Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2579
  -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 {#2426 …}
}

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

App\Twig\Components\ListePanier {#2656
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2659 …}
  -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 {#2658 …}
  -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 {#2426 …}
  -formView: Symfony\Component\Form\FormView {#2695 …}
  -form: Symfony\Component\Form\Form {#2845 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1821
    -id: 856
    -nom: "Use Me (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - Recorded by Michael C. Ross to analog tape !\r\n
      - Mastered to 45 RPM vinyl from 30-inch-per-second 1/4" master tape by Bernie Grundman !\r\n
      \r\n
      "Tasty as is the back-up band and are the outstanding acoustic arrangements, Ms. Fernandez steals the show with a voice that is as unlikely as her cover photo would have you thinking "funky black chick". She's no poseur though. If you have any such notions start with side 3's opener, a cover of Bill Withers' 'Use Me,' which is from where the album gets it title". — Music = 10/11; Sound = 11/11 - Michael Fremer, AnalogPlanet.com. \r\n
      \r\n
      Singapore-based vocalist Vanessa Fernandez, 31, has performed hip-hop (Urban Xchange/Parking Lot Pimp) and been a DJ "Vandetta", or "Miss Vandetta" on Mediacorp Radio's 987FM. Groove Note and ORG reissue producer Ying Tan decided that Fernandez deserved the audiophile recording treatment and so brought her to Ocean Way Recording in Los Angeles in mid-January 2014 to record this album to analog tape in five sessions.\r\n
      \r\n
      Fernandez covers Marvin Gaye, Bill Withers, Al Green, Curtis Mayfield, Isaac Hayes and others in an album filled with funky grooves provided by a stellar back-up band anchored by bassist Leland Sklar, with session guitarist Tim Pierce (Bruce Springsteen, Bon Jovi, Patti Smith, Joe Cocker, Michael Jackson) drummer Victor Indrizzo (Scott Weiland, Chris Cornell) keyboardist Jim Cox (Lyle Lovett, Mark Knopfler, B.B. King) and others.\r\n
      \r\n
      The album of audiophile-quality covers of soul and R&B classics from the '70s and '80s was done in an "unplugged" style with acoustic instruments and arrangements used on all of the tracks. Vocals are tremendously dynamic (no compression or limiting used), with superb presence and detail for all other instruments including the drum set.\r\n
      \r\n
      The album introduces and throws the spotlight on the fantastic voice of the Singaporean vocalist Fernandez. The song selection includes tunes by Marvin Gaye, Curtis Mayfield, Isaac Hayes, Earth Wind & Fire, Bill Withers, Al Green and others.\r\n
      \r\n
      This is a great group of top LA musicians backing superlative performances by a great new singer !!!\r\n
      \r\n
      There are many records and labels who declare themselves to be of "audiophile quality". Groove Note records all of its albums at the best studios in Hollywood (Oceanway, Record One, Cello, Sunset Sound) using a top Grammy-nominated recording engineer, Michael C. Ross. All Groove Note albums are recorded 100% analog and the production masters are also mixed by 100 % analog by MC Ross.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Vanessa Fernandez (vocals), Tim Pierce (guitars), Leland Sklar (electric bass), Jim Cox (keyboards), Stanley Behrens (harmonica), Rafael Padilla (percussion), Victor Indrizzo (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=2W2xED8tjbI"
    -referenceProduit: "Groove Note Records GRV 1050-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. I Just Wanna Be With You"
      ]
      [
        "ordre" => 2
        "nom" => "2. Be Thankful For What You Got"
      ]
      [
        "ordre" => 3
        "nom" => "3. Distant Lover"
      ]
      [
        "ordre" => 4
        "nom" => "Side B :"
      ]
      [
        "ordre" => 5
        "nom" => "1. Hard Times"
      ]
      [
        "ordre" => 6
        "nom" => "2. That Loving Feeling"
      ]
      [
        "ordre" => 7
        "nom" => "3. Simply Beautiful"
      ]
      [
        "ordre" => 8
        "nom" => "Side C :"
      ]
      [
        "ordre" => 9
        "nom" => "1. Use Me"
      ]
      [
        "ordre" => 10
        "nom" => "2. I Love You More Than You'll Ever Know"
      ]
      [
        "ordre" => 11
        "nom" => "3. Cool Cat"
      ]
      [
        "ordre" => 12
        "nom" => "Side D :"
      ]
      [
        "ordre" => 13
        "nom" => "1. Here But I'm Gone"
      ]
      [
        "ordre" => 14
        "nom" => "2. Be Thankful For What You Got (Alternate Mix)"
      ]
    ]
    -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 @1452240578 {#1876
      date: 2016-01-08 08:09:38.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769967342 {#1869
      date: 2026-02-01 17:35:42.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2022 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-use-me-2-lp-45-rpm-groove-note-records-grv-1050-45"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3119
  -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 {#2658 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#1821
    -id: 856
    -nom: "Use Me (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - Recorded by Michael C. Ross to analog tape !\r\n
      - Mastered to 45 RPM vinyl from 30-inch-per-second 1/4" master tape by Bernie Grundman !\r\n
      \r\n
      "Tasty as is the back-up band and are the outstanding acoustic arrangements, Ms. Fernandez steals the show with a voice that is as unlikely as her cover photo would have you thinking "funky black chick". She's no poseur though. If you have any such notions start with side 3's opener, a cover of Bill Withers' 'Use Me,' which is from where the album gets it title". — Music = 10/11; Sound = 11/11 - Michael Fremer, AnalogPlanet.com. \r\n
      \r\n
      Singapore-based vocalist Vanessa Fernandez, 31, has performed hip-hop (Urban Xchange/Parking Lot Pimp) and been a DJ "Vandetta", or "Miss Vandetta" on Mediacorp Radio's 987FM. Groove Note and ORG reissue producer Ying Tan decided that Fernandez deserved the audiophile recording treatment and so brought her to Ocean Way Recording in Los Angeles in mid-January 2014 to record this album to analog tape in five sessions.\r\n
      \r\n
      Fernandez covers Marvin Gaye, Bill Withers, Al Green, Curtis Mayfield, Isaac Hayes and others in an album filled with funky grooves provided by a stellar back-up band anchored by bassist Leland Sklar, with session guitarist Tim Pierce (Bruce Springsteen, Bon Jovi, Patti Smith, Joe Cocker, Michael Jackson) drummer Victor Indrizzo (Scott Weiland, Chris Cornell) keyboardist Jim Cox (Lyle Lovett, Mark Knopfler, B.B. King) and others.\r\n
      \r\n
      The album of audiophile-quality covers of soul and R&B classics from the '70s and '80s was done in an "unplugged" style with acoustic instruments and arrangements used on all of the tracks. Vocals are tremendously dynamic (no compression or limiting used), with superb presence and detail for all other instruments including the drum set.\r\n
      \r\n
      The album introduces and throws the spotlight on the fantastic voice of the Singaporean vocalist Fernandez. The song selection includes tunes by Marvin Gaye, Curtis Mayfield, Isaac Hayes, Earth Wind & Fire, Bill Withers, Al Green and others.\r\n
      \r\n
      This is a great group of top LA musicians backing superlative performances by a great new singer !!!\r\n
      \r\n
      There are many records and labels who declare themselves to be of "audiophile quality". Groove Note records all of its albums at the best studios in Hollywood (Oceanway, Record One, Cello, Sunset Sound) using a top Grammy-nominated recording engineer, Michael C. Ross. All Groove Note albums are recorded 100% analog and the production masters are also mixed by 100 % analog by MC Ross.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Vanessa Fernandez (vocals), Tim Pierce (guitars), Leland Sklar (electric bass), Jim Cox (keyboards), Stanley Behrens (harmonica), Rafael Padilla (percussion), Victor Indrizzo (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=2W2xED8tjbI"
    -referenceProduit: "Groove Note Records GRV 1050-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. I Just Wanna Be With You"
      ]
      [
        "ordre" => 2
        "nom" => "2. Be Thankful For What You Got"
      ]
      [
        "ordre" => 3
        "nom" => "3. Distant Lover"
      ]
      [
        "ordre" => 4
        "nom" => "Side B :"
      ]
      [
        "ordre" => 5
        "nom" => "1. Hard Times"
      ]
      [
        "ordre" => 6
        "nom" => "2. That Loving Feeling"
      ]
      [
        "ordre" => 7
        "nom" => "3. Simply Beautiful"
      ]
      [
        "ordre" => 8
        "nom" => "Side C :"
      ]
      [
        "ordre" => 9
        "nom" => "1. Use Me"
      ]
      [
        "ordre" => 10
        "nom" => "2. I Love You More Than You'll Ever Know"
      ]
      [
        "ordre" => 11
        "nom" => "3. Cool Cat"
      ]
      [
        "ordre" => 12
        "nom" => "Side D :"
      ]
      [
        "ordre" => 13
        "nom" => "1. Here But I'm Gone"
      ]
      [
        "ordre" => 14
        "nom" => "2. Be Thankful For What You Got (Alternate Mix)"
      ]
    ]
    -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 @1452240578 {#1876
      date: 2016-01-08 08:09:38.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769967342 {#1869
      date: 2026-02-01 17:35:42.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2022 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-use-me-2-lp-45-rpm-groove-note-records-grv-1050-45"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2426 …}
}

[
  "produit" => App\Entity\Produit {#2045
    -id: 2812
    -nom: "Remember Me (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - 180 gram 45 RPM double LP !\r\n
      - Lacquers cut by Bernie Grundman !\r\n
      \r\n
      Featuring a fabulous mix of R&B classics such as "That's the Way of the World" (Earth Wind & Fire), "Lovely Day" (Bill Withers), "You're the One I Love" (Barry White), "Kiss" (Prince) with more contemporary pop material such as "I Belong to You" (Lenny Kravitz), "It Runs Through Me" (Tom Misch), "Roads" (Portishead) and others, Vanessa and Tim Pierce (arranger) have delivered a supremely satisfying and ultra-rewarding album, one that is also beautifully recorded (tracked and mixed by maestro Michael C. Ross).\r\n
      \r\n
      Many plaudits must also be directed at the magnificent group of creme de la creme LA-based session musicians who are backing Vanessa's latest effort. This is basically the same outstanding group that played on her previous album I Want You: Tim Pierce (guitars), Alex Al (bass), Victor Indrizzo (drums), Jeff Babko (keyboards), Felipe Menolio (acoustic guitars), and Luis Conte (percussion). Felipe, a brilliant young guitarist from Brazil, is the one new addition and delivers some truly incredible playing wait untill you hear his solo on the samba-driven version of "It Runs Through Me"!
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Vanessa Fernandez (vocals), Tim Pierce (guitars), Alex Al (bass), Jeff Babko (keyboards), Felipe Melanio (acoustic guitars), Luis Conte (percussion), Victor Indrizzo (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: null
    -referenceProduit: "Groove Note Records 1400-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Feels Like Summer"
      ]
      [
        "ordre" => 2
        "nom" => "2. That's The Way Of The World"
      ]
      [
        "ordre" => 3
        "nom" => "3. It Runs Through Me"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Hum The Bass Line"
      ]
      [
        "ordre" => 6
        "nom" => "2. I Belong To You"
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Kiss"
      ]
      [
        "ordre" => 9
        "nom" => "2. Lovely Day"
      ]
      [
        "ordre" => 10
        "nom" => "3. You Are the One I Need"
      ]
      [
        "ordre" => 11
        "nom" => "Side D : "
      ]
      [
        "ordre" => 12
        "nom" => "1. Roads"
      ]
      [
        "ordre" => 13
        "nom" => "2. Love And Hate"
      ]
      [
        "ordre" => 14
        "nom" => "3. Breathe Easy"
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
      [
        "ordre" => 16
        "nom" => ""
      ]
      [
        "ordre" => 17
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1455 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2053 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2046 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2048 …}
    -enregistreLe: DateTime @1756938284 {#2042
      date: 2025-09-03 22:24:44.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769967076 {#2043
      date: 2026-02-01 17:31:16.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2050 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-remember-me-2-lp-45-rpm-groove-note-records-1400-45"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3235
  -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 {#2658 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2045
    -id: 2812
    -nom: "Remember Me (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - 180 gram 45 RPM double LP !\r\n
      - Lacquers cut by Bernie Grundman !\r\n
      \r\n
      Featuring a fabulous mix of R&B classics such as "That's the Way of the World" (Earth Wind & Fire), "Lovely Day" (Bill Withers), "You're the One I Love" (Barry White), "Kiss" (Prince) with more contemporary pop material such as "I Belong to You" (Lenny Kravitz), "It Runs Through Me" (Tom Misch), "Roads" (Portishead) and others, Vanessa and Tim Pierce (arranger) have delivered a supremely satisfying and ultra-rewarding album, one that is also beautifully recorded (tracked and mixed by maestro Michael C. Ross).\r\n
      \r\n
      Many plaudits must also be directed at the magnificent group of creme de la creme LA-based session musicians who are backing Vanessa's latest effort. This is basically the same outstanding group that played on her previous album I Want You: Tim Pierce (guitars), Alex Al (bass), Victor Indrizzo (drums), Jeff Babko (keyboards), Felipe Menolio (acoustic guitars), and Luis Conte (percussion). Felipe, a brilliant young guitarist from Brazil, is the one new addition and delivers some truly incredible playing wait untill you hear his solo on the samba-driven version of "It Runs Through Me"!
