaux, issus d’albums devenus légendaires "Cookin’, Relaxin’, Workin’, Steamin’", capturent un moment charnière où le bebop évolue vers le hard bop, avec déjà les premières touches du jazz modal.\r\n
      \r\n
      Entre standards revisités "My Funny Valentine, ’Round Midnight" et compositions plus nerveuses "Oleo, Airegin", l’album alterne élégance, tension et liberté. Le jeu de Miles Davis, à la fois sobre et expressif, y impose un style unique, fait de silences maîtrisés et de phrasés inimitables.\r\n
      \r\n
      Une compilation idéale pour découvrir ou redécouvrir l’âge d’or du jazz.\r\n
      \r\n
      The Best Of Miles Davis is a new compilation released to celebrate the legendary jazz trumpeter's centennial in 2026. Designed as an introduction to this influential artist, it covers his prime years between 1956 and 1961, during which time he recorded albums including Workin', Cookin', Steamin' and Relaxin'. The eight cuts included feature " 'Round Midnight", "My Funny Valentine", "Just Squeeze Me (But Don't Tease Me)" and more.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: null
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2068 …}
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    -modifierLe: DateTime @1773863978 {#2061
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App\Twig\Components\GestionPanierFavoriComponents {#3293
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    -nom: "The Best Of Miles Davis"
    -informationComplementaire: "Plongez dans l’âge d’or du jazz avec Miles Davis. Entre 1956 et 1961, le trompettiste redéfinit le son du jazz moderne, entouré des plus grands. Une sélection incontournable, élégante et intemporelle, où chaque note raconte une histoire."
    -description: """
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      \r\n
      Entre standards revisités "My Funny Valentine, ’Round Midnight" et compositions plus nerveuses "Oleo, Airegin", l’album alterne élégance, tension et liberté. Le jeu de Miles Davis, à la fois sobre et expressif, y impose un style unique, fait de silences maîtrisés et de phrasés inimitables.\r\n
      \r\n
      Une compilation idéale pour découvrir ou redécouvrir l’âge d’or du jazz.\r\n
      \r\n
      The Best Of Miles Davis is a new compilation released to celebrate the legendary jazz trumpeter's centennial in 2026. Designed as an introduction to this influential artist, it covers his prime years between 1956 and 1961, during which time he recorded albums including Workin', Cookin', Steamin' and Relaxin'. The eight cuts included feature " 'Round Midnight", "My Funny Valentine", "Just Squeeze Me (But Don't Tease Me)" and more.
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[
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    -id: 3016
    -nom: "The Best Of John Coltrane"
    -informationComplementaire: "The Best Of John Coltrane 1957-1958 capture John Coltrane au moment où il redéfinit le jazz. Des solos qui te happent, une énergie folle, et ce feeling unique qui traverse le temps."
    -description: """
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      \r\n
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      \r\n
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      \r\n
      The Best of John Coltrane captures the legendary saxophonist in his most formative and creative years with Prestige. Curated from his prolific 1957-1958 output, this LP features selections that spotlight Coltrane's rapid artistic evolution as an original tenor saxophonist. Featuring both American songbook classics and jazz standards, it is both the perfect introduction for new listeners and a prized acquisition for aficionados, presenting the recordings that cemented John Coltrane's legacy.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "John Coltrane (tenor saxophone), Red Garland, Thelonious Monk (piano), Paul Chambers, Earl May, Wilbur Ware (double bass), Donald Byrd, Johnnie Splawn (trumpet), Sahib Shihab (baritone saxophone), Art Taylor, Al Heath, Shadow Wilson (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=Y8bDcQwj-Yg&list=RDY8bDcQwj-Yg&start_radio=1"
    -referenceProduit: "Concord Craft Recording 8077"
    -titreMorceau: [
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        "ordre" => 5
        "nom" => "1. I Love You"
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      [
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        "nom" => ""
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2089 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2093 …}
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    -modifierLe: DateTime @1773863966 {#2082
      date: 2026-03-18 19:59:26.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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    -disponible: null
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]

App\Twig\Components\GestionPanierFavoriComponents {#3344
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2667 …}
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  +produit: App\Entity\Produit {#2087
    -id: 3016
    -nom: "The Best Of John Coltrane"
    -informationComplementaire: "The Best Of John Coltrane 1957-1958 capture John Coltrane au moment où il redéfinit le jazz. Des solos qui te happent, une énergie folle, et ce feeling unique qui traverse le temps."
    -description: """
      L’album The Best Of John Coltrane 1957-1958 est une plongée essentielle dans les premières années fulgurantes de John Coltrane, à un moment charnière où son langage musical prend forme avec une intensité et une inventivité remarquables.\r\n
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      \r\n
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      \r\n
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      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2089 …}
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    -modifierLe: DateTime @1773863966 {#2082
      date: 2026-03-18 19:59:26.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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[
  "produit" => App\Entity\Produit {#2107
    -id: 3015
    -nom: "Tetragon"
    -informationComplementaire: "Tetragon est un album de Joe Henderson enregistré pour Blue Note en 1967. Avec Ron Carter, Jack DeJohnette et Kenny Barron, le saxophoniste y propose un hard bop moderne et inspiré."
    -description: """
      - Joe Henderson "Tetragon" !\r\n
      - Part of the Jazz Dispensary Top Shelf Series from Craft Recordings !\r\n
      - Mastered from the original analog tapes by Kevin Gray at Cohearent Audio !\r\n
      - 180 gram vinyl pressed at Fidelity Record Pressing, packaged in a gatefold tip-on jacket !\r\n
      \r\n
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      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Joe Henderson (tenor saxophone), Ron Carter (bass), Don Friedman, Kenny Barron (piano), Jack DeJohnette, Louis Hayes (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
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    -limitedEdition: true
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    -extraitYoutube: "https://www.youtube.com/watch?v=xtk_TIf8MSk&list=RDxtk_TIf8MSk&start_radio=1"
    -referenceProduit: "Concord Craft Recording 9144"
    -titreMorceau: [
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        "nom" => "1. Invitation"
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        "ordre" => 2
        "nom" => "2. R.J."
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        "ordre" => 3
        "nom" => "3. The Bead Game "
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        "nom" => "1. Tetragon"
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        "nom" => ""
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2109 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3395
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2107
    -id: 3015
    -nom: "Tetragon"
    -informationComplementaire: "Tetragon est un album de Joe Henderson enregistré pour Blue Note en 1967. Avec Ron Carter, Jack DeJohnette et Kenny Barron, le saxophoniste y propose un hard bop moderne et inspiré."
    -description: """
      - Joe Henderson "Tetragon" !\r\n
      - Part of the Jazz Dispensary Top Shelf Series from Craft Recordings !\r\n
      - Mastered from the original analog tapes by Kevin Gray at Cohearent Audio !\r\n
      - 180 gram vinyl pressed at Fidelity Record Pressing, packaged in a gatefold tip-on jacket !\r\n
      \r\n
      Tetragon is tenor saxophone virtuoso Joe Henderson's second album on the Milestone label, where he continued to develop his sound in the post-bop realm before venturing further into the spiritual jazz realm later in his career, joined by a world-class ensemble featuring Ron Carter, Jack DeJohnette, Kenny Barron, Louis Hayes, and Don Friedman. This Jazz Dispensary Top Shelf reissue of Tetragon was cut from the original analog tapes (AAA) by Kevin Gray, pressed on 180 gram vinyl at Fidelity Record Pressing, and comes packaged in a gatefold tip-on jacket.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Joe Henderson (tenor saxophone), Ron Carter (bass), Don Friedman, Kenny Barron (piano), Jack DeJohnette, Louis Hayes (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=xtk_TIf8MSk&list=RDxtk_TIf8MSk&start_radio=1"
    -referenceProduit: "Concord Craft Recording 9144"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Invitation"
      ]
      [
        "ordre" => 2
        "nom" => "2. R.J."
