Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2541
  -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 {#2388 …}
}

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

App\Twig\Components\ListePanier {#2618
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2621 …}
  -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 {#2620 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +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 {#2388 …}
  -formView: Symfony\Component\Form\FormView {#2657 …}
  -form: Symfony\Component\Form\Form {#2807 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1841
    -id: 3022
    -nom: "Pictures at an Exhibition"
    -informationComplementaire: "Plongez dans "Pictures at an Exhibition" d’Emerson, Lake & Palmer, une relecture rock audacieuse et virtuose de Moussorgski, un voyage sonore puissant, capté en live, où chaque note repousse les limites entre classique et modernité."
    -description: """
      Sorti en 1971, "Pictures at an Exhibition" est l’un des projets les plus audacieux du groupe Emerson, Lake & Palmer. Enregistré en public, l’album propose une relecture complète de l’œuvre du compositeur russe Modest Mussorgsky, transformée en fresque rock progressive.\r\n
      \r\n
      Porté par la virtuosité de Keith Emerson aux claviers (orgue Hammond, Moog), la voix et la sensibilité de Greg Lake, ainsi que la précision impressionnante du batteur Carl Palmer, l’album transcende les frontières entre musique classique et rock.\r\n
      \r\n
      Chaque tableau devient un terrain d’expérimentation sonore : alternance de passages grandioses, improvisations explosives, moments acoustiques plus intimes et envolées électroniques avant-gardistes. Le tout conserve l’esprit narratif de l’œuvre originale tout en y injectant l’énergie brute du live.\r\n
      \r\n
      Plus qu’une simple adaptation, "Pictures at an Exhibition" est une véritable fusion artistique, emblématique de l’ambition et de la créativité du rock progressif des années 70.\r\n
      \r\n
      - Emerson, Lake & Palmer Boldly Reimagine Mussorgsky’s Signature "Suite on Pictures at an Exhibition" : 1971 Live Album is a Groundbreaking Fusion of Classical and Prog-Rock Elements, Features Extraordinary Playing !\r\n
      \r\n
      - Mastered at MoFi’s California Studio and Housed in a Stoughton Gatefold Jacket: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM LP Teems with Breadth, Presence, and Dimensionality !\r\n
      \r\n
      - ¼” / 15 IPS Dolby A analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      Emerson, Lake & Palmer were so committed to their visionary interpretation of Modest Mussorgsky’s “Pictures at an Exhibition” that the group recorded it twice. Unsatisfied with the quality of what was supposed to serve as the take for a concert album, ELP booked a different venue to stage another show and paid for production out of their own pocket. Following hours of rehearsals and sound checks, ELP delivered a performance for the ages. Originally issued five months after the band’s sophomore LP Tarkus, Pictures at an Exhibition landed in the Billboard Top Ten and became a linchpin of the prog-rock canon. \r\n
      \r\n
      Mastered at Mobile Fidelity Sound Lab’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, the fabled album comes to life with spectacular dimensionality, breadth, and detail on this numbered-edition 180 gram 33 RPM LP. Featuring dead-quiet surfaces, it doubles as an admission ticket that never expires to the band's March 26, 1971 date at Newcastle City Hall. The primary difference from not being there in person? The levels of clarity, presence, and separation are such that you'll immediately be grateful nobody is impeding your view or gabbing beside you as you soak in one of the most celebrated crossover experiments in history. \r\n
      \r\n
      What you will hear is cut from the best-possible source, and just might be the master. Mobile Fidelity Sound Lab engineers observed that the tape box that contained the source tape is marked “Masters” but cannot definitively confirm that is the case given the tape had no splices or other indications that can be taken as absolute proof that this was a master. As such, the label erred on the side of caution when it came to provenance. The sonic results, however, are definitive. \r\n
      \r\n
      Drop the needle and immerse yourself in this daring, extremely successful reimagining of a piano suite conceived in 1874 by Mussorgsky. ELP had been familiar with the classical piece since the group formed. Keyboardist Keith Emerson had attended an orchestral performance of the work and acquired the score, then floated the idea to his mates that they should adopt at least parts of Pictures at an Exhibition in their live shows. The band soon embraced the challenge of adapting the entire composition for the stage. Once it completed sessions for its sophomore LP, Tarkus, the trio decided to record it for official release. \r\n
      \r\n
      Bolstered by three original additions to the suite and a “Nutrocker” encore that’s a playful rock ‘n’ roll take on Tchaikovsky’s “Nutcracker”, Pictures at an Exhibition simultaneously blurs lines between genres and epitomizes the trio’s virtuosity and verve. Adopting four of the original 10 parts and the two transitory promenade sections, the effort surges with energy, cohesiveness, and extraordinary musicianship. This aural tour of works displayed at a St. Petersburg academy by painter Viktor Hartmann is at once celebratory, theatrical, moody, and glorious. \r\n
      \r\n
      Fans who heard it broadcast in its entirety on a New York radio station immediately realized its merits. Their loud clamor for an official release Atlantic Records had delayed the album due to disagreements with the band regarding how it would be promoted and priced ultimately led to Pictures at an Exhibition streeting in November 1971, further distinguished by William Neal’s artwork and his depictions of oil paintings with imagery connected to ELP.\r\n
      \r\n
      Incorporating four of the 10 movements featured in Mussorgsky’s original suite as well as the recurring “Promenade” theme, ELP’s version of the 1874 composition begins, as it should, with remarkable fanfare. Emerson commences with a pipe organ solo that threatens to make your internal organs vibrate. The fireworks have begun. Fuzz bass, Moog synthesizer, and Hammond organ lay the foundation for the tension-rife “The Gnome” and, minutes later, Greg Lake steers the procession in a different direction via tender acoustic-guitar patterns on the medieval-themed “The Sage”. ELP is feeling it. And how.\r\n
      \r\n
      The trio casts “The Old Castle” as a fast-tempo romp, cedes the spotlight to Emerson on “Blues Variation”, and ups the pace and chase during “The Hut of Baba Yaga”. ELP tint “The Curse of Baba Yaba” with an aptly threatening atmosphere, a trait Palmer underscores with a menacing beat and Emerson increases with his wailing-siren Moog passages. Firing on all proverbial cylinders, the collective finishes its Mussorgsky interpretation with “The Great Gates of Kiev”, an ecstatic gesture that exudes fulfillment, joy, and relief. What a rush.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, piano, Moog synthesizer), Greg Lake (bass, guitar, acoustic guitar, vocals), Carl Palmer (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=QeLzdxjF2Xs&list=RDQeLzdxjF2Xs&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-617"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Promenade"
      ]
      [
        "ordre" => 2
        "nom" => "2. The Gnome"
      ]
      [
        "ordre" => 3
        "nom" => "3. Promenade"
      ]
      [
        "ordre" => 4
        "nom" => "4. The Sage"
      ]
      [
        "ordre" => 5
        "nom" => "5. The Old Castle"
      ]
      [
        "ordre" => 6
        "nom" => "6. Blues Variation "
      ]
      [
        "ordre" => 7
        "nom" => "Side B : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Promenade"
      ]
      [
        "ordre" => 9
        "nom" => "2. The Hut of Baba Yaga"
      ]
      [
        "ordre" => 10
        "nom" => "3. The Curse of Baba Yaga"
      ]
      [
        "ordre" => 11
        "nom" => "4. The Hut of Baba Yaga"
      ]
      [
        "ordre" => 12
        "nom" => "5. The Great Gates of Kiev"
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …}
    -enregistreLe: DateTime @1773784509 {#1896
      date: 2026-03-17 21:55:09.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1773785705 {#1889
      date: 2026-03-17 22:15:05.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-pictures-at-an-exhibition-mobile-fidelity-sound-lab-mfsl-1-617"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3082
  -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 {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#1841
    -id: 3022
    -nom: "Pictures at an Exhibition"
    -informationComplementaire: "Plongez dans "Pictures at an Exhibition" d’Emerson, Lake & Palmer, une relecture rock audacieuse et virtuose de Moussorgski, un voyage sonore puissant, capté en live, où chaque note repousse les limites entre classique et modernité."