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Vanessa Fernandez (vocals), Tim Pierce (guitars), Alex Al (bass), Jeff Babko (keyboards), Felipe Melanio (acoustic guitars), Luis Conte (percussion), Victor Indrizzo (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: null
    -referenceProduit: "Groove Note Records 1400-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Feels Like Summer"
      ]
      [
        "ordre" => 2
        "nom" => "2. That's The Way Of The World"
      ]
      [
        "ordre" => 3
        "nom" => "3. It Runs Through Me"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Hum The Bass Line"
      ]
      [
        "ordre" => 6
        "nom" => "2. I Belong To You"
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Kiss"
      ]
      [
        "ordre" => 9
        "nom" => "2. Lovely Day"
      ]
      [
        "ordre" => 10
        "nom" => "3. You Are the One I Need"
      ]
      [
        "ordre" => 11
        "nom" => "Side D : "
      ]
      [
        "ordre" => 12
        "nom" => "1. Roads"
      ]
      [
        "ordre" => 13
        "nom" => "2. Love And Hate"
      ]
      [
        "ordre" => 14
        "nom" => "3. Breathe Easy"
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
      [
        "ordre" => 16
        "nom" => ""
      ]
      [
        "ordre" => 17
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1455 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2053 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2046 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2048 …}
    -enregistreLe: DateTime @1756938284 {#2042
      date: 2025-09-03 22:24:44.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769967076 {#2043
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    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2050 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-remember-me-2-lp-45-rpm-groove-note-records-1400-45"
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2426 …}
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[
  "produit" => App\Entity\Produit {#2058
    -id: 1593
    -nom: "I Want You"
    -informationComplementaire: null
    -description: """
      'I Want You' sees Vanessa return to the '70s R&B classics and modern soul catalogue that was delivered so very well on GRV1050 'Use Me' but with the addition of more recent hits from the likes of Radiohead and Amy Winehouse. \r\n
      \r\n
      The album is recorded at United (former Oceanway) in Hollywood and mixed at Sphere in Burbank by Michael C Ross. All tracking and mixing is done 100 % all analogue. Bernie Grundman used the final 30 ips 1/4 inch stereo master to cut the 45 RPM LP. Tim Pierce handles all the arrangements as on the first two Vanessa albums.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Vanessa Fernandez (vocals), Jeff Babko (keyboards), Alex Al (bass), Ricky Woodard (tenor & alto saxophone), Tim Pierce (guitars, arrangements), Charlie Bisharat (violin), Luis Conte (percussion), Victor Indrizzo (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
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    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: null
    -referenceProduit: "Groove Note Records 1200-45"
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        "nom" => "Side D : "
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      [
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        "nom" => "1. I Will Survive (Gloria Gaynor)"
      ]
      [
        "ordre" => 14
        "nom" => "2. Back To Black (Amy Winehouse)"
      ]
      [
        "ordre" => 15
        "nom" => "3. Hey Stranger (Alternate Mix)"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1454 …}
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    }
    -modifierLe: DateTime @1769966922 {#2056
      date: 2026-02-01 17:28:42.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2063 …}
    -disponible: null
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    -slug: "vinyles-i-want-you-groove-note-records-1200-45"
  }
  "detaillePage" => false
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App\Twig\Components\GestionPanierFavoriComponents {#3283
  -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 {#2658 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2058
    -id: 1593
    -nom: "I Want You"
    -informationComplementaire: null
    -description: """
      'I Want You' sees Vanessa return to the '70s R&B classics and modern soul catalogue that was delivered so very well on GRV1050 'Use Me' but with the addition of more recent hits from the likes of Radiohead and Amy Winehouse. \r\n
      \r\n
      The album is recorded at United (former Oceanway) in Hollywood and mixed at Sphere in Burbank by Michael C Ross. All tracking and mixing is done 100 % all analogue. Bernie Grundman used the final 30 ips 1/4 inch stereo master to cut the 45 RPM LP. Tim Pierce handles all the arrangements as on the first two Vanessa albums.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Vanessa Fernandez (vocals), Jeff Babko (keyboards), Alex Al (bass), Ricky Woodard (tenor & alto saxophone), Tim Pierce (guitars, arrangements), Charlie Bisharat (violin), Luis Conte (percussion), Victor Indrizzo (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
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    -preCommande: false
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    -extraitYoutube: null
    -referenceProduit: "Groove Note Records 1200-45"
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        "nom" => "1. Every Time You Go Away (Hall and Oates)"
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      [
        "ordre" => 14
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      [
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        "nom" => "3. Hey Stranger (Alternate Mix)"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1454 …}
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      date: 2026-02-01 17:28:42.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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    -disponible: null
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[
  "produit" => App\Entity\Produit {#2071
    -id: 1311
    -nom: "The Little Train Of The Caipira (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - The exceptional sound of Everest 35 mm Magnetic Film Recordings returns !\r\n
      - Ten Everest titles, each a (2 LP) 45 RPM release ! 45 RPM versions have never been issued !\r\n
      - Mastered directly from the original 35 mm magnetic film using an "all tube" cutting system !\r\n
      - Pressed on Classic's 200 gram Super Vinyl Flat Profile at Quality Record Pressings !\r\n
      - Sets come with Stoughton Printing tip-on old style original jacket artwork and Everest Records-branded jacket !\r\n
      - Two LPs are packaged in a protective clear sleeve !\r\n
      \r\n
      Among Classic Records' highlight accomplishments before the label sold in 2010 to Acoustic Sounds was unlocking the audio majesty of the Everest 35 mm magnetic film recordings on a groundbreaking reissue series. Now, return with us, as Classic Records by Analogue Productions returns this vintage audiophile collection to its rightful glory.\r\n
      \r\n
      Everest LPs through the early 1960s were recorded on 3 channel 35 mm magnetic film recording equipment. 35 mm magnetic film yielded greater fidelity and less noise than standard 1/4" recording tape. The Westrex Corporation built special equipment to Everest's specifications to accomplish these advantages.\r\n
      \r\n
      Fast forward to today: Classic Records by Analogue Productions is resurrecting this collection through an initial 10-title reissue series cut directly from the original 35mm tapes through Classic's "all-tube" cutting system by Bernie Grundman. Grundman cut the Classic Records reissues at both 33 and 45 RPM  the 45 RPM versions have never been reissued !\r\n
      \r\n
      Quality Record Pressings 200 gram flat profile LPs. These records are pressed with a flat-edge, no groove-guard flat profile, like the originals. The flat edge refers to the absence of a raised, beaded lip on the outer edge of the record, providing a flat playing surface and no incline on your turntable.\r\n
      \r\n
      Quality Record Pressings' quality is legendary and these flat profile 200 gram platters will look and sound exceptional !\r\n
      \r\n
      Each (2 LP) set comes with a Stoughton Printing tip-on original jacket and an Everest Records branded jacket showing photos of each reissue title. The two LPs are packaged in a protective clear sleeve.\r\n
      \r\n
      In 1960, David Hall, who wrote the original liner notes for this Everest 35 MM recording had this to say about the Villa Lobos composition / Everest Recording : " In recent years, hi-fi fans have delighted in the realistic recordings of big steam locomotives and other railway sounds. For some, it is more thrilling to have a fast freight roaring through the living room than to hear the music of Beethoven or Tchaikovsky. Here, though, is a tailor made for both the audiophile and music lover. With Everest's startlingly lifelike sound, coupled with the vivid imagination of Villa-Lobos, you can hear a musical train come to life on your phonograph".\r\n
      \r\n
      The Little train of the Caipira was inspired by a ride that Villa-Lobos took in 1931 on a train that was transporting berry-pickers and farm laborers between villages in the Brazilian province of Sao Paolo. Within and hour he had completed the last movement (toccata) and that very night he and his wife played the movement on cello and piano.\r\n
      \r\n
      Alberto Ginastera, Argentina's most celebrated composers, wrote "Estancia", a one act Ballet in five movements, as a commissioned composition in 1941. It was not performed in ballet form, however, until 1952 in Buenos Aires. "Panambi" composed in 1936, and another ballet suite in five movements, is based on a South American Indian legend. Its primitive element is most spectacularly evident in the second movement which is scored for percussion and brass only and in the last movement "Dance of the Warriors" which works up to a tremendous final climax.\r\n
      \r\n
      This Classic Records faithful reissue features original artwork and labels and includes an "old style tip-on" jacket to add a touch of authenticity.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "The London Symphony Orchestra conducted by Sir Eugene Goossens"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1119 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=8mZSm1TfQHM&list=RD8mZSm1TfQHM&start_radio=1"
    -referenceProduit: "Analogue Productions Everest AEVC 3041-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Heitor Villa-Lobos - From Bachianas Brasiliensis No. 2"
      ]
      [
        "ordre" => 1
        "nom" => "1. The Little Train of The Caipira Estancia (Ballet Suite)"
      ]
      [
        "ordre" => 2
        "nom" => "2. The Land Workers"
      ]
      [
        "ordre" => 3
        "nom" => "3. Wheat Dance"
      ]
      [
        "ordre" => 4
        "nom" => "4. The Cattlemen"
      ]
      [
        "ordre" => 5
        "nom" => "5. Final Dance "Malambo""
      ]
      [
        "ordre" => 6
        "nom" => "Alberto Ginastera - Panambi Suite (Ballet Suite)"
      ]
      [
        "ordre" => 7
        "nom" => "6. Moonlight On The Parana"
      ]
      [
        "ordre" => 8
        "nom" => "7. Invocation Of The Powerful Spirits"
      ]
      [
        "ordre" => 9
        "nom" => "8. Lament Of The Maidens"
      ]
      [
        "ordre" => 10
        "nom" => "9. Rondo Of The Maidens / Dance Of The Warriors"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2073 …}
    -label: Proxies\__CG__\App\Entity\Label {#2076 …}
    -style: App\Entity\Style {#1438 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2085 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2078 …}
    -typeMasterTape: null
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    -modifierLe: DateTime @1769966575 {#2069
      date: 2026-02-01 17:22:55.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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    -disponible: null
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    -slug: "vinyles-the-little-train-of-the-caipira-2-lp-45-rpm-analogue-productions-everest-aevc-3041-45"
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App\Twig\Components\GestionPanierFavoriComponents {#3329
  -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 {#2658 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2071
    -id: 1311
    -nom: "The Little Train Of The Caipira (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - The exceptional sound of Everest 35 mm Magnetic Film Recordings returns !\r\n
      - Ten Everest titles, each a (2 LP) 45 RPM release ! 45 RPM versions have never been issued !\r\n
      - Mastered directly from the original 35 mm magnetic film using an "all tube" cutting system !\r\n
      - Pressed on Classic's 200 gram Super Vinyl Flat Profile at Quality Record Pressings !\r\n
      - Sets come with Stoughton Printing tip-on old style original jacket artwork and Everest Records-branded jacket !\r\n
      - Two LPs are packaged in a protective clear sleeve !\r\n
      \r\n
      Among Classic Records' highlight accomplishments before the label sold in 2010 to Acoustic Sounds was unlocking the audio majesty of the Everest 35 mm magnetic film recordings on a groundbreaking reissue series. Now, return with us, as Classic Records by Analogue Productions returns this vintage audiophile collection to its rightful glory.\r\n
      \r\n
      Everest LPs through the early 1960s were recorded on 3 channel 35 mm magnetic film recording equipment. 35 mm magnetic film yielded greater fidelity and less noise than standard 1/4" recording tape. The Westrex Corporation built special equipment to Everest's specifications to accomplish these advantages.\r\n
      \r\n
      Fast forward to today: Classic Records by Analogue Productions is resurrecting this collection through an initial 10-title reissue series cut directly from the original 35mm tapes through Classic's "all-tube" cutting system by Bernie Grundman. Grundman cut the Classic Records reissues at both 33 and 45 RPM  the 45 RPM versions have never been reissued !\r\n
      \r\n
      Quality Record Pressings 200 gram flat profile LPs. These records are pressed with a flat-edge, no groove-guard flat profile, like the originals. The flat edge refers to the absence of a raised, beaded lip on the outer edge of the record, providing a flat playing surface and no incline on your turntable.\r\n
      \r\n
      Quality Record Pressings' quality is legendary and these flat profile 200 gram platters will look and sound exceptional !\r\n
      \r\n