      ]
      [
        "ordre" => 3
        "nom" => "3. The Bead Game "
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Tetragon"
      ]
      [
        "ordre" => 6
        "nom" => "2. Waltz For Sweetie"
      ]
      [
        "ordre" => 7
        "nom" => "3. First Trip"
      ]
      [
        "ordre" => 8
        "nom" => "4. I've Got You Under My Skin"
      ]
      [
        "ordre" => 9
        "nom" => ""
      ]
      [
        "ordre" => 10
        "nom" => ""
      ]
      [
        "ordre" => 11
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2109 …}
    -label: Proxies\__CG__\App\Entity\Label {#2071 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2118 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2111 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
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    -caracteristique: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2113 …}
    -enregistreLe: DateTime @1773433388 {#2100
      date: 2026-03-13 20:23:08.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1773863953 {#2101
      date: 2026-03-18 19:59:13.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2115 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-tetragon-concord-craft-recording-9144"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
}

[
  "produit" => App\Entity\Produit {#2127
    -id: 3024
    -nom: "Elevation"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Pharoah Sanders (tenor & soprano saxophone, percussion, bells, vocals), Joe Bonner (piano, harmonium, flute, cow horn, percussion, vocals), Calvin Hill (bass, tambura, vocals), Michael Carvin (drums, vocals), Lawrence Killian (congas, bell tree, vocals), John Blue, Jimmy Hopps  (percussion, vocals), Michael White (violin), Kenneth Nash (percussion), Sedatrius Brown (vocals).\r\n
      \r\n
      - Pharoah Sanders "Elevation" !\r\n
      - Part of the Verve Vault Jazz Series !\r\n
      - Mastered from the original analog tapes by Ryan K. Smith at Sterling Sound !\r\n
      - 180 gram vinyl pressed at Optimal in Germany !\r\n
      \r\n
      Elevation, released in 1974 on Impulse! Records, finds tenor saxophonist Pharoah Sanders expanding his spiritual jazz vision on an album that balances ecstatic expression with focused ensemble interplay. Produced by Ed Michel and recorded in 1973 across a live performance and studio sessions, Elevation features a dynamic ensemble including Joe Bonner on piano, John Heard on bass, and Michael Carvin on drums.\r\n
      \r\n
      Leon Thomas contributes vocals on the opening live track, "Greeting to Saud (Brother McCoy)" recorded at the Ash Grove in Los Angeles, while Kenneth Nash adds layered percussion and Michael White appears on violin. Elevation marks the culmination of his Impulse! discography a cohesive and spiritually resonant final studio statement that bridges the raw fire of earlier albums with a deeper, more spacious sound. The Verve Vault Series is always mastered from analog tapes and pressed on 180 gram vinyl at Optimal.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Pharoah Sanders (tenor & soprano saxophone, percussion, bells, vocals), Joe Bonner (piano, harmonium, flute, cow horn, percussion, vocals), Calvin Hill (bass, tambura, vocals), Michael Carvin (drums, vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=imM_MSx0cNo&list=RDimM_MSx0cNo&start_radio=1"
    -referenceProduit: "Verve Records (Vault Series) 2926"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Elevation"
      ]
      [
        "ordre" => 2
        "nom" => "2. Greeting to Saud (Brother McCoy Tyner) "
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
      ]
      [
        "ordre" => 4
        "nom" => "1. Ore-Se-Rere (Nigerian Juju HiLife)"
      ]
      [
        "ordre" => 5
        "nom" => "2. The Gathering"
      ]
      [
        "ordre" => 6
        "nom" => "3. Spiritual Blessing"
      ]
      [
        "ordre" => 7
        "nom" => ""
      ]
      [
        "ordre" => 8
        "nom" => ""
      ]
      [
        "ordre" => 9
        "nom" => ""
      ]
      [
        "ordre" => 10
        "nom" => ""
      ]
      [
        "ordre" => 11
        "nom" => ""
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2129 …}
    -label: Proxies\__CG__\App\Entity\Label {#2050 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2138 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2131 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2133 …}
    -enregistreLe: DateTime @1773852333 {#2120
      date: 2026-03-18 16:45:33.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1773852648 {#2121
      date: 2026-03-18 16:50:48.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2135 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-elevation-verve-records-vault-series-2926"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3446
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2127
    -id: 3024
    -nom: "Elevation"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Pharoah Sanders (tenor & soprano saxophone, percussion, bells, vocals), Joe Bonner (piano, harmonium, flute, cow horn, percussion, vocals), Calvin Hill (bass, tambura, vocals), Michael Carvin (drums, vocals), Lawrence Killian (congas, bell tree, vocals), John Blue, Jimmy Hopps  (percussion, vocals), Michael White (violin), Kenneth Nash (percussion), Sedatrius Brown (vocals).\r\n
      \r\n
      - Pharoah Sanders "Elevation" !\r\n
      - Part of the Verve Vault Jazz Series !\r\n
      - Mastered from the original analog tapes by Ryan K. Smith at Sterling Sound !\r\n
      - 180 gram vinyl pressed at Optimal in Germany !\r\n
      \r\n
      Elevation, released in 1974 on Impulse! Records, finds tenor saxophonist Pharoah Sanders expanding his spiritual jazz vision on an album that balances ecstatic expression with focused ensemble interplay. Produced by Ed Michel and recorded in 1973 across a live performance and studio sessions, Elevation features a dynamic ensemble including Joe Bonner on piano, John Heard on bass, and Michael Carvin on drums.\r\n
      \r\n
      Leon Thomas contributes vocals on the opening live track, "Greeting to Saud (Brother McCoy)" recorded at the Ash Grove in Los Angeles, while Kenneth Nash adds layered percussion and Michael White appears on violin. Elevation marks the culmination of his Impulse! discography a cohesive and spiritually resonant final studio statement that bridges the raw fire of earlier albums with a deeper, more spacious sound. The Verve Vault Series is always mastered from analog tapes and pressed on 180 gram vinyl at Optimal.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Pharoah Sanders (tenor & soprano saxophone, percussion, bells, vocals), Joe Bonner (piano, harmonium, flute, cow horn, percussion, vocals), Calvin Hill (bass, tambura, vocals), Michael Carvin (drums, vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=imM_MSx0cNo&list=RDimM_MSx0cNo&start_radio=1"
    -referenceProduit: "Verve Records (Vault Series) 2926"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Elevation"
      ]
      [
        "ordre" => 2
        "nom" => "2. Greeting to Saud (Brother McCoy Tyner) "
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
      ]
      [
        "ordre" => 4
        "nom" => "1. Ore-Se-Rere (Nigerian Juju HiLife)"
      ]
      [
        "ordre" => 5
        "nom" => "2. The Gathering"
      ]
      [
        "ordre" => 6
        "nom" => "3. Spiritual Blessing"
      ]
      [
        "ordre" => 7
        "nom" => ""
      ]
      [
        "ordre" => 8
        "nom" => ""
      ]
      [
        "ordre" => 9
        "nom" => ""
      ]
      [
        "ordre" => 10
        "nom" => ""
      ]
      [
        "ordre" => 11
        "nom" => ""
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2129 …}
    -label: Proxies\__CG__\App\Entity\Label {#2050 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2138 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2131 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2133 …}
    -enregistreLe: DateTime @1773852333 {#2120
      date: 2026-03-18 16:45:33.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1773852648 {#2121
      date: 2026-03-18 16:50:48.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2135 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-elevation-verve-records-vault-series-2926"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
}

[
  "produit" => App\Entity\Produit {#2145
    -id: 3023
    -nom: "Trilogy  (Limited Numbered Edition)"
    -informationComplementaire: "Plongez dans "Trilogy", chef-d’œuvre du rock progressif signé Emerson, Lake & Palmer. Entre virtuosité éblouissante, envolées symphoniques et moments de pure émotion, cet album culte de 1972 repousse les frontières du rock."
    -description: """
      Sorti en 1972, "Trilogy" est le troisième album studio du groupe Emerson, Lake & Palmer, et souvent considéré comme l’un des sommets du rock progressif des années 70. À ce stade de leur carrière, le trio atteint un équilibre remarquable entre virtuosité instrumentale, ambition symphonique et accessibilité mélodique.\r\n
      \r\n
      L’album alterne entre compositions épiques et morceaux plus intimistes. Des titres comme “The Endless Enigma” ou “Trilogy” illustrent la dimension progressive du groupe, mêlant structures complexes, changements de rythmes et influences classiques, notamment portées par les claviers flamboyants de Keith Emerson.\r\n
      \r\n
      À l’inverse, “From the Beginning”, chanté et composé par Greg Lake, offre un moment de douceur acoustique devenu l’un des plus grands succès du groupe. La section rythmique, menée par Carl Palmer, apporte une précision et une puissance qui soutiennent les envolées techniques sans jamais perdre en cohérence.\r\n
      \r\n
      Trilogy se distingue aussi par son utilisation pionnière du synthétiseur Moog, contribuant à définir le son du rock progressif. L’album oscille ainsi entre expérimentation audacieuse et sens du morceau, ce qui en fait une œuvre accessible autant qu’exigeante.\r\n
      \r\n
      - Emerson, Lake & Palmer Expand Their Fusion of Rock, Classical, and Jazz Themes on Trilogy : Includes the Hit Ballad “From the Beginning” and Interpretation of Copland’s “Hoedown” !\r\n
      \r\n
      - Mastered at Mobile Fidelity Sound Lab’s Studio and Housed in a Stoughton Gatefold Jacket: Numbered-Edition 180 gram 33 RPM LP of 1972 Album Plays with Spectacular Dynamics and Clarity !\r\n
      \r\n
      - 1/4” / 15 IPS / Dolby A analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      There’s a reason Greg Lake deemed Trilogy “such an accurate record” when looking back at it decades later. Emerson, Lake & Palmer’s third studio album teems with exacting arrangements, copious overdubs, and multi-hued colors that showcase the band’s willingness to experiment and desire to put everything in its proper place without becoming too self-serious. Expanding by distilling the ferocious power of its debut and epic leanings of the preceding Tarkus into a more accessible whole, Trilogy stands as the most representative example of the ensemble’s trademark styles. \r\n
      \r\n
      Mastered at MoFi’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP of Trilogy presents the gold-certified effort in audiophile quality marked by clear, direct, dynamic, and balanced sound.  With black backgrounds, quiet surfaces, and exceptional definition, the collectible reissue brings to fore the visionary depth and virtuosic musicianship on display. \r\n
      \r\n
      Prized characteristics textures, tones, nuances, effects, open spaces that go hand-in-hand with the trio’s songs and interplay are conveyed amid broad soundstages and in specific detail. Newly unveiled degrees of separation, imaging, and timing help make the compositions come across with involving presence and realism. Such sonic signposts extend to the subtle shifts in Lake’s voice on the opening cut, the mistake that prompts Carl Palmer to audibly curse at the beginning of “The Sheriff”, and the thrilling cosmic properties of the Moog synthesizers Keith Emerson employs throughout the record.\r\n
      \r\n
      Abandoning the conceptual nature of its two immediate predecessors, the 1972 work contains familiar threads that distinguish it as an album only ELP could make. The most obvious examples are the compositions. No other band at the time wove classical, rock, jazz, and even proto-metal themes in the manner of ELP. And no collective possessed the equivalent to Emerson, Lake, and Palmer’s individual technique and symmetrical chemistry. \r\n
      \r\n
      Trilogy is a canvas for these features and more, as well as the talents of engineer Eddy Offord, who ended his studio relationship with ELP after this project. All the better to savor this final collaboration between Offord and his English mates. Particularly given the scale-tipping production. It’s no wonder the group stopped performing several cuts live due to its frustration of being unable to replicate many parts onstage. The graduated level of complexity and layering even prompted ELP on the subsequent Brain Salad Surgery to craft songs it could faithfully recreate live. \r\n
      \r\n
      Challenging themselves as players and writers, the members of ELP use Trilogy as a springboard for excursions into adventurous landscapes that require the expert navigation of knotty twists and turns, and the ability to change directions at a moment’s notice. The album-opening trilogy based around “The Endless Enigma” scampers, romps, and swirls as it pushes the boundaries on sophisticated time signatures all the while remaining approachable and melodic. ELP incorporates the sound of everything from church bells to beating hearts and eerie Moog synthesizers into the Trilogy scenery, with “Fugue” functioning as both an elegant breather and transition.\r\n
      \r\n
      The band further taps classical devices for its now-iconic interpretation of Aaron Copland’s “Hoedown”. Spirited and spry, the round-we-go instrumental presents Emerson, Lake, and Palmer at their collective finest via on-point rhythms, balanced attack, and palpable energy. That the group leads into the adaptation with Western-themed storytelling on “The Sheriff” adds to the fun and coherency. And who can resist the band’s brief nod to cartoon music and Emerson’s honky-tonk piano lines during the coda ?\r\n
      \r\n
      As Lake later realized when he declared it his favorite of the group’s albums, Trilogy has it all. Fanfare flourishes and gorgeous minimalism. A Top 40 acoustic ballad “From the Beginning”, three-section title track bolstered by fanciful grooves, and grandiose bolero “Abaddon’s Bolero” appointed with clever modulations and marching structures. And, for the first time, art that depicts the physical likeness of the group itself. \r\n
      \r\n
      Designed by Storm Thorgerson and Aubrey Powell at Hipgnosis after Salvador Dali allegedly demanded a king’s ransom for the job, the portrayal conveys the philosophical and pensive qualities that emerge amid the music and narratives. Or, the visual representation of what Keith Emerson summarized in a period interview as “progressive rock with a lot of regard for the past”.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, piano, Moog synthesizer), Greg Lake (bass guitar, acoustic & electric guitars, lead vocals), Carl Palmer (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ZHWjtWtMLtg&list=RDZHWjtWtMLtg&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-618"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. The Endless Enigma (Part 1)"
      ]
      [
        "ordre" => 2
        "nom" => "2. Fugue"
      ]
      [
        "ordre" => 3
        "nom" => "3. The Endless Enigma (Part 2)"
      ]
      [
        "ordre" => 4
        "nom" => "4. From the Beginning"
      ]
      [
        "ordre" => 5
        "nom" => "5. The Sheriff 6. Hoedown "
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Trilogy"
      ]
      [
        "ordre" => 8
        "nom" => "2. Living Sin"
      ]
      [
        "ordre" => 9
        "nom" => "3. Abaddon’s Bolero"
      ]
      [
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        "nom" => ""
      ]
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        "nom" => ""
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      ]
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2147 …}
    -label: Proxies\__CG__\App\Entity\Label {#2150 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2159 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2152 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2154 …}
    -enregistreLe: DateTime @1773841767 {#2141
      date: 2026-03-18 13:49:27.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1773842147 {#2140
      date: 2026-03-18 13:55:47.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2156 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-trilogy-limited-numbered-edition-mobile-fidelity-sound-lab-mfsl-1-618"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3497
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2145
    -id: 3023
    -nom: "Trilogy  (Limited Numbered Edition)"
    -informationComplementaire: "Plongez dans "Trilogy", chef-d’œuvre du rock progressif signé Emerson, Lake & Palmer. Entre virtuosité éblouissante, envolées symphoniques et moments de pure émotion, cet album culte de 1972 repousse les frontières du rock."