    -description: """
      Sorti en 1971, "Pictures at an Exhibition" est l’un des projets les plus audacieux du groupe Emerson, Lake & Palmer. Enregistré en public, l’album propose une relecture complète de l’œuvre du compositeur russe Modest Mussorgsky, transformée en fresque rock progressive.\r\n
      \r\n
      Porté par la virtuosité de Keith Emerson aux claviers (orgue Hammond, Moog), la voix et la sensibilité de Greg Lake, ainsi que la précision impressionnante du batteur Carl Palmer, l’album transcende les frontières entre musique classique et rock.\r\n
      \r\n
      Chaque tableau devient un terrain d’expérimentation sonore : alternance de passages grandioses, improvisations explosives, moments acoustiques plus intimes et envolées électroniques avant-gardistes. Le tout conserve l’esprit narratif de l’œuvre originale tout en y injectant l’énergie brute du live.\r\n
      \r\n
      Plus qu’une simple adaptation, "Pictures at an Exhibition" est une véritable fusion artistique, emblématique de l’ambition et de la créativité du rock progressif des années 70.\r\n
      \r\n
      - Emerson, Lake & Palmer Boldly Reimagine Mussorgsky’s Signature "Suite on Pictures at an Exhibition" : 1971 Live Album is a Groundbreaking Fusion of Classical and Prog-Rock Elements, Features Extraordinary Playing !\r\n
      \r\n
      - Mastered at MoFi’s California Studio and Housed in a Stoughton Gatefold Jacket: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM LP Teems with Breadth, Presence, and Dimensionality !\r\n
      \r\n
      - ¼” / 15 IPS Dolby A analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      Emerson, Lake & Palmer were so committed to their visionary interpretation of Modest Mussorgsky’s “Pictures at an Exhibition” that the group recorded it twice. Unsatisfied with the quality of what was supposed to serve as the take for a concert album, ELP booked a different venue to stage another show and paid for production out of their own pocket. Following hours of rehearsals and sound checks, ELP delivered a performance for the ages. Originally issued five months after the band’s sophomore LP Tarkus, Pictures at an Exhibition landed in the Billboard Top Ten and became a linchpin of the prog-rock canon. \r\n
      \r\n
      Mastered at Mobile Fidelity Sound Lab’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, the fabled album comes to life with spectacular dimensionality, breadth, and detail on this numbered-edition 180 gram 33 RPM LP. Featuring dead-quiet surfaces, it doubles as an admission ticket that never expires to the band's March 26, 1971 date at Newcastle City Hall. The primary difference from not being there in person? The levels of clarity, presence, and separation are such that you'll immediately be grateful nobody is impeding your view or gabbing beside you as you soak in one of the most celebrated crossover experiments in history. \r\n
      \r\n
      What you will hear is cut from the best-possible source, and just might be the master. Mobile Fidelity Sound Lab engineers observed that the tape box that contained the source tape is marked “Masters” but cannot definitively confirm that is the case given the tape had no splices or other indications that can be taken as absolute proof that this was a master. As such, the label erred on the side of caution when it came to provenance. The sonic results, however, are definitive. \r\n
      \r\n
      Drop the needle and immerse yourself in this daring, extremely successful reimagining of a piano suite conceived in 1874 by Mussorgsky. ELP had been familiar with the classical piece since the group formed. Keyboardist Keith Emerson had attended an orchestral performance of the work and acquired the score, then floated the idea to his mates that they should adopt at least parts of Pictures at an Exhibition in their live shows. The band soon embraced the challenge of adapting the entire composition for the stage. Once it completed sessions for its sophomore LP, Tarkus, the trio decided to record it for official release. \r\n
      \r\n
      Bolstered by three original additions to the suite and a “Nutrocker” encore that’s a playful rock ‘n’ roll take on Tchaikovsky’s “Nutcracker”, Pictures at an Exhibition simultaneously blurs lines between genres and epitomizes the trio’s virtuosity and verve. Adopting four of the original 10 parts and the two transitory promenade sections, the effort surges with energy, cohesiveness, and extraordinary musicianship. This aural tour of works displayed at a St. Petersburg academy by painter Viktor Hartmann is at once celebratory, theatrical, moody, and glorious. \r\n
      \r\n
      Fans who heard it broadcast in its entirety on a New York radio station immediately realized its merits. Their loud clamor for an official release Atlantic Records had delayed the album due to disagreements with the band regarding how it would be promoted and priced ultimately led to Pictures at an Exhibition streeting in November 1971, further distinguished by William Neal’s artwork and his depictions of oil paintings with imagery connected to ELP.\r\n
      \r\n
      Incorporating four of the 10 movements featured in Mussorgsky’s original suite as well as the recurring “Promenade” theme, ELP’s version of the 1874 composition begins, as it should, with remarkable fanfare. Emerson commences with a pipe organ solo that threatens to make your internal organs vibrate. The fireworks have begun. Fuzz bass, Moog synthesizer, and Hammond organ lay the foundation for the tension-rife “The Gnome” and, minutes later, Greg Lake steers the procession in a different direction via tender acoustic-guitar patterns on the medieval-themed “The Sage”. ELP is feeling it. And how.\r\n
      \r\n
      The trio casts “The Old Castle” as a fast-tempo romp, cedes the spotlight to Emerson on “Blues Variation”, and ups the pace and chase during “The Hut of Baba Yaga”. ELP tint “The Curse of Baba Yaba” with an aptly threatening atmosphere, a trait Palmer underscores with a menacing beat and Emerson increases with his wailing-siren Moog passages. Firing on all proverbial cylinders, the collective finishes its Mussorgsky interpretation with “The Great Gates of Kiev”, an ecstatic gesture that exudes fulfillment, joy, and relief. What a rush.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, piano, Moog synthesizer), Greg Lake (bass, guitar, acoustic guitar, vocals), Carl Palmer (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=QeLzdxjF2Xs&list=RDQeLzdxjF2Xs&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-617"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Promenade"
      ]
      [
        "ordre" => 2
        "nom" => "2. The Gnome"
      ]
      [
        "ordre" => 3
        "nom" => "3. Promenade"
      ]
      [
        "ordre" => 4
        "nom" => "4. The Sage"
      ]
      [
        "ordre" => 5
        "nom" => "5. The Old Castle"
      ]
      [
        "ordre" => 6
        "nom" => "6. Blues Variation "
      ]
      [
        "ordre" => 7
        "nom" => "Side B : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Promenade"
      ]
      [
        "ordre" => 9
        "nom" => "2. The Hut of Baba Yaga"
      ]
      [
        "ordre" => 10
        "nom" => "3. The Curse of Baba Yaga"
      ]
      [
        "ordre" => 11
        "nom" => "4. The Hut of Baba Yaga"
      ]
      [
        "ordre" => 12
        "nom" => "5. The Great Gates of Kiev"
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …}
    -enregistreLe: DateTime @1773784509 {#1896
      date: 2026-03-17 21:55:09.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1773785705 {#1889
      date: 2026-03-17 22:15:05.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-pictures-at-an-exhibition-mobile-fidelity-sound-lab-mfsl-1-617"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …}
}

[
  "produit" => App\Entity\Produit {#2035
    -id: 3021
    -nom: "What Were Once Vices Are Now Habits - (2 LP) 45 RPM"
    -informationComplementaire: "Entre rock, soul et liberté californienne, "What Were Once Vices Are Now Habits" capture l’esprit d’une époque en mutation, porté par le hit intemporel "Black Water". Un classique chaleureux aux harmonies inoubliables signé The Doobie Brothers."