      Each (2 LP) set comes with a Stoughton Printing tip-on original jacket and an Everest Records branded jacket showing photos of each reissue title. The two LPs are packaged in a protective clear sleeve.\r\n
      \r\n
      In 1960, David Hall, who wrote the original liner notes for this Everest 35 MM recording had this to say about the Villa Lobos composition / Everest Recording : " In recent years, hi-fi fans have delighted in the realistic recordings of big steam locomotives and other railway sounds. For some, it is more thrilling to have a fast freight roaring through the living room than to hear the music of Beethoven or Tchaikovsky. Here, though, is a tailor made for both the audiophile and music lover. With Everest's startlingly lifelike sound, coupled with the vivid imagination of Villa-Lobos, you can hear a musical train come to life on your phonograph".\r\n
      \r\n
      The Little train of the Caipira was inspired by a ride that Villa-Lobos took in 1931 on a train that was transporting berry-pickers and farm laborers between villages in the Brazilian province of Sao Paolo. Within and hour he had completed the last movement (toccata) and that very night he and his wife played the movement on cello and piano.\r\n
      \r\n
      Alberto Ginastera, Argentina's most celebrated composers, wrote "Estancia", a one act Ballet in five movements, as a commissioned composition in 1941. It was not performed in ballet form, however, until 1952 in Buenos Aires. "Panambi" composed in 1936, and another ballet suite in five movements, is based on a South American Indian legend. Its primitive element is most spectacularly evident in the second movement which is scored for percussion and brass only and in the last movement "Dance of the Warriors" which works up to a tremendous final climax.\r\n
      \r\n
      This Classic Records faithful reissue features original artwork and labels and includes an "old style tip-on" jacket to add a touch of authenticity.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "The London Symphony Orchestra conducted by Sir Eugene Goossens"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1119 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=8mZSm1TfQHM&list=RD8mZSm1TfQHM&start_radio=1"
    -referenceProduit: "Analogue Productions Everest AEVC 3041-45"
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        "nom" => "Heitor Villa-Lobos - From Bachianas Brasiliensis No. 2"
      ]
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        "nom" => "1. The Little Train of The Caipira Estancia (Ballet Suite)"
      ]
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        "ordre" => 2
        "nom" => "2. The Land Workers"
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        "ordre" => 3
        "nom" => "3. Wheat Dance"
      ]
      [
        "ordre" => 4
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      ]
      [
        "ordre" => 5
        "nom" => "5. Final Dance "Malambo""
      ]
      [
        "ordre" => 6
        "nom" => "Alberto Ginastera - Panambi Suite (Ballet Suite)"
      ]
      [
        "ordre" => 7
        "nom" => "6. Moonlight On The Parana"
      ]
      [
        "ordre" => 8
        "nom" => "7. Invocation Of The Powerful Spirits"
      ]
      [
        "ordre" => 9
        "nom" => "8. Lament Of The Maidens"
      ]
      [
        "ordre" => 10
        "nom" => "9. Rondo Of The Maidens / Dance Of The Warriors"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2073 …}
    -label: Proxies\__CG__\App\Entity\Label {#2076 …}
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    }
    -modifierLe: DateTime @1769966575 {#2069
      date: 2026-02-01 17:22:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2082 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-little-train-of-the-caipira-2-lp-45-rpm-analogue-productions-everest-aevc-3041-45"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2426 …}
}

[
  "produit" => App\Entity\Produit {#2090
    -id: 2742
    -nom: "Jazz Impressions Of Black Orpheus  (Limited Edition Numbered Small Batch One-Step)"
    -informationComplementaire: null
    -description: """
      - Jazz Impressions of Black Orpheus (Small Batch, One-Step Pressing) !\r\n
      - Pressed using a one-step lacquer process at RTI utilizing Neotech's VR900 PVC compound !\r\n
      - All-analog mastering by Bernie Grundman from the original master tape !\r\n
      - Liner notes from Derrick Bang, the foremost Guaraldi historian !\r\n
      - Housed in a foil-stamped, linen-wrapped slipcase !\r\n
      - Numbered and limited to 3000 copies !\r\n
      \r\n
      Vince Guaraldi Trio's Grammy Award-winning, breakthrough album, Jazz Impressions of Black Orpheus, is the fourth release in Craft Recordings' Small Batch series a carefully curated one-step lacquer process collection that's devoted to creating the highest quality reissues of legendary recordings from its vast catalog.\r\n
      \r\n
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    -informationComplementaire: null
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      - One-step plating for superior sound !\r\n
      - Pressed at Optimal in Germany !\r\n
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[
  "produit" => App\Entity\Produit {#2132
    -id: 2515
    -nom: "Greatest Hits"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
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      \r\n
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      """
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    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
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    -extraitYoutube: "https://www.youtube.com/watch?v=Wx_OrjGn9lo"
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        "nom" => "10. Summer"
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      - Platinum-selling album by funk, rock and soul band includes "Why Can't We Be Friends", "Slippin into Darkness", "Low Rider", "Cisco Kid" and more !\r\n
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[
  "produit" => App\Entity\Produit {#2151
    -id: 362
    -nom: "Jazz of Two Cities"
    -informationComplementaire: "Last copy in stock !"
    -description: """
      Warne Marsh and Ted Brown playing tenor Saxes are joined by Ronnie Ball on piano, Ben Tucker on bass and Jeff Morton on drums on this Classic Imperial Series reissue of "Jazz of Two Cities". \r\n
      \r\n
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      \r\n
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      \r\n
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      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1850 …}
    -musicienOrchestre: "Warne Marsh, Ted Brown (tenor saxophone), Ronnie Ball (piano), Ben Tucker (bass), Jeff Morton (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1119 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
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    -slug: "vinyles-jazz-of-two-cities-classic-records-lp-9027"
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App\Twig\Components\GestionPanierFavoriComponents {#3533
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    -nom: "Jazz of Two Cities"
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      Warne Marsh and Ted Brown playing tenor Saxes are joined by Ronnie Ball on piano, Ben Tucker on bass and Jeff Morton on drums on this Classic Imperial Series reissue of "Jazz of Two Cities". \r\n
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      """
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    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
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[
  "produit" => App\Entity\Produit {#2172
    -id: 1871
    -nom: "Taking The World By Storm"
    -informationComplementaire: "AVAILABILITY : 31/01/2026 (subject Analogue Productions)"
    -description: """
      Warren Storm, Marc Broussard, John Fogerty (vocals), Eric Adcock (piano), Richard Comeaux (pedal steel guitar), Derek Huston (tenor & bariton saxophone), Chris French (bass), Sonny Landreth (slide guitar), Roddie Romero (electric guitar), Beau Thomas (fiddle), Willie Tee Trahan (tenor saxophone), Gary Usie (drums).\r\n
      \r\n
      - Now a 45 RPM double LP for better tracking, higher-quality sound !\r\n
      - Swamp pop pioneer and Louisiana legend Warren Storm returns !\r\n
      - Louisiana and Texas' Music Hall of Fame inductee !\r\n
      - Mastered by Ryan K. Smith at Sterling Sound from analog tape recording !\r\n
      - Plated and pressed at Quality Record Pressings !\r\n
      - Old-style heavyweight tip-on gatefold jacket from Stoughton Printing !\r\n
      - A Personal Favorite of Acoustic Sounds / APO Records CEO Chad Kassem !\r\n
      - Praise for the 33 1/3 version of 'Taking The World, By Storm' !\r\n
      \r\n
      Taking the world by Storm : Memoir, album showcase swamp pop star Warren Storm - Music - theadvocate.com\r\n
      \r\n
      "At 82 years old, Warren Storm has more history behind him than in front of him. Fortunately, this stop along the way gives the world another chance to take a taste of the swamp pop that he is generally considered to have created- a steamy mixture of country, cajun, zydeco and New Orleans R & B. Think early CCR and you'll be in the right book, if not on the right page. Louisiana musician Yvette Landry coaxed Storm into the studio to revisit some of his career highlights such as 'Mathilda' and 'Prisoner's Song' as well as some takes on classics by others including CCR's John Fogerty who guests on his classic 'Long As I Can See the Light'. With an all-star band including Eric Adcock on piano, Roddie Romero on guitar, Derek Huston on sax, Chris French on bass and Gary Usie on drums plus special guests including Fogerty, Marc Broussard, Sonny Landreth and Willie "Tee" Traham, the stage was set for a fine release and this disc delivers. Storm's voice shows little signs of his aging as revealed by both ballads such as the Bobby Charles penned 'Tennessee Blues' and more upbeat numbers such as the Dave Bartholomew/Fats Domino classic 'Let the Four Winds Blow' and his 1956 hits, 'Mama, Mama, Mama' (where Landry adds some saucy vocals to the mix) and 'Prisoner's Song'. Merle Haggard's 'My House of Memories' aptly captures the anguish of unshakable loss while the bouncy, saxdriven 'Troubles, Troubles' is musically at odds with the misery and turmoil claimed in the lyrics revealing the loss of his lady isn't likely as bad as he protests. For those seeking to revisit swamp pop history this is a nice souvenir. For those new to the genre, this is a great introduction". - Mark Smith, Jazz & Blues Report, March / April 2020 - Issue 389\r\n
      \r\n
      "Trust me when the opener 'Long as I Can See the Light' begins you won't care how it was recorded. Mr. Storm (or Mr. Schexnider, however you wish to call him) does not sound like an 82 year old. No way. He owns the mournful, inspirational Fogerty penned tune... Now's the time for music that lifts the spirits and here's some that does just that ! Mr. Schexnider is in fine voice here, soaring to hit all of the high notes and clearly enjoying the adulation coming from all of the participants.... Live to 2 track analog sound pleases the ears at low levels and no matter how loud you crank it. If I could rate these records separately for sound this one would be up at least a notch to "noine" bordering on 10. Go high, go low, have a party with this album of honest music making... thanks to Executive Producer Chad Kassem, the audiophile community's Alan Lomax. Perfectly pressed at QRP, Salina Kansas, USA".  - Michael Fremer, AnalogPlanet.com. \r\n
      \r\n
      "These are songs (from writers such as Earl King, Dave Bartholomew & Fats Domino, Bobby Charles, and others) that (Storm) has figuratively made his own already. ... There is also one song that is utterly new to Storm's repertoire : a sublime take on 'Long As I Can See the Light', written and originally recorded by John Fogerty during his Credence Clearwater Revival heyday. This track alone might justify acquisition of the album, for not only does the soul-stirring number seem perfectly made for Storm to interpret but it also features Fogerty himself as special guest vocalist on the final verse. Together, those two distinctive voices are a marvel to behold and a reminder of just how much the California-born rocker's essential sound (as well as verbal motifs on classic CCR songs such as 'Born on the Bayou') was influenced by the music and culture of South Louisiana". - Roger Wood, Living Blues Magazine, February 2020.\r\n
      \r\n
      "At age 82, Warren 'Storm' Schexnider is a wonderful force out of Louisiana ...and still doing what he does best. His new album, Taking The World, By Storm, finds him revisiting some material he recorded earlier in his career, and proving he still has the vocal power and flair to make these songs work. Seriously, there are some fantastic vocal performances on this album". - Michael Doherty's Music Log\r\n
      \r\n
      "He is a master of what is lovingly referred to as 'swamp pop', an amalgam of traditional Cajun sounds mixed with blues, R&B, zydeco, and country ...Warren Storm has done it all - he's been a drummer, a singer, and a front man... All 11 tracks (on Taking The World By Storm) were laid down on half-inch tape, live-in-studio, the way they did back in the Fifties". - Sheryl and Don Crow, The Nashville Blues and Roots Alliance\r\n
      \r\n
      "Starting strong with a duet with John Fogerty on 'Long As I Can See The Light', followed by Marc Broussard on 'Mathilda', this made-with-love album from Louisiana mainstay Warren Storm doesn't slow down across eleven songs and 36 minutes... Storm still has the soul that made him the Godfather of Swamp Pop. Spend some time with him as he is Taking The World, By Storm". - Donald Teplyske, Fervor Coulee - Roots Music Opinion\r\n
      \r\n
      "Who knows ? Maybe it's the constant edible infusion of crawfish and Tabasco sauce, Dixie beer and moonshine diets that took their mortal toll on dedicated swamp pop practitioners... Luckily one of the original swampers, Mr. Warren Storm, is not about to give up the Holy Ghost anytime soon. 82-years-young, he's still singing for the ages and capable of working a backroom dance floor harder than anyone alive". - Bill Bently, Americana Highways\r\n
      \r\n
      Warren "Storm" Schexnider is a Louisiana legend. At age 82 when this album was recorded, he's been creating music for more than 70 years a milestone that's dubbed him the "Godfather of Swamp Pop" for his fealty to the indigenous music of the Acadiana region of south Louisiana and southeast Texas. Created in the 1950s and early 1960s by teenage Cajuns, swamp pop combines New Orleans-style rhythm and blues, country and western, and traditional French Louisiana musical influences.\r\n
      \r\n