    -description: """
      Sorti en 1972, "Trilogy" est le troisième album studio du groupe Emerson, Lake & Palmer, et souvent considéré comme l’un des sommets du rock progressif des années 70. À ce stade de leur carrière, le trio atteint un équilibre remarquable entre virtuosité instrumentale, ambition symphonique et accessibilité mélodique.\r\n
      \r\n
      L’album alterne entre compositions épiques et morceaux plus intimistes. Des titres comme “The Endless Enigma” ou “Trilogy” illustrent la dimension progressive du groupe, mêlant structures complexes, changements de rythmes et influences classiques, notamment portées par les claviers flamboyants de Keith Emerson.\r\n
      \r\n
      À l’inverse, “From the Beginning”, chanté et composé par Greg Lake, offre un moment de douceur acoustique devenu l’un des plus grands succès du groupe. La section rythmique, menée par Carl Palmer, apporte une précision et une puissance qui soutiennent les envolées techniques sans jamais perdre en cohérence.\r\n
      \r\n
      Trilogy se distingue aussi par son utilisation pionnière du synthétiseur Moog, contribuant à définir le son du rock progressif. L’album oscille ainsi entre expérimentation audacieuse et sens du morceau, ce qui en fait une œuvre accessible autant qu’exigeante.\r\n
      \r\n
      - Emerson, Lake & Palmer Expand Their Fusion of Rock, Classical, and Jazz Themes on Trilogy : Includes the Hit Ballad “From the Beginning” and Interpretation of Copland’s “Hoedown” !\r\n
      \r\n
      - Mastered at Mobile Fidelity Sound Lab’s Studio and Housed in a Stoughton Gatefold Jacket: Numbered-Edition 180 gram 33 RPM LP of 1972 Album Plays with Spectacular Dynamics and Clarity !\r\n
      \r\n
      - 1/4” / 15 IPS / Dolby A analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      There’s a reason Greg Lake deemed Trilogy “such an accurate record” when looking back at it decades later. Emerson, Lake & Palmer’s third studio album teems with exacting arrangements, copious overdubs, and multi-hued colors that showcase the band’s willingness to experiment and desire to put everything in its proper place without becoming too self-serious. Expanding by distilling the ferocious power of its debut and epic leanings of the preceding Tarkus into a more accessible whole, Trilogy stands as the most representative example of the ensemble’s trademark styles. \r\n
      \r\n
      Mastered at MoFi’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP of Trilogy presents the gold-certified effort in audiophile quality marked by clear, direct, dynamic, and balanced sound.  With black backgrounds, quiet surfaces, and exceptional definition, the collectible reissue brings to fore the visionary depth and virtuosic musicianship on display. \r\n
      \r\n
      Prized characteristics textures, tones, nuances, effects, open spaces that go hand-in-hand with the trio’s songs and interplay are conveyed amid broad soundstages and in specific detail. Newly unveiled degrees of separation, imaging, and timing help make the compositions come across with involving presence and realism. Such sonic signposts extend to the subtle shifts in Lake’s voice on the opening cut, the mistake that prompts Carl Palmer to audibly curse at the beginning of “The Sheriff”, and the thrilling cosmic properties of the Moog synthesizers Keith Emerson employs throughout the record.\r\n
      \r\n
      Abandoning the conceptual nature of its two immediate predecessors, the 1972 work contains familiar threads that distinguish it as an album only ELP could make. The most obvious examples are the compositions. No other band at the time wove classical, rock, jazz, and even proto-metal themes in the manner of ELP. And no collective possessed the equivalent to Emerson, Lake, and Palmer’s individual technique and symmetrical chemistry. \r\n
      \r\n
      Trilogy is a canvas for these features and more, as well as the talents of engineer Eddy Offord, who ended his studio relationship with ELP after this project. All the better to savor this final collaboration between Offord and his English mates. Particularly given the scale-tipping production. It’s no wonder the group stopped performing several cuts live due to its frustration of being unable to replicate many parts onstage. The graduated level of complexity and layering even prompted ELP on the subsequent Brain Salad Surgery to craft songs it could faithfully recreate live. \r\n
      \r\n
      Challenging themselves as players and writers, the members of ELP use Trilogy as a springboard for excursions into adventurous landscapes that require the expert navigation of knotty twists and turns, and the ability to change directions at a moment’s notice. The album-opening trilogy based around “The Endless Enigma” scampers, romps, and swirls as it pushes the boundaries on sophisticated time signatures all the while remaining approachable and melodic. ELP incorporates the sound of everything from church bells to beating hearts and eerie Moog synthesizers into the Trilogy scenery, with “Fugue” functioning as both an elegant breather and transition.\r\n
      \r\n
      The band further taps classical devices for its now-iconic interpretation of Aaron Copland’s “Hoedown”. Spirited and spry, the round-we-go instrumental presents Emerson, Lake, and Palmer at their collective finest via on-point rhythms, balanced attack, and palpable energy. That the group leads into the adaptation with Western-themed storytelling on “The Sheriff” adds to the fun and coherency. And who can resist the band’s brief nod to cartoon music and Emerson’s honky-tonk piano lines during the coda ?\r\n
      \r\n
      As Lake later realized when he declared it his favorite of the group’s albums, Trilogy has it all. Fanfare flourishes and gorgeous minimalism. A Top 40 acoustic ballad “From the Beginning”, three-section title track bolstered by fanciful grooves, and grandiose bolero “Abaddon’s Bolero” appointed with clever modulations and marching structures. And, for the first time, art that depicts the physical likeness of the group itself. \r\n
      \r\n
      Designed by Storm Thorgerson and Aubrey Powell at Hipgnosis after Salvador Dali allegedly demanded a king’s ransom for the job, the portrayal conveys the philosophical and pensive qualities that emerge amid the music and narratives. Or, the visual representation of what Keith Emerson summarized in a period interview as “progressive rock with a lot of regard for the past”.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, piano, Moog synthesizer), Greg Lake (bass guitar, acoustic & electric guitars, lead vocals), Carl Palmer (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ZHWjtWtMLtg&list=RDZHWjtWtMLtg&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-618"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. The Endless Enigma (Part 1)"
      ]
      [
        "ordre" => 2
        "nom" => "2. Fugue"
      ]
      [
        "ordre" => 3
        "nom" => "3. The Endless Enigma (Part 2)"
      ]
      [
        "ordre" => 4
        "nom" => "4. From the Beginning"
      ]
      [
        "ordre" => 5
        "nom" => "5. The Sheriff 6. Hoedown "
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Trilogy"
      ]
      [
        "ordre" => 8
        "nom" => "2. Living Sin"
      ]
      [
        "ordre" => 9
        "nom" => "3. Abaddon’s Bolero"
      ]
      [
        "ordre" => 10
        "nom" => ""
      ]
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        "nom" => ""
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
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        "ordre" => 14
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2147 …}
    -label: Proxies\__CG__\App\Entity\Label {#2150 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2159 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2152 …}
    -typeMasterTape: null
    -marque: null
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    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
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    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2154 …}
    -enregistreLe: DateTime @1773841767 {#2141
      date: 2026-03-18 13:49:27.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1773842147 {#2140
      date: 2026-03-18 13:55:47.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2156 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-trilogy-limited-numbered-edition-mobile-fidelity-sound-lab-mfsl-1-618"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
}

[
  "produit" => App\Entity\Produit {#2164
    -id: 3022
    -nom: "Pictures at an Exhibition"
    -informationComplementaire: "Plongez dans "Pictures at an Exhibition" d’Emerson, Lake & Palmer, une relecture rock audacieuse et virtuose de Moussorgski, un voyage sonore puissant, capté en live, où chaque note repousse les limites entre classique et modernité."