    -description: """
      Sorti en 1974, "What Were Once Vices Are Now Habits" marque un tournant majeur dans la carrière des Doobie Brothers. L’album mélange avec fluidité rock, folk, country et soul, tout en affirmant une identité sonore plus riche et plus maîtrisée que leurs précédents projets.\r\n
      \r\n
      Porté par le succès phénoménal du titre "Black Water", premier numéro 1 du groupe, cet opus incarne à la fois l’énergie brute de la scène californienne et une maturité musicale nouvelle, notamment grâce à l’apport de Patrick Simmons et Tom Johnston, dont les styles se complètent parfaitement.\r\n
      \r\n
      Entre harmonies vocales soignées, guitares chaleureuses et influences sudistes, l’album oscille entre insouciance et introspection, explorant les excès, les contradictions et l’évolution personnelle comme le suggère son titre.\r\n
      \r\n
      Un disque charnière, à la fois accessible et profond, qui consolide définitivement la place des Doobie Brothers dans le paysage rock des années 70.\r\n
      \r\n
      Musicians : \r\n
      Tom Johnston, Patrick Simmons (acoustic & electric guitars, lead & backing vocals), Tiran Porter (bass, backing vocals), John Hartman (drums, percussion), Michael Hossack (drums), Keith Knudsen (drums, backing vocals), Jeff “Skunk” Baxter (pedal steel guitar), Bill Payne (organ, piano, clavinet), James Booker (piano), Arlo Guthrie (autoharp), Eddie Guzman (congas, timbales, percussion), Milt Holland (tabla, vibraphone, marimba, pandeiro, percussion), The Memphis Horns : Wayne Jackson (trumpet), Andrew Love (tenor saxophone), James Mitchell (baritone saxophone), Jack Hale (trombone), Novi Novog (viola), Ted Templeman (percussion). \r\n
      \r\n
      - The Doobie Brothers Expand Their Palette on the Soulful What Were Once Vices Are Now Habits: Double-Platinum Album Features the N° 1 Hit “Black Water” and the Memphis Horns !\r\n
      \r\n
      - Hear the Feel-Good 1974 Record in Reference-Grade Sound: Mobile Fidelity’s Numbered-Edition 180 gram 45 RPM (2 LP) Set Plays with Striking Clarity, Dynamics, and Presence !\r\n
      \r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      "And I ain't got no worries / 'Cause I ain't in no hurry at all". The capstone to the chorus of the Doobie Brothers' N° 1 hit "Black Water" sums up the feel-good emotions and Southern-styled charm of What Were Once Vices Are Now Habits. As the group's most diverse and ambitious effort upon its release in 1974, the album finds the sextet expanding its stylistic parameters while holding firm on its signature blend of rock, country, and R&B. More than five decades later, it stands along with the band's other early and mid-70s records as an indispensable staple of a Hall of Fame career. \r\n
      \r\n
      And now, it plays with reference-grade sonics. Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180 gram 45 RPM (2 LP) of What Were Once Vices Are Now Habits affords the work the luxurious room of a 45 RPM version for the first time. Because of the wider grooves, the music benefits from extraordinary soundstages, ultra-quiet backgrounds, big dynamics, and spot-on imaging. Everything sounds crisp and clear. \r\n
      \r\n
      From the decision to run acoustic guitars through Leslie speakers on “Another Park, Another Sunday” to the naturalism of the shaded vocal harmonies that grace the memorable refrains to the famous a capella parts of “Black Water”, the brilliance of Ted Templeman’s production shines. Akin to Toulouse Street and The Captain and Me, nothing is overdone. \r\n
      \r\n
      Aspects that make the songs welcoming and digestible voices that naturally rise and fall, notes that carry and decay, bass lines you can follow from beginning to end, strategically placed percussive details, warm tones, well-defined separation between the players come across on this collectible reissue with effortless presence, balance, and realism. As for the spaciousness? Listen to a few bars of the opening “Song to See You Through” and try not to shake your head in disbelief at what you hear.\r\n
      \r\n
      Just as important as the sound, What Were Once Vices Are Now Habits pulls you in with one memorable tune after another. It’s a collective effort, with the material reflecting the strengths of each member and their special guests. At every turn, the record defies easy categorization yet sparks with amiable vibes built for cruising down the highway, hanging out on a lazy afternoon, and throwing a few cold ones back on a hot day. \r\n
      \r\n
      Having reached #4 on the Billboard Album charts, spawned three singles, and sold more than two million copies, it's safe to say the public wanted a piece of what the Doobie Brothers were slinging. Besides, who could resist? \r\n
      \r\n
      The band invited the Memphis Horns to inject brassy soul on three tracks. It secured Steely Dan virtuoso Jeff “Skunk” Baxter to supply pedal-steel guitar on “Tell Me What You Want (And I’ll Give You What You Need)” and recruited Arlo Guthrie to play autoharp on the same cut. The Doobie Brothers sat legendary New Orleans pianist James Booker at the 88s for “Down in the Track”. They tapped Little Feat co-founder Bill Payne to lay down organ on two songs and clavinet on another. The instrumental expansion extends to Novi Novog bowing the viola, Eddie Guzman tapping congas, and Milt Holland tackling tabla, vibraphone, marimba, and pandeiro. \r\n
      \r\n
      The fruits of those labors, as well as the sharp songwriting of band anchors Tom Johnston and Patrick Simmons, resonate amid a record without a dull moment over its nearly 45 minute length. The Doobie Brothers’ loose boogies, swaggering strolls, country-leaning reflections, and let-your-hair-down romps buzz with magnetic riffs, swampy grooves, and seamless matrices of acoustic and electric guitar chords. They're in evidence on the back-and-forth grit of “Road Angel,” swagger of “Pursuit on 53rd St.”, rhythmic quick-step of “Eyes of Silver”, and prog devices of “Daughters of the Sea”. \r\n
      \r\n
      To paraphrase the band on “Tell Me What You Want (And I’ll Give You What You Need)” : Easy, cool, and breezy. What a feeling, indeed.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Tom Johnston, Patrick Simmons (acoustic & electric guitars, lead & backing vocals), Tiran Porter (bass, backing vocals), John Hartman (drums, percussion), Michael Hossack (drums), Keith Knudsen (drums, backing vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
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    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-598"
    -titreMorceau: [
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        "nom" => "3. Down in the Track "
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      [
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        "ordre" => 13
        "nom" => "1. Another Park, Another Sunday"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2037 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -slug: "vinyles-what-were-once-vices-are-now-habits-2-lp-45-rpm-mobile-fidelity-sound-lab-mfsl-2-598"
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App\Twig\Components\GestionPanierFavoriComponents {#3196
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2035
    -id: 3021
    -nom: "What Were Once Vices Are Now Habits - (2 LP) 45 RPM"
    -informationComplementaire: "Entre rock, soul et liberté californienne, "What Were Once Vices Are Now Habits" capture l’esprit d’une époque en mutation, porté par le hit intemporel "Black Water". Un classique chaleureux aux harmonies inoubliables signé The Doobie Brothers."