      Warren throughout his career has recorded on innumerable records, both on his own as a vocalist/musician, and as a studio musician on other albums. He continues to blaze a path for younger musicians, which is why one could say the universe had a plan that resulted in the album Taking the World, by Storm, new from APO Records. Recorded at Dockside Studio, Maurice, Louisiana in March 2019, the album was produced by Yvette Landry and executive producer Chad Kassem. Mastering was by Ryan K. Smith at Sterling Sound in Nashville. Now a 45 RPM dead-quiet double LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.\r\n
      \r\n
      Warren Storm grew up in a Cajun household (he spoke only French until the third grade!) surrounded by music. His father, an Abbeville, Louisiana native, was a drummer, fiddler, and accordian player who indoctrinated his then 12-year-old son Warren into the biz with an impromptu Rayne-Bo Ramblers gig. By age 15, Warren was playing drums with Larry Brasso's Rhythm-aires. Throughout his adolescence Warren played with various dance hall bands, including with Fats Domino's drummer Charlie "Hungry" Williams. Warren became known as the top session drummer in the area; then just after graduation from Abbeville High School, Warren signed a recording contract. His first record, a 7-inch released in 1958, containing "The Prisoner's Song", b/w "Mama, Mama, Mama" sold a quarter of a million copies. His subsequent hits "So Long, So Long, (Goodbye, Goodbye)", "Birmingham Bar", "Lord, I Need Somebody Bad Tonight", "Things Have Gone To Pieces" and more led to Warren's induction into both Louisiana and Texas' Music Hall of Fame.\r\n
      \r\n
      Yvette Landry, a singer-songwriter and musician, grew up in Breaux Bridge, Louisiana not far from the levees of the Atchafalaya Basin, North America's largest swampland. She fronts her own band, The Yvette Landry Band, and her debut award-winning album titled Should Have Known was released in 2010. (The album was named Offbeat Magazine's "Best Country / Folk Album" and Landry "Best Country/Folk Artist") She's been a familiar presence on stages at countless cultural festivals and venues from the New Orleans Jazz and Heritage Festival to the Bluebird Café in Nashville.\r\n
      \r\n
      Still, when Warren Storm strolled unannounced into a gig she was playing in the spring of 2018, Yvette was at once a little nervous and starstruck.\r\n
      \r\n
      When prodded to sing a signature tune of Warren's, "I Need Somebody Bad", off her newly-released album, she says, "I shut my eyes and belted it out". At the end of the night Warren approached her, shook her hand and said "I never heard a girl sing that song before. You did real good. Think I could have a copy ?"\r\n
      \r\n
      She complied and a friendship blossomed. As Warren thumbed through his accumulated memoriabilia Landry began noticing who she was seeing in photos : Willie Nelson, Ray Price, Hank Williams, Jr., Elvis and others.\r\n
      \r\n
      The idea was born to compile Warren's stories and pictures for a book about his career spent performing with, and opening for some of the finest musicians in the world. That book became Taking the World, by Storm - A Conversation with Warren "Storm" Schexnider, The Godfather of Swamp Pop.\r\n
      \r\n
      When the idea was proposed to reissue one of Warren's previous albums to accompany the book, Yvette and those working with her on the project went one bettter : record a new album with Warren, live in the studio, straight to 2 track tape, "just like he did in his early days". And so the recording process began. Next to become involved was Acoustic Sounds and APO Records owner Chad Kassem, who arranged for the album to appear on the APO label, to be mastered by Ryan K. Smith at Sterling Sound in Nashville, and to be plated and pressed on vinyl at Quality Record Pressings, renowned among audiophiles and music professionals for its fine-sounding LPs.\r\n
      \r\n
      For Chad, born and raised in the south Louisiana town of Lafayette, the music of Warren Storm was as familiar growing up as the climate and culture of his homeland. Chad says he feels fortunate to have had the opportunity to participate in such a one-of-a-kind project.\r\n
      \r\n
      The core band for this album is an experienced crew: Eric Adcock (piano), Roddie Romero (electric guitar), Derek Huston (saxophone), Chris French (upright bass), and Gary Usie (drums). Special guests include vocalist Marc Broussard ("Mathilda"), Sonny Landreth (slide guitar on "Mathilda"), Beau Thomas (fiddle) and Richard Comeaux (pedal steel) on "Tennessee Blues, and Willie "Tee" Trahan (tenor saxophone on "In My Moments Of Sorrow" and "Troubles, Troubles"). Yvette Landry also sings with Warren on "Mama, Mama, Mama.\r\n
      \r\n
      Lastly, the one-and-only John Fogerty (Creedence Clearwater Revival) was gracious enough to sing along with Warren's performance of "Long As I Can See The Light". Warren recorded a video with John in the mid-1980s ("My Toot Toot") and remains a huge fan of John's.\r\n
      \r\n
      Warren Storm is a legend in Louisiana music, a swamp pop pioneer. As Yvette says, "He is a master who sings with excitement (like it was his first time) and reverence (like it is his last time)". Enjoy this musical gem and tribute to the swamp pop genre.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Warren Storm, Marc Broussard, John Fogerty (vocals), Eric Adcock (piano), Richard Comeaux (pedal steel guitar), Derek Huston (tenor & bariton saxophone), Chris French (bass), Sonny Landreth (slide guitar), Roddie Romero (electric guitar)…"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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    -preCommande: true
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    -extraitYoutube: "https://www.youtube.com/watch?v=jTcKRHT2YGU"
    -referenceProduit: "Analogue Productions AAPO 2026-45"
    -titreMorceau: [
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        "nom" => "5. Tennessee Blues"
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        "nom" => "7. In My Moments of Sorrow"
      ]
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        "nom" => "8. Prisoner’s Song"
      ]
      [
        "ordre" => 8
        "nom" => "9. My House of Memories"
      ]
      [
        "ordre" => 9
        "nom" => "10. Troubles, Troubles"
      ]
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        "ordre" => 10
        "nom" => "11. Raining in My Heart"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2174 …}
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      date: 2026-02-01 16:55:45.0 UTC (+00:00)
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  +produit: App\Entity\Produit {#2172
    -id: 1871
    -nom: "Taking The World By Storm"
    -informationComplementaire: "AVAILABILITY : 31/01/2026 (subject Analogue Productions)"
    -description: """
      Warren Storm, Marc Broussard, John Fogerty (vocals), Eric Adcock (piano), Richard Comeaux (pedal steel guitar), Derek Huston (tenor & bariton saxophone), Chris French (bass), Sonny Landreth (slide guitar), Roddie Romero (electric guitar), Beau Thomas (fiddle), Willie Tee Trahan (tenor saxophone), Gary Usie (drums).\r\n
      \r\n
      - Now a 45 RPM double LP for better tracking, higher-quality sound !\r\n
      - Swamp pop pioneer and Louisiana legend Warren Storm returns !\r\n
      - Louisiana and Texas' Music Hall of Fame inductee !\r\n
      - Mastered by Ryan K. Smith at Sterling Sound from analog tape recording !\r\n
      - Plated and pressed at Quality Record Pressings !\r\n
      - Old-style heavyweight tip-on gatefold jacket from Stoughton Printing !\r\n
      - A Personal Favorite of Acoustic Sounds / APO Records CEO Chad Kassem !\r\n
      - Praise for the 33 1/3 version of 'Taking The World, By Storm' !\r\n
      \r\n
      Taking the world by Storm : Memoir, album showcase swamp pop star Warren Storm - Music - theadvocate.com\r\n
      \r\n
      "At 82 years old, Warren Storm has more history behind him than in front of him. Fortunately, this stop along the way gives the world another chance to take a taste of the swamp pop that he is generally considered to have created- a steamy mixture of country, cajun, zydeco and New Orleans R & B. Think early CCR and you'll be in the right book, if not on the right page. Louisiana musician Yvette Landry coaxed Storm into the studio to revisit some of his career highlights such as 'Mathilda' and 'Prisoner's Song' as well as some takes on classics by others including CCR's John Fogerty who guests on his classic 'Long As I Can See the Light'. With an all-star band including Eric Adcock on piano, Roddie Romero on guitar, Derek Huston on sax, Chris French on bass and Gary Usie on drums plus special guests including Fogerty, Marc Broussard, Sonny Landreth and Willie "Tee" Traham, the stage was set for a fine release and this disc delivers. Storm's voice shows little signs of his aging as revealed by both ballads such as the Bobby Charles penned 'Tennessee Blues' and more upbeat numbers such as the Dave Bartholomew/Fats Domino classic 'Let the Four Winds Blow' and his 1956 hits, 'Mama, Mama, Mama' (where Landry adds some saucy vocals to the mix) and 'Prisoner's Song'. Merle Haggard's 'My House of Memories' aptly captures the anguish of unshakable loss while the bouncy, saxdriven 'Troubles, Troubles' is musically at odds with the misery and turmoil claimed in the lyrics revealing the loss of his lady isn't likely as bad as he protests. For those seeking to revisit swamp pop history this is a nice souvenir. For those new to the genre, this is a great introduction". - Mark Smith, Jazz & Blues Report, March / April 2020 - Issue 389\r\n
      \r\n
      "Trust me when the opener 'Long as I Can See the Light' begins you won't care how it was recorded. Mr. Storm (or Mr. Schexnider, however you wish to call him) does not sound like an 82 year old. No way. He owns the mournful, inspirational Fogerty penned tune... Now's the time for music that lifts the spirits and here's some that does just that ! Mr. Schexnider is in fine voice here, soaring to hit all of the high notes and clearly enjoying the adulation coming from all of the participants.... Live to 2 track analog sound pleases the ears at low levels and no matter how loud you crank it. If I could rate these records separately for sound this one would be up at least a notch to "noine" bordering on 10. Go high, go low, have a party with this album of honest music making... thanks to Executive Producer Chad Kassem, the audiophile community's Alan Lomax. Perfectly pressed at QRP, Salina Kansas, USA".  - Michael Fremer, AnalogPlanet.com. \r\n
      \r\n
      "These are songs (from writers such as Earl King, Dave Bartholomew & Fats Domino, Bobby Charles, and others) that (Storm) has figuratively made his own already. ... There is also one song that is utterly new to Storm's repertoire : a sublime take on 'Long As I Can See the Light', written and originally recorded by John Fogerty during his Credence Clearwater Revival heyday. This track alone might justify acquisition of the album, for not only does the soul-stirring number seem perfectly made for Storm to interpret but it also features Fogerty himself as special guest vocalist on the final verse. Together, those two distinctive voices are a marvel to behold and a reminder of just how much the California-born rocker's essential sound (as well as verbal motifs on classic CCR songs such as 'Born on the Bayou') was influenced by the music and culture of South Louisiana". - Roger Wood, Living Blues Magazine, February 2020.\r\n
      \r\n
      "At age 82, Warren 'Storm' Schexnider is a wonderful force out of Louisiana ...and still doing what he does best. His new album, Taking The World, By Storm, finds him revisiting some material he recorded earlier in his career, and proving he still has the vocal power and flair to make these songs work. Seriously, there are some fantastic vocal performances on this album". - Michael Doherty's Music Log\r\n
      \r\n
      "He is a master of what is lovingly referred to as 'swamp pop', an amalgam of traditional Cajun sounds mixed with blues, R&B, zydeco, and country ...Warren Storm has done it all - he's been a drummer, a singer, and a front man... All 11 tracks (on Taking The World By Storm) were laid down on half-inch tape, live-in-studio, the way they did back in the Fifties". - Sheryl and Don Crow, The Nashville Blues and Roots Alliance\r\n
      \r\n
      "Starting strong with a duet with John Fogerty on 'Long As I Can See The Light', followed by Marc Broussard on 'Mathilda', this made-with-love album from Louisiana mainstay Warren Storm doesn't slow down across eleven songs and 36 minutes... Storm still has the soul that made him the Godfather of Swamp Pop. Spend some time with him as he is Taking The World, By Storm". - Donald Teplyske, Fervor Coulee - Roots Music Opinion\r\n
      \r\n
      "Who knows ? Maybe it's the constant edible infusion of crawfish and Tabasco sauce, Dixie beer and moonshine diets that took their mortal toll on dedicated swamp pop practitioners... Luckily one of the original swampers, Mr. Warren Storm, is not about to give up the Holy Ghost anytime soon. 82-years-young, he's still singing for the ages and capable of working a backroom dance floor harder than anyone alive". - Bill Bently, Americana Highways\r\n
      \r\n
      Warren "Storm" Schexnider is a Louisiana legend. At age 82 when this album was recorded, he's been creating music for more than 70 years a milestone that's dubbed him the "Godfather of Swamp Pop" for his fealty to the indigenous music of the Acadiana region of south Louisiana and southeast Texas. Created in the 1950s and early 1960s by teenage Cajuns, swamp pop combines New Orleans-style rhythm and blues, country and western, and traditional French Louisiana musical influences.\r\n
      \r\n
      Warren throughout his career has recorded on innumerable records, both on his own as a vocalist/musician, and as a studio musician on other albums. He continues to blaze a path for younger musicians, which is why one could say the universe had a plan that resulted in the album Taking the World, by Storm, new from APO Records. Recorded at Dockside Studio, Maurice, Louisiana in March 2019, the album was produced by Yvette Landry and executive producer Chad Kassem. Mastering was by Ryan K. Smith at Sterling Sound in Nashville. Now a 45 RPM dead-quiet double LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.\r\n
      \r\n
      Warren Storm grew up in a Cajun household (he spoke only French until the third grade!) surrounded by music. His father, an Abbeville, Louisiana native, was a drummer, fiddler, and accordian player who indoctrinated his then 12-year-old son Warren into the biz with an impromptu Rayne-Bo Ramblers gig. By age 15, Warren was playing drums with Larry Brasso's Rhythm-aires. Throughout his adolescence Warren played with various dance hall bands, including with Fats Domino's drummer Charlie "Hungry" Williams. Warren became known as the top session drummer in the area; then just after graduation from Abbeville High School, Warren signed a recording contract. His first record, a 7-inch released in 1958, containing "The Prisoner's Song", b/w "Mama, Mama, Mama" sold a quarter of a million copies. His subsequent hits "So Long, So Long, (Goodbye, Goodbye)", "Birmingham Bar", "Lord, I Need Somebody Bad Tonight", "Things Have Gone To Pieces" and more led to Warren's induction into both Louisiana and Texas' Music Hall of Fame.\r\n