    -description: """
      Sorti en 1971, "Pictures at an Exhibition" est l’un des projets les plus audacieux du groupe Emerson, Lake & Palmer. Enregistré en public, l’album propose une relecture complète de l’œuvre du compositeur russe Modest Mussorgsky, transformée en fresque rock progressive.\r\n
      \r\n
      Porté par la virtuosité de Keith Emerson aux claviers (orgue Hammond, Moog), la voix et la sensibilité de Greg Lake, ainsi que la précision impressionnante du batteur Carl Palmer, l’album transcende les frontières entre musique classique et rock.\r\n
      \r\n
      Chaque tableau devient un terrain d’expérimentation sonore : alternance de passages grandioses, improvisations explosives, moments acoustiques plus intimes et envolées électroniques avant-gardistes. Le tout conserve l’esprit narratif de l’œuvre originale tout en y injectant l’énergie brute du live.\r\n
      \r\n
      Plus qu’une simple adaptation, "Pictures at an Exhibition" est une véritable fusion artistique, emblématique de l’ambition et de la créativité du rock progressif des années 70.\r\n
      \r\n
      - Emerson, Lake & Palmer Boldly Reimagine Mussorgsky’s Signature "Suite on Pictures at an Exhibition" : 1971 Live Album is a Groundbreaking Fusion of Classical and Prog-Rock Elements, Features Extraordinary Playing !\r\n
      \r\n
      - Mastered at MoFi’s California Studio and Housed in a Stoughton Gatefold Jacket: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM LP Teems with Breadth, Presence, and Dimensionality !\r\n
      \r\n
      - ¼” / 15 IPS Dolby A analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      Emerson, Lake & Palmer were so committed to their visionary interpretation of Modest Mussorgsky’s “Pictures at an Exhibition” that the group recorded it twice. Unsatisfied with the quality of what was supposed to serve as the take for a concert album, ELP booked a different venue to stage another show and paid for production out of their own pocket. Following hours of rehearsals and sound checks, ELP delivered a performance for the ages. Originally issued five months after the band’s sophomore LP Tarkus, Pictures at an Exhibition landed in the Billboard Top Ten and became a linchpin of the prog-rock canon. \r\n
      \r\n
      Mastered at Mobile Fidelity Sound Lab’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, the fabled album comes to life with spectacular dimensionality, breadth, and detail on this numbered-edition 180 gram 33 RPM LP. Featuring dead-quiet surfaces, it doubles as an admission ticket that never expires to the band's March 26, 1971 date at Newcastle City Hall. The primary difference from not being there in person? The levels of clarity, presence, and separation are such that you'll immediately be grateful nobody is impeding your view or gabbing beside you as you soak in one of the most celebrated crossover experiments in history. \r\n
      \r\n
      What you will hear is cut from the best-possible source, and just might be the master. Mobile Fidelity Sound Lab engineers observed that the tape box that contained the source tape is marked “Masters” but cannot definitively confirm that is the case given the tape had no splices or other indications that can be taken as absolute proof that this was a master. As such, the label erred on the side of caution when it came to provenance. The sonic results, however, are definitive. \r\n
      \r\n
      Drop the needle and immerse yourself in this daring, extremely successful reimagining of a piano suite conceived in 1874 by Mussorgsky. ELP had been familiar with the classical piece since the group formed. Keyboardist Keith Emerson had attended an orchestral performance of the work and acquired the score, then floated the idea to his mates that they should adopt at least parts of Pictures at an Exhibition in their live shows. The band soon embraced the challenge of adapting the entire composition for the stage. Once it completed sessions for its sophomore LP, Tarkus, the trio decided to record it for official release. \r\n
      \r\n
      Bolstered by three original additions to the suite and a “Nutrocker” encore that’s a playful rock ‘n’ roll take on Tchaikovsky’s “Nutcracker”, Pictures at an Exhibition simultaneously blurs lines between genres and epitomizes the trio’s virtuosity and verve. Adopting four of the original 10 parts and the two transitory promenade sections, the effort surges with energy, cohesiveness, and extraordinary musicianship. This aural tour of works displayed at a St. Petersburg academy by painter Viktor Hartmann is at once celebratory, theatrical, moody, and glorious. \r\n
      \r\n
      Fans who heard it broadcast in its entirety on a New York radio station immediately realized its merits. Their loud clamor for an official release Atlantic Records had delayed the album due to disagreements with the band regarding how it would be promoted and priced ultimately led to Pictures at an Exhibition streeting in November 1971, further distinguished by William Neal’s artwork and his depictions of oil paintings with imagery connected to ELP.\r\n
      \r\n
      Incorporating four of the 10 movements featured in Mussorgsky’s original suite as well as the recurring “Promenade” theme, ELP’s version of the 1874 composition begins, as it should, with remarkable fanfare. Emerson commences with a pipe organ solo that threatens to make your internal organs vibrate. The fireworks have begun. Fuzz bass, Moog synthesizer, and Hammond organ lay the foundation for the tension-rife “The Gnome” and, minutes later, Greg Lake steers the procession in a different direction via tender acoustic-guitar patterns on the medieval-themed “The Sage”. ELP is feeling it. And how.\r\n
      \r\n
      The trio casts “The Old Castle” as a fast-tempo romp, cedes the spotlight to Emerson on “Blues Variation”, and ups the pace and chase during “The Hut of Baba Yaga”. ELP tint “The Curse of Baba Yaba” with an aptly threatening atmosphere, a trait Palmer underscores with a menacing beat and Emerson increases with his wailing-siren Moog passages. Firing on all proverbial cylinders, the collective finishes its Mussorgsky interpretation with “The Great Gates of Kiev”, an ecstatic gesture that exudes fulfillment, joy, and relief. What a rush.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, piano, Moog synthesizer), Greg Lake (bass, guitar, acoustic guitar, vocals), Carl Palmer (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=QeLzdxjF2Xs&list=RDQeLzdxjF2Xs&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-617"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Promenade"
      ]
      [
        "ordre" => 2
        "nom" => "2. The Gnome"
      ]
      [
        "ordre" => 3
        "nom" => "3. Promenade"
      ]
      [
        "ordre" => 4
        "nom" => "4. The Sage"
      ]
      [
        "ordre" => 5
        "nom" => "5. The Old Castle"
      ]
      [
        "ordre" => 6
        "nom" => "6. Blues Variation "
      ]
      [
        "ordre" => 7
        "nom" => "Side B : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Promenade"
      ]
      [
        "ordre" => 9
        "nom" => "2. The Hut of Baba Yaga"
      ]
      [
        "ordre" => 10
        "nom" => "3. The Curse of Baba Yaga"
      ]
      [
        "ordre" => 11
        "nom" => "4. The Hut of Baba Yaga"
      ]
      [
        "ordre" => 12
        "nom" => "5. The Great Gates of Kiev"
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2147 …}
    -label: Proxies\__CG__\App\Entity\Label {#2150 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2172 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2165 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2167 …}
    -enregistreLe: DateTime @1773784509 {#2161
      date: 2026-03-17 21:55:09.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1773785705 {#2162
      date: 2026-03-17 22:15:05.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2169 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-pictures-at-an-exhibition-mobile-fidelity-sound-lab-mfsl-1-617"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3550
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2164
    -id: 3022
    -nom: "Pictures at an Exhibition"
    -informationComplementaire: "Plongez dans "Pictures at an Exhibition" d’Emerson, Lake & Palmer, une relecture rock audacieuse et virtuose de Moussorgski, un voyage sonore puissant, capté en live, où chaque note repousse les limites entre classique et modernité."
    -description: """
      Sorti en 1971, "Pictures at an Exhibition" est l’un des projets les plus audacieux du groupe Emerson, Lake & Palmer. Enregistré en public, l’album propose une relecture complète de l’œuvre du compositeur russe Modest Mussorgsky, transformée en fresque rock progressive.\r\n
      \r\n
      Porté par la virtuosité de Keith Emerson aux claviers (orgue Hammond, Moog), la voix et la sensibilité de Greg Lake, ainsi que la précision impressionnante du batteur Carl Palmer, l’album transcende les frontières entre musique classique et rock.\r\n
      \r\n
      Chaque tableau devient un terrain d’expérimentation sonore : alternance de passages grandioses, improvisations explosives, moments acoustiques plus intimes et envolées électroniques avant-gardistes. Le tout conserve l’esprit narratif de l’œuvre originale tout en y injectant l’énergie brute du live.\r\n
      \r\n
      Plus qu’une simple adaptation, "Pictures at an Exhibition" est une véritable fusion artistique, emblématique de l’ambition et de la créativité du rock progressif des années 70.\r\n
      \r\n
      - Emerson, Lake & Palmer Boldly Reimagine Mussorgsky’s Signature "Suite on Pictures at an Exhibition" : 1971 Live Album is a Groundbreaking Fusion of Classical and Prog-Rock Elements, Features Extraordinary Playing !\r\n
      \r\n
      - Mastered at MoFi’s California Studio and Housed in a Stoughton Gatefold Jacket: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM LP Teems with Breadth, Presence, and Dimensionality !\r\n
      \r\n
      - ¼” / 15 IPS Dolby A analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      Emerson, Lake & Palmer were so committed to their visionary interpretation of Modest Mussorgsky’s “Pictures at an Exhibition” that the group recorded it twice. Unsatisfied with the quality of what was supposed to serve as the take for a concert album, ELP booked a different venue to stage another show and paid for production out of their own pocket. Following hours of rehearsals and sound checks, ELP delivered a performance for the ages. Originally issued five months after the band’s sophomore LP Tarkus, Pictures at an Exhibition landed in the Billboard Top Ten and became a linchpin of the prog-rock canon. \r\n
      \r\n
      Mastered at Mobile Fidelity Sound Lab’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, the fabled album comes to life with spectacular dimensionality, breadth, and detail on this numbered-edition 180 gram 33 RPM LP. Featuring dead-quiet surfaces, it doubles as an admission ticket that never expires to the band's March 26, 1971 date at Newcastle City Hall. The primary difference from not being there in person? The levels of clarity, presence, and separation are such that you'll immediately be grateful nobody is impeding your view or gabbing beside you as you soak in one of the most celebrated crossover experiments in history. \r\n
      \r\n
      What you will hear is cut from the best-possible source, and just might be the master. Mobile Fidelity Sound Lab engineers observed that the tape box that contained the source tape is marked “Masters” but cannot definitively confirm that is the case given the tape had no splices or other indications that can be taken as absolute proof that this was a master. As such, the label erred on the side of caution when it came to provenance. The sonic results, however, are definitive. \r\n
      \r\n
      Drop the needle and immerse yourself in this daring, extremely successful reimagining of a piano suite conceived in 1874 by Mussorgsky. ELP had been familiar with the classical piece since the group formed. Keyboardist Keith Emerson had attended an orchestral performance of the work and acquired the score, then floated the idea to his mates that they should adopt at least parts of Pictures at an Exhibition in their live shows. The band soon embraced the challenge of adapting the entire composition for the stage. Once it completed sessions for its sophomore LP, Tarkus, the trio decided to record it for official release. \r\n
      \r\n
      Bolstered by three original additions to the suite and a “Nutrocker” encore that’s a playful rock ‘n’ roll take on Tchaikovsky’s “Nutcracker”, Pictures at an Exhibition simultaneously blurs lines between genres and epitomizes the trio’s virtuosity and verve. Adopting four of the original 10 parts and the two transitory promenade sections, the effort surges with energy, cohesiveness, and extraordinary musicianship. This aural tour of works displayed at a St. Petersburg academy by painter Viktor Hartmann is at once celebratory, theatrical, moody, and glorious. \r\n
      \r\n
      Fans who heard it broadcast in its entirety on a New York radio station immediately realized its merits. Their loud clamor for an official release Atlantic Records had delayed the album due to disagreements with the band regarding how it would be promoted and priced ultimately led to Pictures at an Exhibition streeting in November 1971, further distinguished by William Neal’s artwork and his depictions of oil paintings with imagery connected to ELP.\r\n
      \r\n
      Incorporating four of the 10 movements featured in Mussorgsky’s original suite as well as the recurring “Promenade” theme, ELP’s version of the 1874 composition begins, as it should, with remarkable fanfare. Emerson commences with a pipe organ solo that threatens to make your internal organs vibrate. The fireworks have begun. Fuzz bass, Moog synthesizer, and Hammond organ lay the foundation for the tension-rife “The Gnome” and, minutes later, Greg Lake steers the procession in a different direction via tender acoustic-guitar patterns on the medieval-themed “The Sage”. ELP is feeling it. And how.\r\n
      \r\n
      The trio casts “The Old Castle” as a fast-tempo romp, cedes the spotlight to Emerson on “Blues Variation”, and ups the pace and chase during “The Hut of Baba Yaga”. ELP tint “The Curse of Baba Yaba” with an aptly threatening atmosphere, a trait Palmer underscores with a menacing beat and Emerson increases with his wailing-siren Moog passages. Firing on all proverbial cylinders, the collective finishes its Mussorgsky interpretation with “The Great Gates of Kiev”, an ecstatic gesture that exudes fulfillment, joy, and relief. What a rush.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, piano, Moog synthesizer), Greg Lake (bass, guitar, acoustic guitar, vocals), Carl Palmer (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=QeLzdxjF2Xs&list=RDQeLzdxjF2Xs&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-617"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Promenade"
      ]
      [
        "ordre" => 2
        "nom" => "2. The Gnome"
      ]
      [
        "ordre" => 3
        "nom" => "3. Promenade"
      ]
      [
        "ordre" => 4
        "nom" => "4. The Sage"
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      ]
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        "nom" => "2. The Hut of Baba Yaga"
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        "nom" => "3. The Curse of Baba Yaga"
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      [
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        "nom" => "4. The Hut of Baba Yaga"
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      [
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        "nom" => "5. The Great Gates of Kiev"
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      [
        "ordre" => 13
        "nom" => ""
      ]
      [
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        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2147 …}
    -label: Proxies\__CG__\App\Entity\Label {#2150 …}
    -style: App\Entity\Style {#1453 …}
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    -morceauMP3: Doctrine\ORM\PersistentCollection {#2165 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2167 …}
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[
  "produit" => App\Entity\Produit {#2177
    -id: 3021
    -nom: "What Were Once Vices Are Now Habits - (2 LP) 45 RPM"
    -informationComplementaire: "Entre rock, soul et liberté californienne, "What Were Once Vices Are Now Habits" capture l’esprit d’une époque en mutation, porté par le hit intemporel "Black Water". Un classique chaleureux aux harmonies inoubliables signé The Doobie Brothers."