    -description: """
      Sorti en 1974, "What Were Once Vices Are Now Habits" marque un tournant majeur dans la carrière des Doobie Brothers. L’album mélange avec fluidité rock, folk, country et soul, tout en affirmant une identité sonore plus riche et plus maîtrisée que leurs précédents projets.\r\n
      \r\n
      Porté par le succès phénoménal du titre "Black Water", premier numéro 1 du groupe, cet opus incarne à la fois l’énergie brute de la scène californienne et une maturité musicale nouvelle, notamment grâce à l’apport de Patrick Simmons et Tom Johnston, dont les styles se complètent parfaitement.\r\n
      \r\n
      Entre harmonies vocales soignées, guitares chaleureuses et influences sudistes, l’album oscille entre insouciance et introspection, explorant les excès, les contradictions et l’évolution personnelle comme le suggère son titre.\r\n
      \r\n
      Un disque charnière, à la fois accessible et profond, qui consolide définitivement la place des Doobie Brothers dans le paysage rock des années 70.\r\n
      \r\n
      Musicians : \r\n
      Tom Johnston, Patrick Simmons (acoustic & electric guitars, lead & backing vocals), Tiran Porter (bass, backing vocals), John Hartman (drums, percussion), Michael Hossack (drums), Keith Knudsen (drums, backing vocals), Jeff “Skunk” Baxter (pedal steel guitar), Bill Payne (organ, piano, clavinet), James Booker (piano), Arlo Guthrie (autoharp), Eddie Guzman (congas, timbales, percussion), Milt Holland (tabla, vibraphone, marimba, pandeiro, percussion), The Memphis Horns : Wayne Jackson (trumpet), Andrew Love (tenor saxophone), James Mitchell (baritone saxophone), Jack Hale (trombone), Novi Novog (viola), Ted Templeman (percussion). \r\n
      \r\n
      - The Doobie Brothers Expand Their Palette on the Soulful What Were Once Vices Are Now Habits: Double-Platinum Album Features the N° 1 Hit “Black Water” and the Memphis Horns !\r\n
      \r\n
      - Hear the Feel-Good 1974 Record in Reference-Grade Sound: Mobile Fidelity’s Numbered-Edition 180 gram 45 RPM (2 LP) Set Plays with Striking Clarity, Dynamics, and Presence !\r\n
      \r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      "And I ain't got no worries / 'Cause I ain't in no hurry at all". The capstone to the chorus of the Doobie Brothers' N° 1 hit "Black Water" sums up the feel-good emotions and Southern-styled charm of What Were Once Vices Are Now Habits. As the group's most diverse and ambitious effort upon its release in 1974, the album finds the sextet expanding its stylistic parameters while holding firm on its signature blend of rock, country, and R&B. More than five decades later, it stands along with the band's other early and mid-70s records as an indispensable staple of a Hall of Fame career. \r\n
      \r\n
      And now, it plays with reference-grade sonics. Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180 gram 45 RPM (2 LP) of What Were Once Vices Are Now Habits affords the work the luxurious room of a 45 RPM version for the first time. Because of the wider grooves, the music benefits from extraordinary soundstages, ultra-quiet backgrounds, big dynamics, and spot-on imaging. Everything sounds crisp and clear. \r\n
      \r\n
      From the decision to run acoustic guitars through Leslie speakers on “Another Park, Another Sunday” to the naturalism of the shaded vocal harmonies that grace the memorable refrains to the famous a capella parts of “Black Water”, the brilliance of Ted Templeman’s production shines. Akin to Toulouse Street and The Captain and Me, nothing is overdone. \r\n
      \r\n
      Aspects that make the songs welcoming and digestible voices that naturally rise and fall, notes that carry and decay, bass lines you can follow from beginning to end, strategically placed percussive details, warm tones, well-defined separation between the players come across on this collectible reissue with effortless presence, balance, and realism. As for the spaciousness? Listen to a few bars of the opening “Song to See You Through” and try not to shake your head in disbelief at what you hear.\r\n
      \r\n
      Just as important as the sound, What Were Once Vices Are Now Habits pulls you in with one memorable tune after another. It’s a collective effort, with the material reflecting the strengths of each member and their special guests. At every turn, the record defies easy categorization yet sparks with amiable vibes built for cruising down the highway, hanging out on a lazy afternoon, and throwing a few cold ones back on a hot day. \r\n
      \r\n
      Having reached #4 on the Billboard Album charts, spawned three singles, and sold more than two million copies, it's safe to say the public wanted a piece of what the Doobie Brothers were slinging. Besides, who could resist? \r\n
      \r\n
      The band invited the Memphis Horns to inject brassy soul on three tracks. It secured Steely Dan virtuoso Jeff “Skunk” Baxter to supply pedal-steel guitar on “Tell Me What You Want (And I’ll Give You What You Need)” and recruited Arlo Guthrie to play autoharp on the same cut. The Doobie Brothers sat legendary New Orleans pianist James Booker at the 88s for “Down in the Track”. They tapped Little Feat co-founder Bill Payne to lay down organ on two songs and clavinet on another. The instrumental expansion extends to Novi Novog bowing the viola, Eddie Guzman tapping congas, and Milt Holland tackling tabla, vibraphone, marimba, and pandeiro. \r\n
      \r\n
      The fruits of those labors, as well as the sharp songwriting of band anchors Tom Johnston and Patrick Simmons, resonate amid a record without a dull moment over its nearly 45 minute length. The Doobie Brothers’ loose boogies, swaggering strolls, country-leaning reflections, and let-your-hair-down romps buzz with magnetic riffs, swampy grooves, and seamless matrices of acoustic and electric guitar chords. They're in evidence on the back-and-forth grit of “Road Angel,” swagger of “Pursuit on 53rd St.”, rhythmic quick-step of “Eyes of Silver”, and prog devices of “Daughters of the Sea”. \r\n
      \r\n
      To paraphrase the band on “Tell Me What You Want (And I’ll Give You What You Need)” : Easy, cool, and breezy. What a feeling, indeed.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Tom Johnston, Patrick Simmons (acoustic & electric guitars, lead & backing vocals), Tiran Porter (bass, backing vocals), John Hartman (drums, percussion), Michael Hossack (drums), Keith Knudsen (drums, backing vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=RsP3rFJJk1Y&list=RDRsP3rFJJk1Y&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-598"
    -titreMorceau: [
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2037 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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[
  "produit" => App\Entity\Produit {#2051
    -id: 3013
    -nom: "Brain Salad Surgery"
    -informationComplementaire: null
    -description: """
      - A Most Amazing Show : Emerson, Lake & Palmer’s Brain Salad Surgery Established Prog-Rock Standards, Features the Epic “Karn Evil 9” Suite and Visionary Rendition of Ginastera Piano Concerto !\r\n
      \r\n
      - Experience the 1973 Album in Audiophile Sound and Enjoy the Immersive Feel of the Original Double Gatefold Packaging: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM LP Reveals the Copious Details, Textures, and Depth of the Exceptional Production !\r\n
      \r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      "Welcome back, my friends, to the show that never ends". \r\n
      \r\n
      Famously uttered by bassist-guitarist Greg Lake, those words encapsulate the theatricality, thrills, breadth, and fascination surrounding Brain Salad Surgery Emerson, Lake & Palmer's fourth studio album. Originally released in late 1973, it finds the trio taking front-to-back control of its situation and incorporating several studio firsts. The platinum-certified effort also stands as one of the greatest prog-rock feats in history. Its cohesive blend of musicianship, songwriting, and production set a standard that, decades later, remains revered amid fans and critics alike. \r\n
      \r\n
      Sourced from the original analog master tapes, housed in a deluxe double gatefold Stoughton jacket complete with a fold-out die-cut insert, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP of Brain Salad Surgery presents the record Emerson, Lake & Palmer member Carl Palmer deemed his favorite in audiophile sound. Clear, dynamic, and balanced, this collectible version honors the meticulous approaches that informed the playing and recording of the record.  \r\n
      \r\n
      Featuring black backgrounds and quiet surfaces, Mobile Fidelity’s reissue brings to light the epic scope, tonal depth, and high degree of virtuosity on display. Key characteristics textures, nuances, effects, melodies, tempo changes that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you’ve owned multiple copies of this touchstone or seeking out your first copy, you’ll relish the presence, separation, imaging, and solidity that help make every passage come across as the group intended.  \r\n
      \r\n