      \r\n
      Yvette Landry, a singer-songwriter and musician, grew up in Breaux Bridge, Louisiana not far from the levees of the Atchafalaya Basin, North America's largest swampland. She fronts her own band, The Yvette Landry Band, and her debut award-winning album titled Should Have Known was released in 2010. (The album was named Offbeat Magazine's "Best Country / Folk Album" and Landry "Best Country/Folk Artist") She's been a familiar presence on stages at countless cultural festivals and venues from the New Orleans Jazz and Heritage Festival to the Bluebird Café in Nashville.\r\n
      \r\n
      Still, when Warren Storm strolled unannounced into a gig she was playing in the spring of 2018, Yvette was at once a little nervous and starstruck.\r\n
      \r\n
      When prodded to sing a signature tune of Warren's, "I Need Somebody Bad", off her newly-released album, she says, "I shut my eyes and belted it out". At the end of the night Warren approached her, shook her hand and said "I never heard a girl sing that song before. You did real good. Think I could have a copy ?"\r\n
      \r\n
      She complied and a friendship blossomed. As Warren thumbed through his accumulated memoriabilia Landry began noticing who she was seeing in photos : Willie Nelson, Ray Price, Hank Williams, Jr., Elvis and others.\r\n
      \r\n
      The idea was born to compile Warren's stories and pictures for a book about his career spent performing with, and opening for some of the finest musicians in the world. That book became Taking the World, by Storm - A Conversation with Warren "Storm" Schexnider, The Godfather of Swamp Pop.\r\n
      \r\n
      When the idea was proposed to reissue one of Warren's previous albums to accompany the book, Yvette and those working with her on the project went one bettter : record a new album with Warren, live in the studio, straight to 2 track tape, "just like he did in his early days". And so the recording process began. Next to become involved was Acoustic Sounds and APO Records owner Chad Kassem, who arranged for the album to appear on the APO label, to be mastered by Ryan K. Smith at Sterling Sound in Nashville, and to be plated and pressed on vinyl at Quality Record Pressings, renowned among audiophiles and music professionals for its fine-sounding LPs.\r\n
      \r\n
      For Chad, born and raised in the south Louisiana town of Lafayette, the music of Warren Storm was as familiar growing up as the climate and culture of his homeland. Chad says he feels fortunate to have had the opportunity to participate in such a one-of-a-kind project.\r\n
      \r\n
      The core band for this album is an experienced crew: Eric Adcock (piano), Roddie Romero (electric guitar), Derek Huston (saxophone), Chris French (upright bass), and Gary Usie (drums). Special guests include vocalist Marc Broussard ("Mathilda"), Sonny Landreth (slide guitar on "Mathilda"), Beau Thomas (fiddle) and Richard Comeaux (pedal steel) on "Tennessee Blues, and Willie "Tee" Trahan (tenor saxophone on "In My Moments Of Sorrow" and "Troubles, Troubles"). Yvette Landry also sings with Warren on "Mama, Mama, Mama.\r\n
      \r\n
      Lastly, the one-and-only John Fogerty (Creedence Clearwater Revival) was gracious enough to sing along with Warren's performance of "Long As I Can See The Light". Warren recorded a video with John in the mid-1980s ("My Toot Toot") and remains a huge fan of John's.\r\n
      \r\n
      Warren Storm is a legend in Louisiana music, a swamp pop pioneer. As Yvette says, "He is a master who sings with excitement (like it was his first time) and reverence (like it is his last time)". Enjoy this musical gem and tribute to the swamp pop genre.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Warren Storm, Marc Broussard, John Fogerty (vocals), Eric Adcock (piano), Richard Comeaux (pedal steel guitar), Derek Huston (tenor & bariton saxophone), Chris French (bass), Sonny Landreth (slide guitar), Roddie Romero (electric guitar)…"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1119 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=jTcKRHT2YGU"
    -referenceProduit: "Analogue Productions AAPO 2026-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Long As I Can See The Light"
      ]
      [
        "ordre" => 1
        "nom" => "2. Mathilda"
      ]
      [
        "ordre" => 2
        "nom" => "3. Lonely Nights"
      ]
      [
        "ordre" => 3
        "nom" => "4. Let The Four Winds Blow"
      ]
      [
        "ordre" => 4
        "nom" => "5. Tennessee Blues"
      ]
      [
        "ordre" => 5
        "nom" => "6. Mama, Mama, Mama"
      ]
      [
        "ordre" => 6
        "nom" => "7. In My Moments of Sorrow"
      ]
      [
        "ordre" => 7
        "nom" => "8. Prisoner’s Song"
      ]
      [
        "ordre" => 8
        "nom" => "9. My House of Memories"
      ]
      [
        "ordre" => 9
        "nom" => "10. Troubles, Troubles"
      ]
      [
        "ordre" => 10
        "nom" => "11. Raining in My Heart"
      ]
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2174 …}
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[
  "produit" => App\Entity\Produit {#2191
    -id: 1773
    -nom: "Taking The World By Storm"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Warren Storm, Marc Broussard, John Fogerty (vocals), Eric Adcock (piano), Richard Comeaux (pedal steel guitar), Derek Huston (tenor & bariton saxophone), Chris French (bass), Sonny Landreth (slide guitar), Roddie Romero (electric guitar), Beau Thomas (fiddle), Willie Tee Trahan (tenor saxophone), Gary Usie (drums).\r\n
      \r\n
      - Swamp pop pioneer and Louisiana legend Warren Storm returns !\r\n
      - Louisiana and Texas' Music Hall of Fame inductee !\r\n
      - Mastered by Ryan K. Smith at Sterling Sound from analog tape recording !\r\n
      - Plated and pressed at Quality Record Pressings !\r\n
      - Old-style heavyweight tip-on gatefold jacket from Stoughton Printing !\r\n
      - A Personal Favorite of Acoustic Sounds/APO Records CEO Chad Kassem !\r\n
      \r\n
      "At age 82, Warren 'Storm' Schexnider is a wonderful force out of Louisiana ... and still doing what he does best. His new album, Taking The World, By Storm, finds him revisiting some material he recorded earlier in his career, and proving he still has the vocal power and flair to make these songs work. Seriously, there are some fantastic vocal performances on this album". - Michael Doherty's Music Log\r\n
      \r\n
      "He is a master of what is lovingly referred to as 'swamp pop,' an amalgam of traditional Cajun sounds mixed with blues, R&B, zydeco, and country ... Warren Storm has done it all he's been a drummer, a singer, and a front man. ... All 11 tracks (on Taking The World By Storm) were laid down on half-inch tape, live-in-studio, the way they did back in the Fifties". - Sheryl and Don Crow, The Nashville Blues and Roots Alliance\r\n
      \r\n
      "Starting strong with a duet with John Fogerty on 'Long As I Can See The Light', followed by Marc Broussard on 'Mathilda', this made-with-love album from Louisiana mainstay Warren Storm doesn't slow down across eleven songs and 36 minutes. ... Storm still has the soul that made him the Godfather of Swamp Pop. Spend some time with him as he is Taking The World, By Storm". - Donald Teplyske, Fervor Coulee - Roots Music Opinion\r\n
      \r\n
      "Who knows ? Maybe it's the constant edible infusion of crawfish and Tabasco sauce, Dixie beer and moonshine diets that took their mortal toll on dedicated swamp pop practitioners. ... Luckily one of the original swampers, Mr. Warren Storm, is not about to give up the Holy Ghost anytime soon. 82-years-young, he's still singing for the ages and capable of working a backroom dance floor harder than anyone alive". - Bill Bently, Americana Highways\r\n
      \r\n
      Warren "Storm" Schexnider is a Louisiana legend. At age 82 when this album was recorded, he's been creating music for more than 70 years a milestone that's dubbed him the "Godfather of Swamp Pop" for his fealty to the indigenous music of the Acadiana region of south Louisiana and southeast Texas. Created in the 1950s and early 1960s by teenage Cajuns, swamp pop combines New Orleans-style rhythm and blues, country and western, and traditional French Louisiana musical influences.\r\n
      \r\n
      Warren throughout his career has recorded on innumerable records, both on his own as a vocalist/musician, and as a studio musician on other albums. He continues to blaze a path for younger musicians, which is why one could say the universe had a plan that resulted in the album Taking the World, by Storm, new from APO Records. Recorded at Dockside Studio, Maurice, Louisiana in March 2019, the album was produced by Yvette Landry and executive producer Chad Kassem. Mastering was by Ryan K. Smith at Sterling Sound in Nashville.\r\n
      \r\n
      Warren Storm grew up in a Cajun household (he spoke only French until the third grade!) surrounded by music. His father, an Abbeville, Louisiana native, was a drummer, fiddler, and accordian player who indoctrinated his then 12-year-old son Warren into the biz with an impromptu Rayne-Bo Ramblers gig. By age 15, Warren was playing drums with Larry Brasso's Rhythm-aires. Throughout his adolescence Warren played with various dance hall bands, including with Fats Domino's drummer Charlie "Hungry" Williams. Warren became known as the top session drummer in the area; then just after graduation from Abbeville High School, Warren signed a recording contract. His first record, a 7-inch released in 1958, containing "The Prisoner's Song", b/w "Mama, Mama, Mama" sold a quarter of a million copies. His subsequent hits "So Long, So Long, (Goodbye, Goodbye)", "Birmingham Bar", "Lord, I Need Somebody Bad Tonight", "Things Have Gone To Pieces" and more led to Warren's induction into both Louisiana and Texas' Music Hall of Fame.\r\n
      \r\n
      Yvette Landry, a singer-songwriter and musician, grew up in Breaux Bridge, Louisiana not far from the levees of the Atchafalaya Basin, North America's largest swampland. She fronts her own band, The Yvette Landry Band, and her debut award-winning album titled Should Have Known was released in 2010. (The album was named Offbeat Magazine's "Best Country / Folk Album" and Landry "Best Country / Folk Artist") She's been a familiar presence on stages at countless cultural festivals and venues from the New Orleans Jazz and Heritage Festival to the Bluebird Café in Nashville.\r\n
      \r\n
      Still, when Warren Storm strolled unannounced into a gig she was playing in the spring of 2018, Yvette was at once a little nervous and starstruck.\r\n
      \r\n
      When prodded to sing a signature tune of Warren's, "I Need Somebody Bad", off her newly-released album, she says, "I shut my eyes and belted it out". At the end of the night Warren approached her, shook her hand and said "I never heard a girl sing that song before. You did real good. Think I could have a copy ?"\r\n
      \r\n
      She complied and a friendship blossomed. As Warren thumbed through his accumulated memoriabilia Landry began noticing who she was seeing in photos: Willie Nelson, Ray Price, Hank Williams, Jr., Elvis and others.\r\n
      \r\n
      The idea was born to compile Warren's stories and pictures for a book about his career spent performing with, and opening for some of the finest musicians in the world. That book became Taking the World, by Storm A Conversation with Warren "Storm" Schexnider, The Godfather of Swamp Pop.\r\n
      \r\n
      When the idea was proposed to reissue one of Warren's previous albums to accompany the book, Yvette and those working with her on the project went one bettter : record a new album with Warren, live in the studio, straight to 2 track tape, "just like he did in his early days". And so the recording process began. Next to become involved was Acoustic Sounds and APO Records owner Chad Kassem, who arranged for the album to appear on the APO label, to be mastered by Ryan K. Smith at Sterling Sound in Nashville, and to be plated and pressed on vinyl at Quality Record Pressings, renowned among audiophiles and music professionals for its fine-sounding LPs.\r\n
      \r\n
      For Chad, born and raised in the south Louisiana town of Lafayette, the music of Warren Storm was as familiar growing up as the climate and culture of his homeland. Chad says he feels fortunate to have had the opportunity to participate in such a one-of-a-kind project.\r\n
      \r\n
      The core band for this album is an experienced crew: Eric Adcock (piano), Roddie Romero (electric guitar), Derek Huston (saxophone), Chris French (upright bass), and Gary Usie (drums). Special guests include vocalist Marc Broussard ("Mathilda"), Sonny Landreth (slide guitar on "Mathilda"), Beau Thomas (fiddle) and Richard Comeaux (pedal steel) on "Tennessee Blues, and Willie "Tee" Trahan (tenor saxophone on "In My Moments Of Sorrow" and "Troubles, Troubles"). Yvette Landry also sings with Warren on "Mama, Mama, Mama.\r\n
      \r\n
      Lastly, the one-and-only John Fogerty (Creedence Clearwater Revival) was gracious enough to sing along with Warren's performance of "Long As I Can See The Light". Warren recorded a video with John in the mid-1980s ("My Toot Toot") and remains a huge fan of John's.\r\n
      \r\n
      Warren Storm is a legend in Louisiana music, a swamp pop pioneer. As Yvette says, "He is a master who sings with excitement (like it was his first time) and reverence (like it is his last time)". Enjoy this musical gem and tribute to the swamp pop genre.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Warren Storm, Marc Broussard, John Fogerty (vocals), Eric Adcock (piano), Richard Comeaux (pedal steel guitar), Derek Huston (tenor & bariton saxophone), Chris French (bass), Sonny Landreth (slide guitar), Roddie Romero (electric guitar)…"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=jTcKRHT2YGU"
    -referenceProduit: "APO Records 2026"
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        "nom" => "Side B :"
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        "ordre" => 10
        "nom" => "4. My House of Memories "
      ]
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        "nom" => "5. Troubles, Troubles "
      ]
      [
        "ordre" => 12
        "nom" => "6. Raining in My Heart"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2174 …}
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    -modifierLe: DateTime @1769964901 {#2189