    -description: """
      Sorti en 1974, "What Were Once Vices Are Now Habits" marque un tournant majeur dans la carrière des Doobie Brothers. L’album mélange avec fluidité rock, folk, country et soul, tout en affirmant une identité sonore plus riche et plus maîtrisée que leurs précédents projets.\r\n
      \r\n
      Porté par le succès phénoménal du titre "Black Water", premier numéro 1 du groupe, cet opus incarne à la fois l’énergie brute de la scène californienne et une maturité musicale nouvelle, notamment grâce à l’apport de Patrick Simmons et Tom Johnston, dont les styles se complètent parfaitement.\r\n
      \r\n
      Entre harmonies vocales soignées, guitares chaleureuses et influences sudistes, l’album oscille entre insouciance et introspection, explorant les excès, les contradictions et l’évolution personnelle comme le suggère son titre.\r\n
      \r\n
      Un disque charnière, à la fois accessible et profond, qui consolide définitivement la place des Doobie Brothers dans le paysage rock des années 70.\r\n
      \r\n
      Musicians : \r\n
      Tom Johnston, Patrick Simmons (acoustic & electric guitars, lead & backing vocals), Tiran Porter (bass, backing vocals), John Hartman (drums, percussion), Michael Hossack (drums), Keith Knudsen (drums, backing vocals), Jeff “Skunk” Baxter (pedal steel guitar), Bill Payne (organ, piano, clavinet), James Booker (piano), Arlo Guthrie (autoharp), Eddie Guzman (congas, timbales, percussion), Milt Holland (tabla, vibraphone, marimba, pandeiro, percussion), The Memphis Horns : Wayne Jackson (trumpet), Andrew Love (tenor saxophone), James Mitchell (baritone saxophone), Jack Hale (trombone), Novi Novog (viola), Ted Templeman (percussion). \r\n
      \r\n
      - The Doobie Brothers Expand Their Palette on the Soulful What Were Once Vices Are Now Habits: Double-Platinum Album Features the N° 1 Hit “Black Water” and the Memphis Horns !\r\n
      \r\n
      - Hear the Feel-Good 1974 Record in Reference-Grade Sound: Mobile Fidelity’s Numbered-Edition 180 gram 45 RPM (2 LP) Set Plays with Striking Clarity, Dynamics, and Presence !\r\n
      \r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      "And I ain't got no worries / 'Cause I ain't in no hurry at all". The capstone to the chorus of the Doobie Brothers' N° 1 hit "Black Water" sums up the feel-good emotions and Southern-styled charm of What Were Once Vices Are Now Habits. As the group's most diverse and ambitious effort upon its release in 1974, the album finds the sextet expanding its stylistic parameters while holding firm on its signature blend of rock, country, and R&B. More than five decades later, it stands along with the band's other early and mid-70s records as an indispensable staple of a Hall of Fame career. \r\n
      \r\n
      And now, it plays with reference-grade sonics. Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180 gram 45 RPM (2 LP) of What Were Once Vices Are Now Habits affords the work the luxurious room of a 45 RPM version for the first time. Because of the wider grooves, the music benefits from extraordinary soundstages, ultra-quiet backgrounds, big dynamics, and spot-on imaging. Everything sounds crisp and clear. \r\n
      \r\n
      From the decision to run acoustic guitars through Leslie speakers on “Another Park, Another Sunday” to the naturalism of the shaded vocal harmonies that grace the memorable refrains to the famous a capella parts of “Black Water”, the brilliance of Ted Templeman’s production shines. Akin to Toulouse Street and The Captain and Me, nothing is overdone. \r\n
      \r\n
      Aspects that make the songs welcoming and digestible voices that naturally rise and fall, notes that carry and decay, bass lines you can follow from beginning to end, strategically placed percussive details, warm tones, well-defined separation between the players come across on this collectible reissue with effortless presence, balance, and realism. As for the spaciousness? Listen to a few bars of the opening “Song to See You Through” and try not to shake your head in disbelief at what you hear.\r\n
      \r\n
      Just as important as the sound, What Were Once Vices Are Now Habits pulls you in with one memorable tune after another. It’s a collective effort, with the material reflecting the strengths of each member and their special guests. At every turn, the record defies easy categorization yet sparks with amiable vibes built for cruising down the highway, hanging out on a lazy afternoon, and throwing a few cold ones back on a hot day. \r\n
      \r\n
      Having reached #4 on the Billboard Album charts, spawned three singles, and sold more than two million copies, it's safe to say the public wanted a piece of what the Doobie Brothers were slinging. Besides, who could resist? \r\n
      \r\n
      The band invited the Memphis Horns to inject brassy soul on three tracks. It secured Steely Dan virtuoso Jeff “Skunk” Baxter to supply pedal-steel guitar on “Tell Me What You Want (And I’ll Give You What You Need)” and recruited Arlo Guthrie to play autoharp on the same cut. The Doobie Brothers sat legendary New Orleans pianist James Booker at the 88s for “Down in the Track”. They tapped Little Feat co-founder Bill Payne to lay down organ on two songs and clavinet on another. The instrumental expansion extends to Novi Novog bowing the viola, Eddie Guzman tapping congas, and Milt Holland tackling tabla, vibraphone, marimba, and pandeiro. \r\n
      \r\n
      The fruits of those labors, as well as the sharp songwriting of band anchors Tom Johnston and Patrick Simmons, resonate amid a record without a dull moment over its nearly 45 minute length. The Doobie Brothers’ loose boogies, swaggering strolls, country-leaning reflections, and let-your-hair-down romps buzz with magnetic riffs, swampy grooves, and seamless matrices of acoustic and electric guitar chords. They're in evidence on the back-and-forth grit of “Road Angel,” swagger of “Pursuit on 53rd St.”, rhythmic quick-step of “Eyes of Silver”, and prog devices of “Daughters of the Sea”. \r\n
      \r\n
      To paraphrase the band on “Tell Me What You Want (And I’ll Give You What You Need)” : Easy, cool, and breezy. What a feeling, indeed.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Tom Johnston, Patrick Simmons (acoustic & electric guitars, lead & backing vocals), Tiran Porter (bass, backing vocals), John Hartman (drums, percussion), Michael Hossack (drums), Keith Knudsen (drums, backing vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
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    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=RsP3rFJJk1Y&list=RDRsP3rFJJk1Y&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-598"
    -titreMorceau: [
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      ]
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        "ordre" => 9
        "nom" => "1. You Just Can’t Stop It"
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        "nom" => "2. Tell Me What You Want (And I’ll Give You What You Need)"
      ]
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        "nom" => "Side D : "
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        "nom" => "1. Another Park, Another Sunday"
      ]
      [
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2179 …}
    -label: Proxies\__CG__\App\Entity\Label {#2150 …}
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    }
    -modifierLe: DateTime @1773733744 {#2175
      date: 2026-03-17 07:49:04.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2185 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-what-were-once-vices-are-now-habits-2-lp-45-rpm-mobile-fidelity-sound-lab-mfsl-2-598"
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App\Twig\Components\GestionPanierFavoriComponents {#3596
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2177
    -id: 3021
    -nom: "What Were Once Vices Are Now Habits - (2 LP) 45 RPM"
    -informationComplementaire: "Entre rock, soul et liberté californienne, "What Were Once Vices Are Now Habits" capture l’esprit d’une époque en mutation, porté par le hit intemporel "Black Water". Un classique chaleureux aux harmonies inoubliables signé The Doobie Brothers."