      That care extends to the faithful reproduction of the original coveted packaging. Designed by iconic artist H.R. Giger, the cover visually combines an industrial machine with the top half of a human skull along with the now-recognizable ELP logo. A circular screen attached to the right panel opens to reveal another painting that shows a female face, braided hair, and lobotomy scars. On the inside panels, a portrait-style photo of each ELP member is seen within the circular space in Giger’s biomechanical illustration. \r\n
      \r\n
      Chosen for its foreboding look, an aesthetic Keith Emerson felt conveyed the vibe of his band’s music, Giger’s paintings are one aspect of many on Brain Salad Surgery that Emerson, Lake & Palmer ensured adhered to its exacting standards. To optimize the process of making an album from start to finish, the collective established its own label, Manticore Records. Emerson, Lake & Palmer also went whole hog on its rehearsal facilities. \r\n
      \r\n
      After the trio became frustrated by its inability to recreate large swaths of Trilogy recorded on 24 track consoles and filled with overdubs in the live environment, it committed to following an approach that would allow it to develop Brain Salad Surgery in organic fashion. To do so, it needed a space where it could play and write without constraints, and test out the material until it was satisfied. The solution : Emerson, Lake & Palmer purchased a cinema, removed the seats, and transformed it into a practice space.  \r\n
      \r\n
      When it came to the session work, Emerson, Lake & Palmer began at Olympic Studios and continued later that summer at Advision Studios. At the latter, the group became the first to use the then-cutting-edge polyphonic synthesizer in the context of a recording. You can hear it on “Jerusalem”, the band’s take on composer Hubert Parry’s choral adaptation of a William Blake poem. Another remarkable novelty : Palmer’s proto-electronic drums in the middle section of “Toccata”, which became a reality after the crew placed a microphone in each drum in order to trigger a synthesizer. \r\n
      \r\n
      All that results on “Toccata” the group’s thrilling interpretation of Alberto Ginastera’s first piano concerto symbolizes the cacophony, ambition, and brazenness coursing through the record. To state the obvious, Emerson, Lake & Palmer’s prodigious talents as instrumentalists were a given by the time Brain Salad Surgery arrived and quickly ascended to the top quadrant of the US and UK charts. But it’s doubtful the three friends ever played more collaboratively and inspired as they do here. \r\n
      \r\n
      You could write a thesis on “Karn Evil 9” alone. Nearly 30 minutes long and co-written by King Crimson co-founder Peter Sinfield, the prescient tale involving humans and computers evolves over three distinct movements. It finds the band pulling out all the stops, from Emerson’s Minimoog solo that mimics the character of a steelpan to the ferocious collective interplay that helps send the piece out with a flourish. \r\n
      \r\n
      Amid such elevated rock-fusion circumstance on Brain Salad Surgery, the group has the foresight to include a beautiful moment of contrast in the form of the ballad “Still.... You Turn Me On” as fine an example as any of Lake’s ability as a poetic songwriter and finessed guitarist. Emerson contributes atmospheric backgrounds via harpsichord and accordion; Palmer simply rattles a tambourine. Though not technically representative of the other fare on the record, the tune is archetypal of period Emerson, Lake & Palmer in how it demonstrates how far the group could swing from one extreme to another and do so with absolute conviction. \r\n
      \r\n
      A most amazing show, indeed. Step inside, step inside.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, Moog synthesizer, piano),  Greg Lake (bass guitar, acoustic & electric guitars, vocals), Carl Palmer (drums, percussion), Peter Sinfield, John Hendricks (lyrics), Pete Gage (backing vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -limitedEdition: true
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    -extraitYoutube: "https://www.youtube.com/watch?v=zfqyuba-BlA&list=RDzfqyuba-BlA&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-619"
    -titreMorceau: [
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        "nom" => "Side A :"
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        "nom" => "2. Toccata 3."
      ]
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        "nom" => "4. Benny the Bouncer"
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2051
    -id: 3013
    -nom: "Brain Salad Surgery"
    -informationComplementaire: null
    -description: """
      - A Most Amazing Show : Emerson, Lake & Palmer’s Brain Salad Surgery Established Prog-Rock Standards, Features the Epic “Karn Evil 9” Suite and Visionary Rendition of Ginastera Piano Concerto !\r\n
      \r\n
      - Experience the 1973 Album in Audiophile Sound and Enjoy the Immersive Feel of the Original Double Gatefold Packaging: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM LP Reveals the Copious Details, Textures, and Depth of the Exceptional Production !\r\n
      \r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      "Welcome back, my friends, to the show that never ends". \r\n
      \r\n
      Famously uttered by bassist-guitarist Greg Lake, those words encapsulate the theatricality, thrills, breadth, and fascination surrounding Brain Salad Surgery Emerson, Lake & Palmer's fourth studio album. Originally released in late 1973, it finds the trio taking front-to-back control of its situation and incorporating several studio firsts. The platinum-certified effort also stands as one of the greatest prog-rock feats in history. Its cohesive blend of musicianship, songwriting, and production set a standard that, decades later, remains revered amid fans and critics alike. \r\n
      \r\n
      Sourced from the original analog master tapes, housed in a deluxe double gatefold Stoughton jacket complete with a fold-out die-cut insert, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP of Brain Salad Surgery presents the record Emerson, Lake & Palmer member Carl Palmer deemed his favorite in audiophile sound. Clear, dynamic, and balanced, this collectible version honors the meticulous approaches that informed the playing and recording of the record.  \r\n
      \r\n
      Featuring black backgrounds and quiet surfaces, Mobile Fidelity’s reissue brings to light the epic scope, tonal depth, and high degree of virtuosity on display. Key characteristics textures, nuances, effects, melodies, tempo changes that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you’ve owned multiple copies of this touchstone or seeking out your first copy, you’ll relish the presence, separation, imaging, and solidity that help make every passage come across as the group intended.  \r\n
      \r\n
      That care extends to the faithful reproduction of the original coveted packaging. Designed by iconic artist H.R. Giger, the cover visually combines an industrial machine with the top half of a human skull along with the now-recognizable ELP logo. A circular screen attached to the right panel opens to reveal another painting that shows a female face, braided hair, and lobotomy scars. On the inside panels, a portrait-style photo of each ELP member is seen within the circular space in Giger’s biomechanical illustration. \r\n
      \r\n
      Chosen for its foreboding look, an aesthetic Keith Emerson felt conveyed the vibe of his band’s music, Giger’s paintings are one aspect of many on Brain Salad Surgery that Emerson, Lake & Palmer ensured adhered to its exacting standards. To optimize the process of making an album from start to finish, the collective established its own label, Manticore Records. Emerson, Lake & Palmer also went whole hog on its rehearsal facilities. \r\n
      \r\n
      After the trio became frustrated by its inability to recreate large swaths of Trilogy recorded on 24 track consoles and filled with overdubs in the live environment, it committed to following an approach that would allow it to develop Brain Salad Surgery in organic fashion. To do so, it needed a space where it could play and write without constraints, and test out the material until it was satisfied. The solution : Emerson, Lake & Palmer purchased a cinema, removed the seats, and transformed it into a practice space.  \r\n
      \r\n
      When it came to the session work, Emerson, Lake & Palmer began at Olympic Studios and continued later that summer at Advision Studios. At the latter, the group became the first to use the then-cutting-edge polyphonic synthesizer in the context of a recording. You can hear it on “Jerusalem”, the band’s take on composer Hubert Parry’s choral adaptation of a William Blake poem. Another remarkable novelty : Palmer’s proto-electronic drums in the middle section of “Toccata”, which became a reality after the crew placed a microphone in each drum in order to trigger a synthesizer. \r\n
      \r\n
      All that results on “Toccata” the group’s thrilling interpretation of Alberto Ginastera’s first piano concerto symbolizes the cacophony, ambition, and brazenness coursing through the record. To state the obvious, Emerson, Lake & Palmer’s prodigious talents as instrumentalists were a given by the time Brain Salad Surgery arrived and quickly ascended to the top quadrant of the US and UK charts. But it’s doubtful the three friends ever played more collaboratively and inspired as they do here. \r\n