      date: 2026-02-01 16:55:01.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3637
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    -id: 1773
    -nom: "Taking The World By Storm"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Warren Storm, Marc Broussard, John Fogerty (vocals), Eric Adcock (piano), Richard Comeaux (pedal steel guitar), Derek Huston (tenor & bariton saxophone), Chris French (bass), Sonny Landreth (slide guitar), Roddie Romero (electric guitar), Beau Thomas (fiddle), Willie Tee Trahan (tenor saxophone), Gary Usie (drums).\r\n
      \r\n
      - Swamp pop pioneer and Louisiana legend Warren Storm returns !\r\n
      - Louisiana and Texas' Music Hall of Fame inductee !\r\n
      - Mastered by Ryan K. Smith at Sterling Sound from analog tape recording !\r\n
      - Plated and pressed at Quality Record Pressings !\r\n
      - Old-style heavyweight tip-on gatefold jacket from Stoughton Printing !\r\n
      - A Personal Favorite of Acoustic Sounds/APO Records CEO Chad Kassem !\r\n
      \r\n
      "At age 82, Warren 'Storm' Schexnider is a wonderful force out of Louisiana ... and still doing what he does best. His new album, Taking The World, By Storm, finds him revisiting some material he recorded earlier in his career, and proving he still has the vocal power and flair to make these songs work. Seriously, there are some fantastic vocal performances on this album". - Michael Doherty's Music Log\r\n
      \r\n
      "He is a master of what is lovingly referred to as 'swamp pop,' an amalgam of traditional Cajun sounds mixed with blues, R&B, zydeco, and country ... Warren Storm has done it all he's been a drummer, a singer, and a front man. ... All 11 tracks (on Taking The World By Storm) were laid down on half-inch tape, live-in-studio, the way they did back in the Fifties". - Sheryl and Don Crow, The Nashville Blues and Roots Alliance\r\n
      \r\n
      "Starting strong with a duet with John Fogerty on 'Long As I Can See The Light', followed by Marc Broussard on 'Mathilda', this made-with-love album from Louisiana mainstay Warren Storm doesn't slow down across eleven songs and 36 minutes. ... Storm still has the soul that made him the Godfather of Swamp Pop. Spend some time with him as he is Taking The World, By Storm". - Donald Teplyske, Fervor Coulee - Roots Music Opinion\r\n
      \r\n
      "Who knows ? Maybe it's the constant edible infusion of crawfish and Tabasco sauce, Dixie beer and moonshine diets that took their mortal toll on dedicated swamp pop practitioners. ... Luckily one of the original swampers, Mr. Warren Storm, is not about to give up the Holy Ghost anytime soon. 82-years-young, he's still singing for the ages and capable of working a backroom dance floor harder than anyone alive". - Bill Bently, Americana Highways\r\n
      \r\n
      Warren "Storm" Schexnider is a Louisiana legend. At age 82 when this album was recorded, he's been creating music for more than 70 years a milestone that's dubbed him the "Godfather of Swamp Pop" for his fealty to the indigenous music of the Acadiana region of south Louisiana and southeast Texas. Created in the 1950s and early 1960s by teenage Cajuns, swamp pop combines New Orleans-style rhythm and blues, country and western, and traditional French Louisiana musical influences.\r\n
      \r\n
      Warren throughout his career has recorded on innumerable records, both on his own as a vocalist/musician, and as a studio musician on other albums. He continues to blaze a path for younger musicians, which is why one could say the universe had a plan that resulted in the album Taking the World, by Storm, new from APO Records. Recorded at Dockside Studio, Maurice, Louisiana in March 2019, the album was produced by Yvette Landry and executive producer Chad Kassem. Mastering was by Ryan K. Smith at Sterling Sound in Nashville.\r\n
      \r\n
      Warren Storm grew up in a Cajun household (he spoke only French until the third grade!) surrounded by music. His father, an Abbeville, Louisiana native, was a drummer, fiddler, and accordian player who indoctrinated his then 12-year-old son Warren into the biz with an impromptu Rayne-Bo Ramblers gig. By age 15, Warren was playing drums with Larry Brasso's Rhythm-aires. Throughout his adolescence Warren played with various dance hall bands, including with Fats Domino's drummer Charlie "Hungry" Williams. Warren became known as the top session drummer in the area; then just after graduation from Abbeville High School, Warren signed a recording contract. His first record, a 7-inch released in 1958, containing "The Prisoner's Song", b/w "Mama, Mama, Mama" sold a quarter of a million copies. His subsequent hits "So Long, So Long, (Goodbye, Goodbye)", "Birmingham Bar", "Lord, I Need Somebody Bad Tonight", "Things Have Gone To Pieces" and more led to Warren's induction into both Louisiana and Texas' Music Hall of Fame.\r\n
      \r\n
      Yvette Landry, a singer-songwriter and musician, grew up in Breaux Bridge, Louisiana not far from the levees of the Atchafalaya Basin, North America's largest swampland. She fronts her own band, The Yvette Landry Band, and her debut award-winning album titled Should Have Known was released in 2010. (The album was named Offbeat Magazine's "Best Country / Folk Album" and Landry "Best Country / Folk Artist") She's been a familiar presence on stages at countless cultural festivals and venues from the New Orleans Jazz and Heritage Festival to the Bluebird Café in Nashville.\r\n
      \r\n
      Still, when Warren Storm strolled unannounced into a gig she was playing in the spring of 2018, Yvette was at once a little nervous and starstruck.\r\n
      \r\n
      When prodded to sing a signature tune of Warren's, "I Need Somebody Bad", off her newly-released album, she says, "I shut my eyes and belted it out". At the end of the night Warren approached her, shook her hand and said "I never heard a girl sing that song before. You did real good. Think I could have a copy ?"\r\n
      \r\n
      She complied and a friendship blossomed. As Warren thumbed through his accumulated memoriabilia Landry began noticing who she was seeing in photos: Willie Nelson, Ray Price, Hank Williams, Jr., Elvis and others.\r\n
      \r\n
      The idea was born to compile Warren's stories and pictures for a book about his career spent performing with, and opening for some of the finest musicians in the world. That book became Taking the World, by Storm A Conversation with Warren "Storm" Schexnider, The Godfather of Swamp Pop.\r\n
      \r\n
      When the idea was proposed to reissue one of Warren's previous albums to accompany the book, Yvette and those working with her on the project went one bettter : record a new album with Warren, live in the studio, straight to 2 track tape, "just like he did in his early days". And so the recording process began. Next to become involved was Acoustic Sounds and APO Records owner Chad Kassem, who arranged for the album to appear on the APO label, to be mastered by Ryan K. Smith at Sterling Sound in Nashville, and to be plated and pressed on vinyl at Quality Record Pressings, renowned among audiophiles and music professionals for its fine-sounding LPs.\r\n
      \r\n
      For Chad, born and raised in the south Louisiana town of Lafayette, the music of Warren Storm was as familiar growing up as the climate and culture of his homeland. Chad says he feels fortunate to have had the opportunity to participate in such a one-of-a-kind project.\r\n
      \r\n
      The core band for this album is an experienced crew: Eric Adcock (piano), Roddie Romero (electric guitar), Derek Huston (saxophone), Chris French (upright bass), and Gary Usie (drums). Special guests include vocalist Marc Broussard ("Mathilda"), Sonny Landreth (slide guitar on "Mathilda"), Beau Thomas (fiddle) and Richard Comeaux (pedal steel) on "Tennessee Blues, and Willie "Tee" Trahan (tenor saxophone on "In My Moments Of Sorrow" and "Troubles, Troubles"). Yvette Landry also sings with Warren on "Mama, Mama, Mama.\r\n
      \r\n
      Lastly, the one-and-only John Fogerty (Creedence Clearwater Revival) was gracious enough to sing along with Warren's performance of "Long As I Can See The Light". Warren recorded a video with John in the mid-1980s ("My Toot Toot") and remains a huge fan of John's.\r\n
      \r\n
      Warren Storm is a legend in Louisiana music, a swamp pop pioneer. As Yvette says, "He is a master who sings with excitement (like it was his first time) and reverence (like it is his last time)". Enjoy this musical gem and tribute to the swamp pop genre.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Warren Storm, Marc Broussard, John Fogerty (vocals), Eric Adcock (piano), Richard Comeaux (pedal steel guitar), Derek Huston (tenor & bariton saxophone), Chris French (bass), Sonny Landreth (slide guitar), Roddie Romero (electric guitar)…"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1119 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
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        "ordre" => 10
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        "nom" => "5. Troubles, Troubles "
      ]
      [
        "ordre" => 12
        "nom" => "6. Raining in My Heart"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2174 …}
    -label: Proxies\__CG__\App\Entity\Label {#2177 …}
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[
  "produit" => App\Entity\Produit {#2204
    -id: 2336
    -nom: "Excitable Boy (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - SOURCED FROM THE ORIGINAL ANALOG TAPES FOR DEFINITIVE SOUND !\r\n
      - 1/4" / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Excitable Boy established Warren Zevon as rock's gonzo figurehead or, as Jackson Browne aptly called him, "the first and foremost proponent of song noir". A supreme collision of over-caffeinated energy, acerbic wit, dark humor, irreverent reporting, bittersweet romance, swept-under-the-rug truth, and illicit desire sent up with booze, pills, and therapist confessions, the breakthrough album zeroes in on frightening aspects of American culture with an incisiveness that's even sharper today than upon the effort's release in 1978. And the music has never sounded so excitable.\r\n
      \r\n
      Sourced from the original analog master tapes and pressed on dead-quiet vinyl, Mobile Fidelity's numbered-edition 180 gram 45 RPM (2 LP) set elevates the best-selling album of Zevon's distinguished career to audiophile status. Co-produced by Browne and Waddy Wachtel and featuring contributions by members of Fleetwood Mac plus Linda Rondstadt, J.D. Souther, Leland Sklar, and Browne the platinum-certified record now plays with a verve and explosivity that match its subject matter. Listeners will experience wide separation between the instruments; full-range dynamics that underscore the depth of the arrangements; sterling transparency that draws a through-line to the original sessions at the Sound Factory; warmth on a par with the finest analog recordings; presence that elevates the body and tenor of Zevon's vocals; and an openness and balance resulting from the freedom that Browne and Wachtel afforded recording engineer Greg Ladanyi.\r\n
      \r\n
      That lenience coincides with the record's primary themes and speaks to the freewheeling spirit in which it was made. Excitable Boy delightfully teeters on the verge of chaos and, often, causes us to question what the zany singer-songwriter has gotten into (and what he is going on about). Not yet two years removed from his critically acclaimed self-titled major-label debut, Zevon had already established a fabled reputation for debauchery and grown more perceptive about the twisted underbelly and self-destructive nature of U.S. politics and society.\r\n
      \r\n
      The singer's astuteness and lethal combination of the personal and public – proves intoxicating. Excitable Boy comes on as a seamless collection of nine hard-boiled stories owing to a tradition established by Raymond Chandler, continued by Hunter S. Thompson, and carried into the 21st century by "Breaking Bad" and "Better Call Saul" creator Vince Gilligan. We may want to close our eyes and turn away from his reports, but Zevon makes doing so impossible. The protagonists' actions, behaviors, appetites, and decisions are too intriguing and forthright; their impact hits too close to home. We mingle, stare, draw closer. In a perverse way, Excitable Boy is our shared carnage a wickedly funny and ever-germane pile of wreckage.\r\n
      \r\n
      Nowhere is that more evident than in Zevon's tales involving America's domestic and foreign enterprise. In "Roland the Headless Thompson Gunner", co-written with former mercenary David Lindell, Zevon crafts a story of bloodshed, vengeance, and profiteering starring a mercenary who fights in the Congo Crisis only to get exterminated by the CIA because of his killing skills. Yet the soldier of fortune gets the last laugh : Resurrected as a ghost, he slays his assassin, and, like a zombie, roams the landscape for eternity. "Veracruz" is similarly sobering and historically rooted. Based on the U.S. occupation of the port city during the Mexican Revolution, Zevon's account – hitched to a gorgeous arrangement simultaneously offers a sympathetic view of those crushed by U.S. transgressions and functions as a smart take on the past.\r\n
      \r\n
      Ghosts of the present haunt the title track, a berserk affair sent up with a lively doo-wop chorus and lilting barroom piano. Titled after a nickname friends gave Zevon, "Excitable Boy" foreshadowed the government's decision to slash mental health-care budgets and involves the same concepts of privilege explored throughout the record. Speaking of privilege : The cascading "Lawyers, Guns, and Money" written after Zevon and a colleague joked about being bailed out of a precarious situation by Warner Bros. president Joe Smith addresses personal entitlement and U.S. diplomacy in no uncertain terms.\r\n
      \r\n
      Ironically, and likely intentionally, Zevon sets up everything by opening the record with its most upbeat and innocuous track, "Johnny Strikes Up the Band". The mid-tempo adrenaline shot turns sadness to joy while suggesting that the material that will follow will adhere to the same vibe. Consider the song Zevon's way of displaying his shrewdness via the sequencing of a long-playing record. Though he gives listeners a breather with "Nighttime in the Switching Yard" and hints at calm on "Tenderness on the Block", the serenity of the latter gets shattered by what he says in between the lines of the verses.\r\n
      \r\n