    -description: """
      Sorti en 1974, "What Were Once Vices Are Now Habits" marque un tournant majeur dans la carrière des Doobie Brothers. L’album mélange avec fluidité rock, folk, country et soul, tout en affirmant une identité sonore plus riche et plus maîtrisée que leurs précédents projets.\r\n
      \r\n
      Porté par le succès phénoménal du titre "Black Water", premier numéro 1 du groupe, cet opus incarne à la fois l’énergie brute de la scène californienne et une maturité musicale nouvelle, notamment grâce à l’apport de Patrick Simmons et Tom Johnston, dont les styles se complètent parfaitement.\r\n
      \r\n
      Entre harmonies vocales soignées, guitares chaleureuses et influences sudistes, l’album oscille entre insouciance et introspection, explorant les excès, les contradictions et l’évolution personnelle comme le suggère son titre.\r\n
      \r\n
      Un disque charnière, à la fois accessible et profond, qui consolide définitivement la place des Doobie Brothers dans le paysage rock des années 70.\r\n
      \r\n
      Musicians : \r\n
      Tom Johnston, Patrick Simmons (acoustic & electric guitars, lead & backing vocals), Tiran Porter (bass, backing vocals), John Hartman (drums, percussion), Michael Hossack (drums), Keith Knudsen (drums, backing vocals), Jeff “Skunk” Baxter (pedal steel guitar), Bill Payne (organ, piano, clavinet), James Booker (piano), Arlo Guthrie (autoharp), Eddie Guzman (congas, timbales, percussion), Milt Holland (tabla, vibraphone, marimba, pandeiro, percussion), The Memphis Horns : Wayne Jackson (trumpet), Andrew Love (tenor saxophone), James Mitchell (baritone saxophone), Jack Hale (trombone), Novi Novog (viola), Ted Templeman (percussion). \r\n
      \r\n
      - The Doobie Brothers Expand Their Palette on the Soulful What Were Once Vices Are Now Habits: Double-Platinum Album Features the N° 1 Hit “Black Water” and the Memphis Horns !\r\n
      \r\n
      - Hear the Feel-Good 1974 Record in Reference-Grade Sound: Mobile Fidelity’s Numbered-Edition 180 gram 45 RPM (2 LP) Set Plays with Striking Clarity, Dynamics, and Presence !\r\n
      \r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      "And I ain't got no worries / 'Cause I ain't in no hurry at all". The capstone to the chorus of the Doobie Brothers' N° 1 hit "Black Water" sums up the feel-good emotions and Southern-styled charm of What Were Once Vices Are Now Habits. As the group's most diverse and ambitious effort upon its release in 1974, the album finds the sextet expanding its stylistic parameters while holding firm on its signature blend of rock, country, and R&B. More than five decades later, it stands along with the band's other early and mid-70s records as an indispensable staple of a Hall of Fame career. \r\n
      \r\n
      And now, it plays with reference-grade sonics. Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180 gram 45 RPM (2 LP) of What Were Once Vices Are Now Habits affords the work the luxurious room of a 45 RPM version for the first time. Because of the wider grooves, the music benefits from extraordinary soundstages, ultra-quiet backgrounds, big dynamics, and spot-on imaging. Everything sounds crisp and clear. \r\n
      \r\n
      From the decision to run acoustic guitars through Leslie speakers on “Another Park, Another Sunday” to the naturalism of the shaded vocal harmonies that grace the memorable refrains to the famous a capella parts of “Black Water”, the brilliance of Ted Templeman’s production shines. Akin to Toulouse Street and The Captain and Me, nothing is overdone. \r\n
      \r\n
      Aspects that make the songs welcoming and digestible voices that naturally rise and fall, notes that carry and decay, bass lines you can follow from beginning to end, strategically placed percussive details, warm tones, well-defined separation between the players come across on this collectible reissue with effortless presence, balance, and realism. As for the spaciousness? Listen to a few bars of the opening “Song to See You Through” and try not to shake your head in disbelief at what you hear.\r\n
      \r\n
      Just as important as the sound, What Were Once Vices Are Now Habits pulls you in with one memorable tune after another. It’s a collective effort, with the material reflecting the strengths of each member and their special guests. At every turn, the record defies easy categorization yet sparks with amiable vibes built for cruising down the highway, hanging out on a lazy afternoon, and throwing a few cold ones back on a hot day. \r\n
      \r\n
      Having reached #4 on the Billboard Album charts, spawned three singles, and sold more than two million copies, it's safe to say the public wanted a piece of what the Doobie Brothers were slinging. Besides, who could resist? \r\n
      \r\n
      The band invited the Memphis Horns to inject brassy soul on three tracks. It secured Steely Dan virtuoso Jeff “Skunk” Baxter to supply pedal-steel guitar on “Tell Me What You Want (And I’ll Give You What You Need)” and recruited Arlo Guthrie to play autoharp on the same cut. The Doobie Brothers sat legendary New Orleans pianist James Booker at the 88s for “Down in the Track”. They tapped Little Feat co-founder Bill Payne to lay down organ on two songs and clavinet on another. The instrumental expansion extends to Novi Novog bowing the viola, Eddie Guzman tapping congas, and Milt Holland tackling tabla, vibraphone, marimba, and pandeiro. \r\n
      \r\n
      The fruits of those labors, as well as the sharp songwriting of band anchors Tom Johnston and Patrick Simmons, resonate amid a record without a dull moment over its nearly 45 minute length. The Doobie Brothers’ loose boogies, swaggering strolls, country-leaning reflections, and let-your-hair-down romps buzz with magnetic riffs, swampy grooves, and seamless matrices of acoustic and electric guitar chords. They're in evidence on the back-and-forth grit of “Road Angel,” swagger of “Pursuit on 53rd St.”, rhythmic quick-step of “Eyes of Silver”, and prog devices of “Daughters of the Sea”. \r\n
      \r\n
      To paraphrase the band on “Tell Me What You Want (And I’ll Give You What You Need)” : Easy, cool, and breezy. What a feeling, indeed.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Tom Johnston, Patrick Simmons (acoustic & electric guitars, lead & backing vocals), Tiran Porter (bass, backing vocals), John Hartman (drums, percussion), Michael Hossack (drums), Keith Knudsen (drums, backing vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
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    -preCommande: true
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    -extraitYoutube: "https://www.youtube.com/watch?v=RsP3rFJJk1Y&list=RDRsP3rFJJk1Y&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-598"
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        "nom" => "1. Another Park, Another Sunday"
      ]
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2179 …}
    -label: Proxies\__CG__\App\Entity\Label {#2150 …}
    -style: App\Entity\Style {#1453 …}
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    -modifierLe: DateTime @1773733744 {#2175
      date: 2026-03-17 07:49:04.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2185 …}
    -disponible: null
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    -slug: "vinyles-what-were-once-vices-are-now-habits-2-lp-45-rpm-mobile-fidelity-sound-lab-mfsl-2-598"
  }
  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
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[
  "produit" => App\Entity\Produit {#2193
    -id: 3013
    -nom: "Brain Salad Surgery"
    -informationComplementaire: null
    -description: """
      - A Most Amazing Show : Emerson, Lake & Palmer’s Brain Salad Surgery Established Prog-Rock Standards, Features the Epic “Karn Evil 9” Suite and Visionary Rendition of Ginastera Piano Concerto !\r\n
      \r\n
      - Experience the 1973 Album in Audiophile Sound and Enjoy the Immersive Feel of the Original Double Gatefold Packaging: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM LP Reveals the Copious Details, Textures, and Depth of the Exceptional Production !\r\n
      \r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      "Welcome back, my friends, to the show that never ends". \r\n
      \r\n
      Famously uttered by bassist-guitarist Greg Lake, those words encapsulate the theatricality, thrills, breadth, and fascination surrounding Brain Salad Surgery Emerson, Lake & Palmer's fourth studio album. Originally released in late 1973, it finds the trio taking front-to-back control of its situation and incorporating several studio firsts. The platinum-certified effort also stands as one of the greatest prog-rock feats in history. Its cohesive blend of musicianship, songwriting, and production set a standard that, decades later, remains revered amid fans and critics alike. \r\n
      \r\n
      Sourced from the original analog master tapes, housed in a deluxe double gatefold Stoughton jacket complete with a fold-out die-cut insert, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP of Brain Salad Surgery presents the record Emerson, Lake & Palmer member Carl Palmer deemed his favorite in audiophile sound. Clear, dynamic, and balanced, this collectible version honors the meticulous approaches that informed the playing and recording of the record.  \r\n
      \r\n
      Featuring black backgrounds and quiet surfaces, Mobile Fidelity’s reissue brings to light the epic scope, tonal depth, and high degree of virtuosity on display. Key characteristics textures, nuances, effects, melodies, tempo changes that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you’ve owned multiple copies of this touchstone or seeking out your first copy, you’ll relish the presence, separation, imaging, and solidity that help make every passage come across as the group intended.  \r\n
      \r\n
      That care extends to the faithful reproduction of the original coveted packaging. Designed by iconic artist H.R. Giger, the cover visually combines an industrial machine with the top half of a human skull along with the now-recognizable ELP logo. A circular screen attached to the right panel opens to reveal another painting that shows a female face, braided hair, and lobotomy scars. On the inside panels, a portrait-style photo of each ELP member is seen within the circular space in Giger’s biomechanical illustration. \r\n
      \r\n
      Chosen for its foreboding look, an aesthetic Keith Emerson felt conveyed the vibe of his band’s music, Giger’s paintings are one aspect of many on Brain Salad Surgery that Emerson, Lake & Palmer ensured adhered to its exacting standards. To optimize the process of making an album from start to finish, the collective established its own label, Manticore Records. Emerson, Lake & Palmer also went whole hog on its rehearsal facilities. \r\n
      \r\n
      After the trio became frustrated by its inability to recreate large swaths of Trilogy recorded on 24 track consoles and filled with overdubs in the live environment, it committed to following an approach that would allow it to develop Brain Salad Surgery in organic fashion. To do so, it needed a space where it could play and write without constraints, and test out the material until it was satisfied. The solution : Emerson, Lake & Palmer purchased a cinema, removed the seats, and transformed it into a practice space.  \r\n
      \r\n
      When it came to the session work, Emerson, Lake & Palmer began at Olympic Studios and continued later that summer at Advision Studios. At the latter, the group became the first to use the then-cutting-edge polyphonic synthesizer in the context of a recording. You can hear it on “Jerusalem”, the band’s take on composer Hubert Parry’s choral adaptation of a William Blake poem. Another remarkable novelty : Palmer’s proto-electronic drums in the middle section of “Toccata”, which became a reality after the crew placed a microphone in each drum in order to trigger a synthesizer. \r\n
      \r\n
      All that results on “Toccata” the group’s thrilling interpretation of Alberto Ginastera’s first piano concerto symbolizes the cacophony, ambition, and brazenness coursing through the record. To state the obvious, Emerson, Lake & Palmer’s prodigious talents as instrumentalists were a given by the time Brain Salad Surgery arrived and quickly ascended to the top quadrant of the US and UK charts. But it’s doubtful the three friends ever played more collaboratively and inspired as they do here. \r\n
      \r\n
      You could write a thesis on “Karn Evil 9” alone. Nearly 30 minutes long and co-written by King Crimson co-founder Peter Sinfield, the prescient tale involving humans and computers evolves over three distinct movements. It finds the band pulling out all the stops, from Emerson’s Minimoog solo that mimics the character of a steelpan to the ferocious collective interplay that helps send the piece out with a flourish. \r\n
      \r\n
      Amid such elevated rock-fusion circumstance on Brain Salad Surgery, the group has the foresight to include a beautiful moment of contrast in the form of the ballad “Still.... You Turn Me On” as fine an example as any of Lake’s ability as a poetic songwriter and finessed guitarist. Emerson contributes atmospheric backgrounds via harpsichord and accordion; Palmer simply rattles a tambourine. Though not technically representative of the other fare on the record, the tune is archetypal of period Emerson, Lake & Palmer in how it demonstrates how far the group could swing from one extreme to another and do so with absolute conviction. \r\n
      \r\n
      A most amazing show, indeed. Step inside, step inside.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, Moog synthesizer, piano),  Greg Lake (bass guitar, acoustic & electric guitars, vocals), Carl Palmer (drums, percussion), Peter Sinfield, John Hendricks (lyrics), Pete Gage (backing vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=zfqyuba-BlA&list=RDzfqyuba-BlA&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-619"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Jerusalem"
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      [
        "ordre" => 2
        "nom" => "2. Toccata 3."