      \r\n
      You could write a thesis on “Karn Evil 9” alone. Nearly 30 minutes long and co-written by King Crimson co-founder Peter Sinfield, the prescient tale involving humans and computers evolves over three distinct movements. It finds the band pulling out all the stops, from Emerson’s Minimoog solo that mimics the character of a steelpan to the ferocious collective interplay that helps send the piece out with a flourish. \r\n
      \r\n
      Amid such elevated rock-fusion circumstance on Brain Salad Surgery, the group has the foresight to include a beautiful moment of contrast in the form of the ballad “Still.... You Turn Me On” as fine an example as any of Lake’s ability as a poetic songwriter and finessed guitarist. Emerson contributes atmospheric backgrounds via harpsichord and accordion; Palmer simply rattles a tambourine. Though not technically representative of the other fare on the record, the tune is archetypal of period Emerson, Lake & Palmer in how it demonstrates how far the group could swing from one extreme to another and do so with absolute conviction. \r\n
      \r\n
      A most amazing show, indeed. Step inside, step inside.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, Moog synthesizer, piano),  Greg Lake (bass guitar, acoustic & electric guitars, vocals), Carl Palmer (drums, percussion), Peter Sinfield, John Hendricks (lyrics), Pete Gage (backing vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=zfqyuba-BlA&list=RDzfqyuba-BlA&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-619"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
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        "nom" => "1. Jerusalem"
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        "ordre" => 2
        "nom" => "2. Toccata 3."
      ]
      [
        "ordre" => 3
        "nom" => "Still.... You Turn Me On"
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        "nom" => "4. Benny the Bouncer"
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        "nom" => "5. Karn Evil 9 : 1st Impression - Part 1 "
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        "nom" => "Side B : "
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        "nom" => "1. Karn Evil 9 : 1st Impression - Part 2"
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        "nom" => "2. Karn Evil 9 : 2nd Impression"
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        "nom" => "3. Karn Evil 9 : 3rd Impression"
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        "nom" => "4. Andrew White Ted Dunbar Buster Williams Billy Hart Mtume Songai"
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    -disponible: null
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}

[
  "produit" => App\Entity\Produit {#2066
    -id: 3012
    -nom: "Tarkus  (Limited Numbered Edition)"
    -informationComplementaire: null
    -description: """
      - Emerson, Lake & Palmer Push Creative Boundaries on Tarkus, 1971 Prog Staple Features Theatrical Title Track, Diverse Arrangements, and Iconic Armadillo-Themed Cover Art !\r\n
      \r\n
      - Mastered at MoFi’s California Studio and Pressed at Fidelity Record Pressing: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM LP Plays with Rich, Detailed Sound and Exceptional Definition !\r\n
      \r\n
      - 1/4" / 15 IPS analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      Tarkus likely remains the only album in existence that links jazz luminary Dave Brubeck, Russian composer Sergei Prokofiev, recording engineer Eddy Offord, Argentine composer Alberto Ginastera, American genius Frank Zappa, and German multi-hyphenate Johann Sebastian Bach. At once diverse, ambitious, and complex, Emerson, Lake & Palmer’s sophomore statement proved fantastically successful and accessible. It reached No. 1 on the UK Albums Chart and, in the U.S., climbed into the Top 10. The 1971 effort also propelled the British group to the forefront of the concert scene and became instantly identifiable via its now-iconic cover art.\r\n
      \r\n
      Mastered at MoFi’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP of Tarkus presents the gold-certified effort in audiophile sound. Clear, dynamic, and balanced, the collectible edition honors the fastidious approaches that informed the playing and recording of the record. With black backgrounds, dead-quiet surfaces, and exceptional definition, this reissue brings to light the tonal depth and virtuosic musicianship on display. \r\n
      \r\n
      Traits textures, nuances, effects, melodies, tempo changes that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with finite detail. You’ll relish the separation, imaging, and timing that help make every song come across with involving presence and realism. These sonic signposts extend to the snorkel-tube-inspired Moog synthesizer on “Aquatarkus”, the St. Mark’s Church pipe organ on “The Only Way (Hymn)”, and the improvisational jamming and hollering on the lighthearted rave-up “Are You Ready Eddy ?”.\r\n
      \r\n
      Anchored by the theatrical title track a nearly 21 minute-long epic that charts the life of the armadillo creature from birth to the aftermath of his defeat in a battle with a manticore Tarkus briefly created a rift in the supergroup’s then-thriving chemistry. The reason : The architecture and direction keyboardist Keith Emerson pursued with “Tarkus”. \r\n
      \r\n
      Based on 10/8 and 5/4 time signatures, the dexterous suite initially frustrated guitarist-singer Greg Lake, who soon came around to both playing on it and writing its anti-war narrative. A seven-part journey in which peacefulness and violence, calm and clamor, and flourishes and marches unfold within the sonically metaphorical framework, “Tarkus” looms as one of the finest prog compositions ever performed. \r\n
      \r\n
      The album’s second half prominently displays Emerson, Lake & Palmer’s expansive range with concise songs and, in two spots, its sense of humor. Made and sequenced on Tarkus to give listeners a breather after the demanding opener, “Jeremy Bender” unfolds with honky-tonk pianos and percussive hand claps. An homage to Brubeck’s “Count Down”, the tumbling “Bitches Crystal” doubles as a showcase for Emerson’s impeccable piano skills. The keyboardist also takes center stage on “The Only Way (Hymn)”, which folds bold religious contemplation with a segue into the jazz-fueled instrumental “Infinite Space”. \r\n
      \r\n
      Free of drum solos, acoustic ballads, and cerebral interludes, Tarkus differs from its equally esteemed predecessor but finds Emerson, Lake & Palmer again hitting on all cylinders as a band seemingly capable of playing any style at any pace. Reflecting on the album more than 40 years later, Emerson rightly stated : “It offers a lot for the advancement of musicians. If anyone wants to get into progressive rock music... provides the elements. You’ve got a lot going on with Tarkus”.\r\n
      \r\n
      That extends to William Neal’s vibrant cover art. Born out of a somewhat innocuous doodle, the final design which memorably omits the band’s name, contains the skeletal remains of an eaten lizard, and famously features a red-eyed armadillo transformed into a hybrid tank replete with guns and treads reflects the title track’s storyline and dovetails with Neal’s other narrative-associated drawings in the sleeve. From the first to the last note, from the cover to the final illustration, Tarkus is the complete package.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, piano, Moog synthesizer),  Greg Lake (bass guitar, guitar, electric & acoustic guitar, vocals), Carl Palmer (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=uiP239pFac0&list=RDuiP239pFac0&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-577"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Tarkus"
      ]
      [
        "ordre" => 2
        "nom" => "I. Eruption -"
      ]
      [
        "ordre" => 3
        "nom" => "II. Stones of Years -"
      ]
      [
        "ordre" => 4
        "nom" => "III. Iconoclast -"
      ]
      [
        "ordre" => 5
        "nom" => "IV. Mass -"
      ]
      [
        "ordre" => 6
        "nom" => "V. Manticore -"
      ]
      [
        "ordre" => 7
        "nom" => "VI. Battlefield -"
      ]
      [
        "ordre" => 8
        "nom" => "VII. Aquatarkus "
      ]
      [
        "ordre" => 9
        "nom" => "Side B : "
      ]
      [
        "ordre" => 10
        "nom" => "1. Jeremy Bender"
      ]
      [
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        "nom" => "2. Bitches Crystal"
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      [
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        "nom" => "3. The Only Way (Hymn)"
      ]
      [
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        "nom" => "4. Infinite Space (Conclusion)"
      ]
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        "nom" => "5. A Time and a Place"
      ]
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        "nom" => "6. Are You Ready Eddy ?"