      There's nothing subtle about "Werewolves of London", a cult-favorite hit that stemmed from Zevon's association with Phil Everly. Akin to those in Bob Dylan's "Desolation Row", the deceptively comedic lyrics blend pop culture with classically grotesque imagery en route to establishing a riotous storyline. Dubbed a "dumb song for smart people" by Zevon, the cut zoomed into the Billboard Top 30 and remains beloved for its fun-spirited "ah-hoo" choral bits. Its appeal is fitting. Like the hairy creatures in the song and the ghosts wandering the corridors of Excitable Boy, Zevon's legacy still runs amok via the grooves of his finest studio work. Draw blood, indeed.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Warren Zevon (piano, organ, synthesizer, vocals), Jorge Calderón backing vocals, Spanish vocals), Danny Kortchmar (guitar, percussion), Russ Kunkel (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=69lcRB1qco8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-513"
    -titreMorceau: [
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        "ordre" => 0
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        "nom" => ""
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2206 …}
    -label: Proxies\__CG__\App\Entity\Label {#2209 …}
    -style: App\Entity\Style {#1452 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2213 …}
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    }
    -modifierLe: DateTime @1769964815 {#2202
      date: 2026-02-01 16:53:35.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2215 …}
    -disponible: null
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App\Twig\Components\GestionPanierFavoriComponents {#3683
  -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 {#2658 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2204
    -id: 2336
    -nom: "Excitable Boy (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - SOURCED FROM THE ORIGINAL ANALOG TAPES FOR DEFINITIVE SOUND !\r\n
      - 1/4" / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Excitable Boy established Warren Zevon as rock's gonzo figurehead or, as Jackson Browne aptly called him, "the first and foremost proponent of song noir". A supreme collision of over-caffeinated energy, acerbic wit, dark humor, irreverent reporting, bittersweet romance, swept-under-the-rug truth, and illicit desire sent up with booze, pills, and therapist confessions, the breakthrough album zeroes in on frightening aspects of American culture with an incisiveness that's even sharper today than upon the effort's release in 1978. And the music has never sounded so excitable.\r\n
      \r\n
      Sourced from the original analog master tapes and pressed on dead-quiet vinyl, Mobile Fidelity's numbered-edition 180 gram 45 RPM (2 LP) set elevates the best-selling album of Zevon's distinguished career to audiophile status. Co-produced by Browne and Waddy Wachtel and featuring contributions by members of Fleetwood Mac plus Linda Rondstadt, J.D. Souther, Leland Sklar, and Browne the platinum-certified record now plays with a verve and explosivity that match its subject matter. Listeners will experience wide separation between the instruments; full-range dynamics that underscore the depth of the arrangements; sterling transparency that draws a through-line to the original sessions at the Sound Factory; warmth on a par with the finest analog recordings; presence that elevates the body and tenor of Zevon's vocals; and an openness and balance resulting from the freedom that Browne and Wachtel afforded recording engineer Greg Ladanyi.\r\n
      \r\n
      That lenience coincides with the record's primary themes and speaks to the freewheeling spirit in which it was made. Excitable Boy delightfully teeters on the verge of chaos and, often, causes us to question what the zany singer-songwriter has gotten into (and what he is going on about). Not yet two years removed from his critically acclaimed self-titled major-label debut, Zevon had already established a fabled reputation for debauchery and grown more perceptive about the twisted underbelly and self-destructive nature of U.S. politics and society.\r\n
      \r\n
      The singer's astuteness and lethal combination of the personal and public – proves intoxicating. Excitable Boy comes on as a seamless collection of nine hard-boiled stories owing to a tradition established by Raymond Chandler, continued by Hunter S. Thompson, and carried into the 21st century by "Breaking Bad" and "Better Call Saul" creator Vince Gilligan. We may want to close our eyes and turn away from his reports, but Zevon makes doing so impossible. The protagonists' actions, behaviors, appetites, and decisions are too intriguing and forthright; their impact hits too close to home. We mingle, stare, draw closer. In a perverse way, Excitable Boy is our shared carnage a wickedly funny and ever-germane pile of wreckage.\r\n
      \r\n
      Nowhere is that more evident than in Zevon's tales involving America's domestic and foreign enterprise. In "Roland the Headless Thompson Gunner", co-written with former mercenary David Lindell, Zevon crafts a story of bloodshed, vengeance, and profiteering starring a mercenary who fights in the Congo Crisis only to get exterminated by the CIA because of his killing skills. Yet the soldier of fortune gets the last laugh : Resurrected as a ghost, he slays his assassin, and, like a zombie, roams the landscape for eternity. "Veracruz" is similarly sobering and historically rooted. Based on the U.S. occupation of the port city during the Mexican Revolution, Zevon's account – hitched to a gorgeous arrangement simultaneously offers a sympathetic view of those crushed by U.S. transgressions and functions as a smart take on the past.\r\n
      \r\n
      Ghosts of the present haunt the title track, a berserk affair sent up with a lively doo-wop chorus and lilting barroom piano. Titled after a nickname friends gave Zevon, "Excitable Boy" foreshadowed the government's decision to slash mental health-care budgets and involves the same concepts of privilege explored throughout the record. Speaking of privilege : The cascading "Lawyers, Guns, and Money" written after Zevon and a colleague joked about being bailed out of a precarious situation by Warner Bros. president Joe Smith addresses personal entitlement and U.S. diplomacy in no uncertain terms.\r\n
      \r\n
      Ironically, and likely intentionally, Zevon sets up everything by opening the record with its most upbeat and innocuous track, "Johnny Strikes Up the Band". The mid-tempo adrenaline shot turns sadness to joy while suggesting that the material that will follow will adhere to the same vibe. Consider the song Zevon's way of displaying his shrewdness via the sequencing of a long-playing record. Though he gives listeners a breather with "Nighttime in the Switching Yard" and hints at calm on "Tenderness on the Block", the serenity of the latter gets shattered by what he says in between the lines of the verses.\r\n
      \r\n
      There's nothing subtle about "Werewolves of London", a cult-favorite hit that stemmed from Zevon's association with Phil Everly. Akin to those in Bob Dylan's "Desolation Row", the deceptively comedic lyrics blend pop culture with classically grotesque imagery en route to establishing a riotous storyline. Dubbed a "dumb song for smart people" by Zevon, the cut zoomed into the Billboard Top 30 and remains beloved for its fun-spirited "ah-hoo" choral bits. Its appeal is fitting. Like the hairy creatures in the song and the ghosts wandering the corridors of Excitable Boy, Zevon's legacy still runs amok via the grooves of his finest studio work. Draw blood, indeed.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Warren Zevon (piano, organ, synthesizer, vocals), Jorge Calderón backing vocals, Spanish vocals), Danny Kortchmar (guitar, percussion), Russ Kunkel (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=69lcRB1qco8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-513"
    -titreMorceau: [
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2206 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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    -slug: "vinyles-excitable-boy-2-lp-45-rpm-mobile-fidelity-sound-lab-mfsl-2-513"
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2426 …}
}

[
  "produit" => App\Entity\Produit {#2223
    -id: 2438
    -nom: "Whitney"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Whitney Houston (vocals), Marc Russo (alto saxophone, horns), Randy Jackson (synthesizer, electric bass), Kenny G (tenor saxophone), Fred Zarr, Jack Waldman, Frank Martin, Randy Jackson, Michael Boddicker (synthesizer), Robbie Buchanan (piano, electric piano Fender Rhodes), Kashif, Ralph Schukett, Preston Glass (keyboards, synthesizer), Vincent Henry (saxophone), Roy Ayers (vibraphone), Nathan East, Marcus Miller (bass), Dan Huff, Ira Siegel, Paul Pesco (guitar), Shambhu Neil Vineberg (acoustic guitar), Jerry Hey, Premik Russell Tubbs, Wayne Wallace (horns), Randy Kerber (acoustic piano), Jennifer Hall, Jim Gilstrap, Kevin Dorsey, Kitty Beethoven, Myrna Matthews, Nikki Harris, Kashif, Claytoven Richardson, Cissy Houston (backing vocals), Figueroa (percussion), Paul Rekow (congas), Greg "Gigi" Gonaway, Bashiri Johnson, Paulinho Da Costa, Sammy Figueroa (percussion), John Robinson, Narada, Paul Leim (drums).\r\n
      \r\n
      - MASTERED FROM THE ORIGINAL MASTER TAPES AND PRESSED AT RTI ON MOFI SUPERVINYL FOR SPECTACULAR SOUND !\r\n
      - 1/2" / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Whitney did more than turn Whitney Houston into a pioneering sensation known around the world by her first name. Originally released in June 1987, the singer's blockbuster sophomore record became the first album by a female artist to debut at No. 1 on the Billboard 200 chart a position it claimed for a total of 11 weeks en route to selling more than 10 million copies in the U.S. The Diamond platinum effort also contains four N° 1 Hot 100 hits that, when combined with the three chart toppers from her 1985 debut, gave her seven consecutive N° 1 singles an accomplishment that no other artist has accomplished. Commercially and creatively, Whitney stands on hallowed ground especially now that the record plays with a sound that puts into perspective just how extraordinary, engaging, and vital Houston's music remains.\r\n
      \r\n
      Mastered from the original master tapes and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's 180 gram 33 RPM SuperVinyl LP of Whitney invites listeners to experience the Rock & Roll Hall of Fame inductee's pivotal album in audiophile quality for the very first time. Free of the dynamic limitations and tonal flatness prevalent on prior vinyl and CD pressings, it lets the music breathe and reveals the copious detail, nuance, and texture within the immaculately produced songs. MoFi's SuperVinyl profile offers further advantages in the forms of a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition.\r\n
      \r\n
      In addition to featuring extreme clarity and immediacy, this numbered-edition reissue does wonders for the attribute that inspired more than 20 million people around the globe to add Whitney to their record collections: that inimitable voice. Houston's trademark mezzo-soprano an acrobatic instrument equally capable of taking off on fantastic flights and unwinding for hushed meditations benefits from the fantastic airiness and transparency afforded by this meticulously restored edition. Whitney has never sounded or looked better. The crossover landmark deserves nothing less.\r\n
      \r\n
      Issued just two years after Houston's breakthrough debut, Whitney immediately signaled the genre-defying singer's intent to continue to push ahead and expand her palette. Shot by photographer Richard Avedon, the album cover depicts an iconic image of Houston captured with a gleaming smile, bright eyes, teased-out afro, toned arms, and a right hand that appears to wave a friendly hello whose active, athletic profile stands in contrast to the extremely formal sit-down shot of her that graces her '85 record. The change is telling: Whitney overflows with unfettered joy, rhythmic vibes, and deep-seated emotions that forever endeared her to the hearts and minds of countless listeners and which set the standard for the wave after wave of divas that followed in her footsteps.\r\n
      \r\n
      It's no coincidence that the first track on Whitney is the declarative "I Wanna Dance with Somebody (Who Loves Me)". Like Michael Jackson's "Billie Jean" and Madonna's "Material Girl," the feel-good smash is one of the quintessential '80s gems a lithe, melodic, celebratory release of pent-up energy and loneliness that glides across club floors, shouts to the rooftops, and shrugs off any concerns about vulnerability or embarrassment. Houston's swooping voice moves in sync with the sleek beats and dipping-and-diving synths. She practically takes her fellow musicians by their hand and leads them in a blissful dance that nobody would dare sidestep. Focusing on Houston's singing a task made challenging only because of the impossible-to-ignore hooks and grooves showcases the virtuosic facets of not only her register but her control, discipline, smoothness, and warmth.\r\n
      \r\n
      That she replicates those feats for the entirety of the nearly 53 minute-long album makes Whitney that much more special. Houston reaches back and channels her childhood gospel training on the R&B-flared "So Emotional"; effortlessly slips into Quiet Storm mode on the duet with her mother, gospel great Cissy Houston, on "I Know Him So Well"; flirts with smooth jazz and collaborates with tenor saxophonist Kenny G on the lush "Just the Lonely Talking Again"; conjures dreamscapes and shadow-boxes with supple funk on a romantic cover of the Isley Brothers' "For the Love of You"; and, for the majestic power ballad "Didn't We Almost Have It All," displays the sky-scraping reach of her vocals amid a grand arrangement made even bigger by Houston's sweeping performance and triumphant finish.\r\n
      \r\n
      Houston's once-in-a-generation talents weren't lost on the adoring public, radio deejays, or industry experts. In addition to harboring four N° 1 hits and receiving nominations for four Grammy Awards, Whitney generated another Top 10 success in the guise of the Afro-Cuban-leaning "Love Will Save the Day". The album also netted Houston four American Music Awards; two Billboard Music Awards; back-to-back People's Choice Awards; a Soul Train Award; and various other accolades. It all makes the crux of the Washington Post's July '87 review of the album appear prophetic : "Her voice sounds stronger still and the songs are varied but so consistent she could garner 10 Top 10s out of a field of 11".\r\n
      \r\n
      That claim still holds true. A brilliant fusion of pop, R&B, smooth jazz, and soul, Whitney is a showstopper and one of the key reasons Houston is the most-awarded female artist of all time.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1850 …}
    -musicienOrchestre: "Whitney Houston (vocals), Marc Russo (alto saxophone, horns), Randy Jackson (synthesizer, electric bass), Kenny G (tenor saxophone),  Fred Zarr, Jack Waldman, Frank Martin, Randy Jackson, Michael Boddicker (synthesizer)..."