      ]
      [
        "ordre" => 3
        "nom" => "Still.... You Turn Me On"
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      [
        "ordre" => 4
        "nom" => "4. Benny the Bouncer"
      ]
      [
        "ordre" => 5
        "nom" => "5. Karn Evil 9 : 1st Impression - Part 1 "
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
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        "ordre" => 7
        "nom" => "1. Karn Evil 9 : 1st Impression - Part 2"
      ]
      [
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      ]
      [
        "ordre" => 9
        "nom" => "3. Karn Evil 9 : 3rd Impression"
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      [
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        "nom" => "4. Andrew White Ted Dunbar Buster Williams Billy Hart Mtume Songai"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2147 …}
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    -modifierLe: DateTime @1773213946 {#2191
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3649
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2193
    -id: 3013
    -nom: "Brain Salad Surgery"
    -informationComplementaire: null
    -description: """
      - A Most Amazing Show : Emerson, Lake & Palmer’s Brain Salad Surgery Established Prog-Rock Standards, Features the Epic “Karn Evil 9” Suite and Visionary Rendition of Ginastera Piano Concerto !\r\n
      \r\n
      - Experience the 1973 Album in Audiophile Sound and Enjoy the Immersive Feel of the Original Double Gatefold Packaging: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM LP Reveals the Copious Details, Textures, and Depth of the Exceptional Production !\r\n
      \r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      "Welcome back, my friends, to the show that never ends". \r\n
      \r\n
      Famously uttered by bassist-guitarist Greg Lake, those words encapsulate the theatricality, thrills, breadth, and fascination surrounding Brain Salad Surgery Emerson, Lake & Palmer's fourth studio album. Originally released in late 1973, it finds the trio taking front-to-back control of its situation and incorporating several studio firsts. The platinum-certified effort also stands as one of the greatest prog-rock feats in history. Its cohesive blend of musicianship, songwriting, and production set a standard that, decades later, remains revered amid fans and critics alike. \r\n
      \r\n
      Sourced from the original analog master tapes, housed in a deluxe double gatefold Stoughton jacket complete with a fold-out die-cut insert, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP of Brain Salad Surgery presents the record Emerson, Lake & Palmer member Carl Palmer deemed his favorite in audiophile sound. Clear, dynamic, and balanced, this collectible version honors the meticulous approaches that informed the playing and recording of the record.  \r\n
      \r\n
      Featuring black backgrounds and quiet surfaces, Mobile Fidelity’s reissue brings to light the epic scope, tonal depth, and high degree of virtuosity on display. Key characteristics textures, nuances, effects, melodies, tempo changes that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you’ve owned multiple copies of this touchstone or seeking out your first copy, you’ll relish the presence, separation, imaging, and solidity that help make every passage come across as the group intended.  \r\n
      \r\n
      That care extends to the faithful reproduction of the original coveted packaging. Designed by iconic artist H.R. Giger, the cover visually combines an industrial machine with the top half of a human skull along with the now-recognizable ELP logo. A circular screen attached to the right panel opens to reveal another painting that shows a female face, braided hair, and lobotomy scars. On the inside panels, a portrait-style photo of each ELP member is seen within the circular space in Giger’s biomechanical illustration. \r\n
      \r\n
      Chosen for its foreboding look, an aesthetic Keith Emerson felt conveyed the vibe of his band’s music, Giger’s paintings are one aspect of many on Brain Salad Surgery that Emerson, Lake & Palmer ensured adhered to its exacting standards. To optimize the process of making an album from start to finish, the collective established its own label, Manticore Records. Emerson, Lake & Palmer also went whole hog on its rehearsal facilities. \r\n
      \r\n
      After the trio became frustrated by its inability to recreate large swaths of Trilogy recorded on 24 track consoles and filled with overdubs in the live environment, it committed to following an approach that would allow it to develop Brain Salad Surgery in organic fashion. To do so, it needed a space where it could play and write without constraints, and test out the material until it was satisfied. The solution : Emerson, Lake & Palmer purchased a cinema, removed the seats, and transformed it into a practice space.  \r\n
      \r\n
      When it came to the session work, Emerson, Lake & Palmer began at Olympic Studios and continued later that summer at Advision Studios. At the latter, the group became the first to use the then-cutting-edge polyphonic synthesizer in the context of a recording. You can hear it on “Jerusalem”, the band’s take on composer Hubert Parry’s choral adaptation of a William Blake poem. Another remarkable novelty : Palmer’s proto-electronic drums in the middle section of “Toccata”, which became a reality after the crew placed a microphone in each drum in order to trigger a synthesizer. \r\n
      \r\n
      All that results on “Toccata” the group’s thrilling interpretation of Alberto Ginastera’s first piano concerto symbolizes the cacophony, ambition, and brazenness coursing through the record. To state the obvious, Emerson, Lake & Palmer’s prodigious talents as instrumentalists were a given by the time Brain Salad Surgery arrived and quickly ascended to the top quadrant of the US and UK charts. But it’s doubtful the three friends ever played more collaboratively and inspired as they do here. \r\n
      \r\n
      You could write a thesis on “Karn Evil 9” alone. Nearly 30 minutes long and co-written by King Crimson co-founder Peter Sinfield, the prescient tale involving humans and computers evolves over three distinct movements. It finds the band pulling out all the stops, from Emerson’s Minimoog solo that mimics the character of a steelpan to the ferocious collective interplay that helps send the piece out with a flourish. \r\n
      \r\n
      Amid such elevated rock-fusion circumstance on Brain Salad Surgery, the group has the foresight to include a beautiful moment of contrast in the form of the ballad “Still.... You Turn Me On” as fine an example as any of Lake’s ability as a poetic songwriter and finessed guitarist. Emerson contributes atmospheric backgrounds via harpsichord and accordion; Palmer simply rattles a tambourine. Though not technically representative of the other fare on the record, the tune is archetypal of period Emerson, Lake & Palmer in how it demonstrates how far the group could swing from one extreme to another and do so with absolute conviction. \r\n
      \r\n
      A most amazing show, indeed. Step inside, step inside.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, Moog synthesizer, piano),  Greg Lake (bass guitar, acoustic & electric guitars, vocals), Carl Palmer (drums, percussion), Peter Sinfield, John Hendricks (lyrics), Pete Gage (backing vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=zfqyuba-BlA&list=RDzfqyuba-BlA&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-619"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Jerusalem"
      ]
      [
        "ordre" => 2
        "nom" => "2. Toccata 3."