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        "nom" => ""
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        "nom" => ""
      ]
      [
        "ordre" => 18
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2071 …}
    -disponible: null
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    -slug: "vinyles-tarkus-limited-numbered-edition-mobile-fidelity-sound-lab-mfsl-1-577"
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App\Twig\Components\GestionPanierFavoriComponents {#3297
  -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 {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2066
    -id: 3012
    -nom: "Tarkus  (Limited Numbered Edition)"
    -informationComplementaire: null
    -description: """
      - Emerson, Lake & Palmer Push Creative Boundaries on Tarkus, 1971 Prog Staple Features Theatrical Title Track, Diverse Arrangements, and Iconic Armadillo-Themed Cover Art !\r\n
      \r\n
      - Mastered at MoFi’s California Studio and Pressed at Fidelity Record Pressing: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM LP Plays with Rich, Detailed Sound and Exceptional Definition !\r\n
      \r\n
      - 1/4" / 15 IPS analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      Tarkus likely remains the only album in existence that links jazz luminary Dave Brubeck, Russian composer Sergei Prokofiev, recording engineer Eddy Offord, Argentine composer Alberto Ginastera, American genius Frank Zappa, and German multi-hyphenate Johann Sebastian Bach. At once diverse, ambitious, and complex, Emerson, Lake & Palmer’s sophomore statement proved fantastically successful and accessible. It reached No. 1 on the UK Albums Chart and, in the U.S., climbed into the Top 10. The 1971 effort also propelled the British group to the forefront of the concert scene and became instantly identifiable via its now-iconic cover art.\r\n
      \r\n
      Mastered at MoFi’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP of Tarkus presents the gold-certified effort in audiophile sound. Clear, dynamic, and balanced, the collectible edition honors the fastidious approaches that informed the playing and recording of the record. With black backgrounds, dead-quiet surfaces, and exceptional definition, this reissue brings to light the tonal depth and virtuosic musicianship on display. \r\n
      \r\n
      Traits textures, nuances, effects, melodies, tempo changes that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with finite detail. You’ll relish the separation, imaging, and timing that help make every song come across with involving presence and realism. These sonic signposts extend to the snorkel-tube-inspired Moog synthesizer on “Aquatarkus”, the St. Mark’s Church pipe organ on “The Only Way (Hymn)”, and the improvisational jamming and hollering on the lighthearted rave-up “Are You Ready Eddy ?”.\r\n
      \r\n
      Anchored by the theatrical title track a nearly 21 minute-long epic that charts the life of the armadillo creature from birth to the aftermath of his defeat in a battle with a manticore Tarkus briefly created a rift in the supergroup’s then-thriving chemistry. The reason : The architecture and direction keyboardist Keith Emerson pursued with “Tarkus”. \r\n
      \r\n
      Based on 10/8 and 5/4 time signatures, the dexterous suite initially frustrated guitarist-singer Greg Lake, who soon came around to both playing on it and writing its anti-war narrative. A seven-part journey in which peacefulness and violence, calm and clamor, and flourishes and marches unfold within the sonically metaphorical framework, “Tarkus” looms as one of the finest prog compositions ever performed. \r\n
      \r\n
      The album’s second half prominently displays Emerson, Lake & Palmer’s expansive range with concise songs and, in two spots, its sense of humor. Made and sequenced on Tarkus to give listeners a breather after the demanding opener, “Jeremy Bender” unfolds with honky-tonk pianos and percussive hand claps. An homage to Brubeck’s “Count Down”, the tumbling “Bitches Crystal” doubles as a showcase for Emerson’s impeccable piano skills. The keyboardist also takes center stage on “The Only Way (Hymn)”, which folds bold religious contemplation with a segue into the jazz-fueled instrumental “Infinite Space”. \r\n
      \r\n
      Free of drum solos, acoustic ballads, and cerebral interludes, Tarkus differs from its equally esteemed predecessor but finds Emerson, Lake & Palmer again hitting on all cylinders as a band seemingly capable of playing any style at any pace. Reflecting on the album more than 40 years later, Emerson rightly stated : “It offers a lot for the advancement of musicians. If anyone wants to get into progressive rock music... provides the elements. You’ve got a lot going on with Tarkus”.\r\n
      \r\n
      That extends to William Neal’s vibrant cover art. Born out of a somewhat innocuous doodle, the final design which memorably omits the band’s name, contains the skeletal remains of an eaten lizard, and famously features a red-eyed armadillo transformed into a hybrid tank replete with guns and treads reflects the title track’s storyline and dovetails with Neal’s other narrative-associated drawings in the sleeve. From the first to the last note, from the cover to the final illustration, Tarkus is the complete package.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, piano, Moog synthesizer),  Greg Lake (bass guitar, guitar, electric & acoustic guitar, vocals), Carl Palmer (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=uiP239pFac0&list=RDuiP239pFac0&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-577"
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        "nom" => "1. Jeremy Bender"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
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    -modifierLe: DateTime @1772959605 {#2061
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2071 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-tarkus-limited-numbered-edition-mobile-fidelity-sound-lab-mfsl-1-577"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …}
}

[
  "produit" => App\Entity\Produit {#2081
    -id: 2903
    -nom: "Rock a Little - (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Stevie Nicks (lead vocals, synthesizers), Rick Nowels (synthesizers, guitars, backing vocals), Bill Payne (synthesizers), Charles Judge (keyboards, synthesizers), Benmont Tench (piano, organ), Greg Phillinganes (keyboards, synthesizers, timpani), Chas Sandford (guitars, bass, drums machine), Bill Cuomo (keyboards), Michael Landau, Waddy Wachtel, Les Dudek, Danny Kortchmar (guitars), George Black (guitars, bass, Linn Drums programming), Kenny Edwards, Bob Glaub, Mike Porcaro (bass), Barney Wilen (saxophone), Sharon Celani, Marilyn Martin, Lori Perry-Nicks, Maria Vidal, Carolyn Brooks (backing vocals), David Kemper (tambourine, percussion), Bobbye Hall (percussion), Steve Jordan, Russ Kunkel, Andy Newmark, Denny Carmassi (drums).\r\n
      \r\n
      - Stevie Nicks Sings for the Things Money Can’t Buy on Rock a Little : Platinum Album Features Extravagant Production, Includes the Hits “Talk to Me” and “I Can’t Wait” !\r\n
      - Mobile Fidelity’s 180 graù 45 RPM (2 LP) Set Presents the 1985 Record in Audiophile Sound for the First Time : Strictly Limited to 4000 Numbered Copies, 40th Anniversary Reissue Plays with Exceptional Balance and Clarity !\r\n
      - 1/4” / 15 IPS Dolby A analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      Looking back on her career in the early 90s, Stevie Nicks described the first track of Rock a Little as “the most exciting song that I had ever heard”. This coming from a superstar who was already closely affiliated with several bajillion-selling Fleetwood Mac albums to say nothing of her own benchmark solo debut. Her remarks attest to the enthusiasm and effort she invested in her third record, a 1985 work that quickly furthered Nicks’ profile and cemented itself as a piece of 80s pop lore.\r\n