    -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=eH3giaIzONA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSV 1-529"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. I Wanna Dance with Somebody (Who Loves Me)"
      ]
      [
        "ordre" => 2
        "nom" => "2. Just the Lonely Talking Again"
      ]
      [
        "ordre" => 3
        "nom" => "3. Love Will Save the Day"
      ]
      [
        "ordre" => 4
        "nom" => "4. Didn't We Almost Have It All"
      ]
      [
        "ordre" => 5
        "nom" => "5. So Emotional"
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Where You Are"
      ]
      [
        "ordre" => 8
        "nom" => "2. Love Is a Contact Sport"
      ]
      [
        "ordre" => 9
        "nom" => "3. You're Still My Man"
      ]
      [
        "ordre" => 10
        "nom" => "4. For the Love of You"
      ]
      [
        "ordre" => 11
        "nom" => "5. Where Do Broken Hearts Go"
      ]
      [
        "ordre" => 12
        "nom" => "6. I Know Him So Well"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2225 …}
    -label: Proxies\__CG__\App\Entity\Label {#2209 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2229 …}
    -enregistreLe: DateTime @1685860973 {#2220
      date: 2023-06-04 06:42:53.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769964228 {#2221
      date: 2026-02-01 16:43:48.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2231 …}
    -disponible: null
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    -slug: "vinyles-whitney-mobile-fidelity-sound-lab-mfsv-1-529"
  }
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]

App\Twig\Components\GestionPanierFavoriComponents {#3734
  -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 {#2658 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2223
    -id: 2438
    -nom: "Whitney"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Whitney Houston (vocals), Marc Russo (alto saxophone, horns), Randy Jackson (synthesizer, electric bass), Kenny G (tenor saxophone), Fred Zarr, Jack Waldman, Frank Martin, Randy Jackson, Michael Boddicker (synthesizer), Robbie Buchanan (piano, electric piano Fender Rhodes), Kashif, Ralph Schukett, Preston Glass (keyboards, synthesizer), Vincent Henry (saxophone), Roy Ayers (vibraphone), Nathan East, Marcus Miller (bass), Dan Huff, Ira Siegel, Paul Pesco (guitar), Shambhu Neil Vineberg (acoustic guitar), Jerry Hey, Premik Russell Tubbs, Wayne Wallace (horns), Randy Kerber (acoustic piano), Jennifer Hall, Jim Gilstrap, Kevin Dorsey, Kitty Beethoven, Myrna Matthews, Nikki Harris, Kashif, Claytoven Richardson, Cissy Houston (backing vocals), Figueroa (percussion), Paul Rekow (congas), Greg "Gigi" Gonaway, Bashiri Johnson, Paulinho Da Costa, Sammy Figueroa (percussion), John Robinson, Narada, Paul Leim (drums).\r\n
      \r\n
      - MASTERED FROM THE ORIGINAL MASTER TAPES AND PRESSED AT RTI ON MOFI SUPERVINYL FOR SPECTACULAR SOUND !\r\n
      - 1/2" / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Whitney did more than turn Whitney Houston into a pioneering sensation known around the world by her first name. Originally released in June 1987, the singer's blockbuster sophomore record became the first album by a female artist to debut at No. 1 on the Billboard 200 chart a position it claimed for a total of 11 weeks en route to selling more than 10 million copies in the U.S. The Diamond platinum effort also contains four N° 1 Hot 100 hits that, when combined with the three chart toppers from her 1985 debut, gave her seven consecutive N° 1 singles an accomplishment that no other artist has accomplished. Commercially and creatively, Whitney stands on hallowed ground especially now that the record plays with a sound that puts into perspective just how extraordinary, engaging, and vital Houston's music remains.\r\n
      \r\n
      Mastered from the original master tapes and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's 180 gram 33 RPM SuperVinyl LP of Whitney invites listeners to experience the Rock & Roll Hall of Fame inductee's pivotal album in audiophile quality for the very first time. Free of the dynamic limitations and tonal flatness prevalent on prior vinyl and CD pressings, it lets the music breathe and reveals the copious detail, nuance, and texture within the immaculately produced songs. MoFi's SuperVinyl profile offers further advantages in the forms of a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition.\r\n
      \r\n
      In addition to featuring extreme clarity and immediacy, this numbered-edition reissue does wonders for the attribute that inspired more than 20 million people around the globe to add Whitney to their record collections: that inimitable voice. Houston's trademark mezzo-soprano an acrobatic instrument equally capable of taking off on fantastic flights and unwinding for hushed meditations benefits from the fantastic airiness and transparency afforded by this meticulously restored edition. Whitney has never sounded or looked better. The crossover landmark deserves nothing less.\r\n
      \r\n
      Issued just two years after Houston's breakthrough debut, Whitney immediately signaled the genre-defying singer's intent to continue to push ahead and expand her palette. Shot by photographer Richard Avedon, the album cover depicts an iconic image of Houston captured with a gleaming smile, bright eyes, teased-out afro, toned arms, and a right hand that appears to wave a friendly hello whose active, athletic profile stands in contrast to the extremely formal sit-down shot of her that graces her '85 record. The change is telling: Whitney overflows with unfettered joy, rhythmic vibes, and deep-seated emotions that forever endeared her to the hearts and minds of countless listeners and which set the standard for the wave after wave of divas that followed in her footsteps.\r\n
      \r\n
      It's no coincidence that the first track on Whitney is the declarative "I Wanna Dance with Somebody (Who Loves Me)". Like Michael Jackson's "Billie Jean" and Madonna's "Material Girl," the feel-good smash is one of the quintessential '80s gems a lithe, melodic, celebratory release of pent-up energy and loneliness that glides across club floors, shouts to the rooftops, and shrugs off any concerns about vulnerability or embarrassment. Houston's swooping voice moves in sync with the sleek beats and dipping-and-diving synths. She practically takes her fellow musicians by their hand and leads them in a blissful dance that nobody would dare sidestep. Focusing on Houston's singing a task made challenging only because of the impossible-to-ignore hooks and grooves showcases the virtuosic facets of not only her register but her control, discipline, smoothness, and warmth.\r\n
      \r\n
      That she replicates those feats for the entirety of the nearly 53 minute-long album makes Whitney that much more special. Houston reaches back and channels her childhood gospel training on the R&B-flared "So Emotional"; effortlessly slips into Quiet Storm mode on the duet with her mother, gospel great Cissy Houston, on "I Know Him So Well"; flirts with smooth jazz and collaborates with tenor saxophonist Kenny G on the lush "Just the Lonely Talking Again"; conjures dreamscapes and shadow-boxes with supple funk on a romantic cover of the Isley Brothers' "For the Love of You"; and, for the majestic power ballad "Didn't We Almost Have It All," displays the sky-scraping reach of her vocals amid a grand arrangement made even bigger by Houston's sweeping performance and triumphant finish.\r\n
      \r\n
      Houston's once-in-a-generation talents weren't lost on the adoring public, radio deejays, or industry experts. In addition to harboring four N° 1 hits and receiving nominations for four Grammy Awards, Whitney generated another Top 10 success in the guise of the Afro-Cuban-leaning "Love Will Save the Day". The album also netted Houston four American Music Awards; two Billboard Music Awards; back-to-back People's Choice Awards; a Soul Train Award; and various other accolades. It all makes the crux of the Washington Post's July '87 review of the album appear prophetic : "Her voice sounds stronger still and the songs are varied but so consistent she could garner 10 Top 10s out of a field of 11".\r\n
      \r\n
      That claim still holds true. A brilliant fusion of pop, R&B, smooth jazz, and soul, Whitney is a showstopper and one of the key reasons Houston is the most-awarded female artist of all time.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1850 …}
    -musicienOrchestre: "Whitney Houston (vocals), Marc Russo (alto saxophone, horns), Randy Jackson (synthesizer, electric bass), Kenny G (tenor saxophone),  Fred Zarr, Jack Waldman, Frank Martin, Randy Jackson, Michael Boddicker (synthesizer)..."
    -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=eH3giaIzONA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSV 1-529"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
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        "ordre" => 1
        "nom" => "1. I Wanna Dance with Somebody (Who Loves Me)"
      ]
      [
        "ordre" => 2
        "nom" => "2. Just the Lonely Talking Again"
      ]
      [
        "ordre" => 3
        "nom" => "3. Love Will Save the Day"
      ]
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        "nom" => "4. Didn't We Almost Have It All"
      ]
      [
        "ordre" => 5
        "nom" => "5. So Emotional"
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Where You Are"
      ]
      [
        "ordre" => 8
        "nom" => "2. Love Is a Contact Sport"
      ]
      [
        "ordre" => 9
        "nom" => "3. You're Still My Man"
      ]
      [
        "ordre" => 10
        "nom" => "4. For the Love of You"
      ]
      [
        "ordre" => 11
        "nom" => "5. Where Do Broken Hearts Go"
      ]
      [
        "ordre" => 12
        "nom" => "6. I Know Him So Well"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2225 …}
    -label: Proxies\__CG__\App\Entity\Label {#2209 …}
    -style: App\Entity\Style {#1452 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2234 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2227 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2229 …}
    -enregistreLe: DateTime @1685860973 {#2220
      date: 2023-06-04 06:42:53.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769964228 {#2221
      date: 2026-02-01 16:43:48.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2231 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-whitney-mobile-fidelity-sound-lab-mfsv-1-529"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2426 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3935
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2426 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3936 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3984 …}
  +isValidated: false
  +validatedFields: []
}