      ]
      [
        "ordre" => 3
        "nom" => "Still.... You Turn Me On"
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      [
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        "nom" => "4. Benny the Bouncer"
      ]
      [
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        "nom" => "5. Karn Evil 9 : 1st Impression - Part 1 "
      ]
      [
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        "nom" => "Side B : "
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        "nom" => "1. Karn Evil 9 : 1st Impression - Part 2"
      ]
      [
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        "nom" => "2. Karn Evil 9 : 2nd Impression"
      ]
      [
        "ordre" => 9
        "nom" => "3. Karn Evil 9 : 3rd Impression"
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        "nom" => "4. Andrew White Ted Dunbar Buster Williams Billy Hart Mtume Songai"
      ]
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        "nom" => ""
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        "nom" => ""
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2147 …}
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    }
    -modifierLe: DateTime @1773213946 {#2191
      date: 2026-03-11 07:25:46.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2198 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-brain-salad-surgery-mobile-fidelity-sound-lab-mfsl-1-619"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
}

[
  "produit" => App\Entity\Produit {#2208
    -id: 2967
    -nom: "Sailin' Shoes (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - Little Feat "Sailin' Shoes" !\r\n
      - Lowell George's vision takes flight !\r\n
      - Part of the Acoustic Sounds 40 Series !\r\n
      - Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds !\r\n
      - Mastered by Matthew Lutthans at The Mastering Lab from the original master tape !\r\n
      - 180 gram 45 RPM double LP pressed at Quality Record Pressings !\r\n
      - Housed in a Stoughton Printing tip-on gatefold jacket !\r\n
      \r\n
      Formed by the late, great Lowell George, Little Feat made music that was loose, funky, literate, and impossible to pin down. Sailin' Shoes (1972) caught the band just as their legend was taking shape a mix of sharp-witted storytelling and swampy grooves that defined early-'70s cool. From "Willin'" and "Easy to Slip" to the swaggering title track, it's a master class in Southern California songwriting with a Louisiana twist. These songs defined Little Feat's legend as one of rock's most distinctive voices.\r\n
      \r\n
      This 45 RPM pressing, cut by Matthew Lutthans at The Mastering Lab from the original master tape, opens up the soundstage with wider grooves for superior tracking, lower distortion, and richer dynamics. Guitars shimmer, vocals breathe, and the rhythm section punches with warmth and clarity that only vinyl at 45 RPM can deliver. Pressed on ultra-quiet, perfectly flat (2 LP) by Quality Record Pressings, this timeless blend of storytelling from one of the most influential bands from the 70’s Warner catalog, sounds magnificent.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Lowell George (guitar, slide guitar, lead vocals), Bill Payne (keyboards, vocals), Paul Barrere (guitar, vocals), Roy Estrada (bass, backing vocals), Richie Hayward (drums, backing vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=jHKFkLhr4_I&list=PLP7u94NwnE9zWh8yudt0Dc3a25LIRmY7E"
    -referenceProduit: "Analogue Productions (Acoustic Sounds 40 Series) 015-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Easy To Slip"
      ]
      [
        "ordre" => 2
        "nom" => "2. Cold, Cold, Cold"
      ]
      [
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        "nom" => "3. Trouble "
      ]
      [
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        "nom" => "Side B : "
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      [
        "ordre" => 5
        "nom" => "1. Tripe Face Boogie"
      ]
      [
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        "nom" => "2. Willin'"
      ]
      [
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        "nom" => "3. A Apolitical Blues "
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      [
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        "nom" => "Side C :"
      ]
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        "nom" => "1. Sailin' Shoes"
      ]
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        "nom" => "2. Teenage Nervous Breakdown"
      ]
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        "nom" => "3. Got No Shadow "
      ]
      [
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        "nom" => "Side D : "
      ]
      [
        "ordre" => 13
        "nom" => "1. Cat Fever"
      ]
      [
        "ordre" => 14
        "nom" => "2. Texas Rose Cafe"
      ]
      [
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2210 …}
    -label: Proxies\__CG__\App\Entity\Label {#2213 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2222 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2215 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2217 …}
    -enregistreLe: DateTime @1770185247 {#2204
      date: 2026-02-04 06:07:27.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1772960244 {#2203
      date: 2026-03-08 08:57:24.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2219 …}
    -disponible: null
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    -slug: "vinyles-sailin-shoes-2-lp-45-rpm-analogue-productions-acoustic-sounds-40-series-015-45"
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]

App\Twig\Components\GestionPanierFavoriComponents {#3695
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2208
    -id: 2967
    -nom: "Sailin' Shoes (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - Little Feat "Sailin' Shoes" !\r\n
      - Lowell George's vision takes flight !\r\n
      - Part of the Acoustic Sounds 40 Series !\r\n
      - Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds !\r\n
      - Mastered by Matthew Lutthans at The Mastering Lab from the original master tape !\r\n
      - 180 gram 45 RPM double LP pressed at Quality Record Pressings !\r\n
      - Housed in a Stoughton Printing tip-on gatefold jacket !\r\n
      \r\n
      Formed by the late, great Lowell George, Little Feat made music that was loose, funky, literate, and impossible to pin down. Sailin' Shoes (1972) caught the band just as their legend was taking shape a mix of sharp-witted storytelling and swampy grooves that defined early-'70s cool. From "Willin'" and "Easy to Slip" to the swaggering title track, it's a master class in Southern California songwriting with a Louisiana twist. These songs defined Little Feat's legend as one of rock's most distinctive voices.\r\n
      \r\n
      This 45 RPM pressing, cut by Matthew Lutthans at The Mastering Lab from the original master tape, opens up the soundstage with wider grooves for superior tracking, lower distortion, and richer dynamics. Guitars shimmer, vocals breathe, and the rhythm section punches with warmth and clarity that only vinyl at 45 RPM can deliver. Pressed on ultra-quiet, perfectly flat (2 LP) by Quality Record Pressings, this timeless blend of storytelling from one of the most influential bands from the 70’s Warner catalog, sounds magnificent.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Lowell George (guitar, slide guitar, lead vocals), Bill Payne (keyboards, vocals), Paul Barrere (guitar, vocals), Roy Estrada (bass, backing vocals), Richie Hayward (drums, backing vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=jHKFkLhr4_I&list=PLP7u94NwnE9zWh8yudt0Dc3a25LIRmY7E"
    -referenceProduit: "Analogue Productions (Acoustic Sounds 40 Series) 015-45"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
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      ]
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        "nom" => "2. Willin'"
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        "nom" => "3. A Apolitical Blues "
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        "nom" => "Side C :"
      ]
      [
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        "nom" => "1. Sailin' Shoes"
      ]
      [
        "ordre" => 10
        "nom" => "2. Teenage Nervous Breakdown"
      ]
      [
        "ordre" => 11
        "nom" => "3. Got No Shadow "
      ]
      [
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        "nom" => "Side D : "
      ]
      [
        "ordre" => 13
        "nom" => "1. Cat Fever"
      ]
      [
        "ordre" => 14
        "nom" => "2. Texas Rose Cafe"
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2210 …}
    -label: Proxies\__CG__\App\Entity\Label {#2213 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2222 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2215 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2217 …}
    -enregistreLe: DateTime @1770185247 {#2204
      date: 2026-02-04 06:07:27.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1772960244 {#2203
      date: 2026-03-08 08:57:24.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2219 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-sailin-shoes-2-lp-45-rpm-analogue-productions-acoustic-sounds-40-series-015-45"
  }
  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
}

[
  "produit" => App\Entity\Produit {#2231
    -id: 2968
    -nom: "Dixie Chicken (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - Little Feat "Dixie Chicken" !\r\n
      - The album where Little Feat came into full bloom !\r\n
      - Part of the Acoustic Sounds 40 Series !\r\n
      - Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds !\r\n
      - Mastered by Matthew Lutthans at The Mastering Lab from the original master tape !\r\n
      - 180 gram 45 RPM double LP pressed at Quality Record Pressings !\r\n
      - Housed in a Stoughton Printing tip-on gatefold jacket !\r\n
      \r\n
      With Dixie Chicken (1973), Little Feat came into full bloom. Here, the band locked into their signature sound : sly, soulful, and irresistibly funky. The title track oozes Southern charm, "Two Trains" rolls with hypnotic rhythm, and "Fat Man In The Bathtub" blends humor and groove in a way only Lowell George could.\r\n
      \r\n
      This 45 RPM pressing, with lacquers cut by Matthew Lutthans at The Mastering Lab from the original master tape, delivers deeper bass, crisper detail, and wider groove spacing for stunning playback realism. Every snare hit, every slide riff, every vocal inflection pops from the speakers with life and dimension.\r\n
      \r\n
      A cornerstone of ‘70s rock and funk, Dixie Chicken finally gets the deluxe, audiophile treatment it deserves.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Lowell George (slide guitar, lead vocals), Bill Payne (keyboards, piano, backing vocals), Paul Barrere (guitar, backing vocals), Kenny Gradney (bass), Richie Hayward (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=yaHEfJApEVM&list=RDyaHEfJApEVM&start_radio=1"
    -referenceProduit: "Analogue Productions (Acoustic Sounds 40 Series) AAPR 016-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Dixie Chicken"
      ]
      [
        "ordre" => 2
        "nom" => "2. Two Trains"
      ]
      [
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        "nom" => "3. Roll Um Easy "
      ]
      [
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        "nom" => "Side B : "
      ]
      [
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        "nom" => "1. On Your Way Down"
      ]
      [
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        "nom" => "2. Kiss It Off "
      ]
      [
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        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Fool Yourself"
      ]
      [
        "ordre" => 9
        "nom" => "2. Walkin' All Night"
      ]
      [
        "ordre" => 10
        "nom" => "3. Fat Man In The Bathtub "
      ]
      [
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        "nom" => "Side D : "
      ]
      [
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        "nom" => "1. Juliette"
      ]
      [
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        "nom" => "2. Lafayette Railroad"
      ]
      [
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        "nom" => ""
      ]
      [
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        "nom" => ""
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2210 …}
    -label: Proxies\__CG__\App\Entity\Label {#2213 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2239 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2232 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2234 …}
    -enregistreLe: DateTime @1770185936 {#2224
      date: 2026-02-04 06:18:56.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1772960166 {#2225
      date: 2026-03-08 08:56:06.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2236 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-dixie-chicken-2-lp-45-rpm-analogue-productions-acoustic-sounds-40-series-aapr-016-45"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3748
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2231
    -id: 2968
    -nom: "Dixie Chicken (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - Little Feat "Dixie Chicken" !\r\n
      - The album where Little Feat came into full bloom !\r\n
      - Part of the Acoustic Sounds 40 Series !\r\n
      - Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds !\r\n
      - Mastered by Matthew Lutthans at The Mastering Lab from the original master tape !\r\n
      - 180 gram 45 RPM double LP pressed at Quality Record Pressings !\r\n
      - Housed in a Stoughton Printing tip-on gatefold jacket !\r\n
      \r\n
      With Dixie Chicken (1973), Little Feat came into full bloom. Here, the band locked into their signature sound : sly, soulful, and irresistibly funky. The title track oozes Southern charm, "Two Trains" rolls with hypnotic rhythm, and "Fat Man In The Bathtub" blends humor and groove in a way only Lowell George could.\r\n
      \r\n
      This 45 RPM pressing, with lacquers cut by Matthew Lutthans at The Mastering Lab from the original master tape, delivers deeper bass, crisper detail, and wider groove spacing for stunning playback realism. Every snare hit, every slide riff, every vocal inflection pops from the speakers with life and dimension.\r\n
      \r\n
      A cornerstone of ‘70s rock and funk, Dixie Chicken finally gets the deluxe, audiophile treatment it deserves.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Lowell George (slide guitar, lead vocals), Bill Payne (keyboards, piano, backing vocals), Paul Barrere (guitar, backing vocals), Kenny Gradney (bass), Richie Hayward (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=yaHEfJApEVM&list=RDyaHEfJApEVM&start_radio=1"
    -referenceProduit: "Analogue Productions (Acoustic Sounds 40 Series) AAPR 016-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Dixie Chicken"
      ]
      [
        "ordre" => 2
        "nom" => "2. Two Trains"
      ]
      [
        "ordre" => 3
        "nom" => "3. Roll Um Easy "
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      [
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        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. On Your Way Down"
      ]
      [
        "ordre" => 6
        "nom" => "2. Kiss It Off "
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Fool Yourself"
      ]
      [
        "ordre" => 9
        "nom" => "2. Walkin' All Night"
      ]
      [
        "ordre" => 10
        "nom" => "3. Fat Man In The Bathtub "
      ]
      [
        "ordre" => 11
        "nom" => "Side D : "
      ]
      [
        "ordre" => 12
        "nom" => "1. Juliette"
      ]
      [
        "ordre" => 13
        "nom" => "2. Lafayette Railroad"
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2210 …}
    -label: Proxies\__CG__\App\Entity\Label {#2213 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2239 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2232 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
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    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2234 …}
    -enregistreLe: DateTime @1770185936 {#2224
      date: 2026-02-04 06:18:56.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1772960166 {#2225
      date: 2026-03-08 08:56:06.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2236 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-dixie-chicken-2-lp-45-rpm-analogue-productions-acoustic-sounds-40-series-aapr-016-45"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3944
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3945 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3993 …}
  +isValidated: false
  +validatedFields: []
}