      \r\n
      Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, strictly limited to 4000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180 gram 45 RPM (2 LP) set presents Rock a Little in audiophile sound for its 40th anniversary. Helmed by a cadre of producers and engineers, and recorded for a reported one million dollars, the platinum-certified album teems with a head-spinning array of colors, tones, dreamscapes, and accents. This reference-grade reissue marks the first time they are all brought to light and conveyed with proper balance, dimensionality, and positioning. \r\n
      \r\n
      Though Rock a Little doubtlessly has period characteristics of a mid-80s LP, Nicks and company spare no expense when it comes to distinguishing the music with expansive sonics distinguished with lush melodies, high-tech percussion, echoing vocals, sampled keyboards, and layers of sophisticated accents. The degrees of spaciousness, headroom, and dynamics are nothing less than inspiring, while the newly enhanced detail, texture, and clarity make the songs sing like never before. As for Nicks’ voice? Wait ’til you experience the transparency and depth. \r\n
      \r\n
      Those advantages extend, of course, to the aforementioned “I Can’t Wait”, a statement-making opener shot through with modulating synthesizers, splashy drums, metallic guitars, and serious drama. Holed up in a massive studio, Nicks required just one take to nail her part, which she called “magic and simply not able to beat”. The singer-songwriter also distilled the reverberating emotional essence of the Top 20 tune, stating “when I hear it on the radio, this incredible feeling comes over me, like something really incredible is about to happen”.\r\n
      \r\n
      The same can be said for nearly all of Rock a Little. Crafted by the likes of Songwriters Hall of Fame multi-instrumentalist/producer Rick Nowels, Heartbreakers organist Benmont Tench, bassist Bob Glaub, jack-of-all-trades Greg Phillinganes, and session-pro guitarists Waddy Watchel, Les Dudek, and Danny Kortchmar along with another two dozen or so participants the record spills with diverse ideas, shapes, and moods. Everything is in the right place, as evidenced by the swirling glide and sensual undertow of the slightly funky title track to the snapping rhythmic pace and big hooks of “Imperial Hotel”, one of Nicks’ standout moments. \r\n
      \r\n
      “What was it she wanted ?” Nicks queries on “No Spoken Word”, continuing a theme of contemplation that runs through the narratives. Nicks never lands on a definite answer, but hearing her explore loneliness, love, and the secrets we keep to ourselves proves continuously rewarding. Take her passionate performance on a cover of Chas Sanford’s “Talk to Me”, a Top 5 smash furthered by tasteful saxophone lines and understated folk elements. Immersive yourself in the grand sonic corridors of “If I Were You”, laden with Nicks’ signature mysticism. \r\n
      \r\n
      Moreover, surrender to the gravitas of the closing “Has Anyone Ever Written Anything for You”, a piano ballad composed about the death of Joe Walsh’s three-year-old daughter. As Nicks asserts earlier on the album, she sings for things money can’t buy. \r\n
      \r\n
      So, rock a little, yes, but dare to feel even more.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Stevie Nicks (lead vocals, synthesizers), Rick Nowels (synthesizers, guitars, backing vocals), Bill Payne (synthesizers), Charles Judge (keyboards, synthesizers), Benmont Tench (piano, organ)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=fwi-DDHalU0&list=PLVMgMdYqIEka6hAOqw1KeDHcUlZ0-yiUr&index=7"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-603"
    -titreMorceau: [
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        "nom" => "Side A :"
      ]
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      ]
      [
        "ordre" => 2
        "nom" => "2. Rock a Little (Go Ahead Lily)"
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
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        "nom" => "1. Sister Honey"
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        "nom" => "3. Imperial Hotel"
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      [
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      ]
      [
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      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2083 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2092 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2085 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2087 …}
    -enregistreLe: DateTime @1762848951 {#2077
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    }
    -modifierLe: DateTime @1772958485 {#2076
      date: 2026-03-08 08:28:05.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2089 …}
    -disponible: null
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    -slug: "vinyles-rock-a-little-2-lp-45-rpm-mobile-fidelity-sound-lab-mfsl-2-603"
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App\Twig\Components\GestionPanierFavoriComponents {#3343
  -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 {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2081
    -id: 2903
    -nom: "Rock a Little - (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Stevie Nicks (lead vocals, synthesizers), Rick Nowels (synthesizers, guitars, backing vocals), Bill Payne (synthesizers), Charles Judge (keyboards, synthesizers), Benmont Tench (piano, organ), Greg Phillinganes (keyboards, synthesizers, timpani), Chas Sandford (guitars, bass, drums machine), Bill Cuomo (keyboards), Michael Landau, Waddy Wachtel, Les Dudek, Danny Kortchmar (guitars), George Black (guitars, bass, Linn Drums programming), Kenny Edwards, Bob Glaub, Mike Porcaro (bass), Barney Wilen (saxophone), Sharon Celani, Marilyn Martin, Lori Perry-Nicks, Maria Vidal, Carolyn Brooks (backing vocals), David Kemper (tambourine, percussion), Bobbye Hall (percussion), Steve Jordan, Russ Kunkel, Andy Newmark, Denny Carmassi (drums).\r\n
      \r\n
      - Stevie Nicks Sings for the Things Money Can’t Buy on Rock a Little : Platinum Album Features Extravagant Production, Includes the Hits “Talk to Me” and “I Can’t Wait” !\r\n
      - Mobile Fidelity’s 180 graù 45 RPM (2 LP) Set Presents the 1985 Record in Audiophile Sound for the First Time : Strictly Limited to 4000 Numbered Copies, 40th Anniversary Reissue Plays with Exceptional Balance and Clarity !\r\n
      - 1/4” / 15 IPS Dolby A analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      Looking back on her career in the early 90s, Stevie Nicks described the first track of Rock a Little as “the most exciting song that I had ever heard”. This coming from a superstar who was already closely affiliated with several bajillion-selling Fleetwood Mac albums to say nothing of her own benchmark solo debut. Her remarks attest to the enthusiasm and effort she invested in her third record, a 1985 work that quickly furthered Nicks’ profile and cemented itself as a piece of 80s pop lore.\r\n
      \r\n
      Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, strictly limited to 4000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180 gram 45 RPM (2 LP) set presents Rock a Little in audiophile sound for its 40th anniversary. Helmed by a cadre of producers and engineers, and recorded for a reported one million dollars, the platinum-certified album teems with a head-spinning array of colors, tones, dreamscapes, and accents. This reference-grade reissue marks the first time they are all brought to light and conveyed with proper balance, dimensionality, and positioning. \r\n
      \r\n
      Though Rock a Little doubtlessly has period characteristics of a mid-80s LP, Nicks and company spare no expense when it comes to distinguishing the music with expansive sonics distinguished with lush melodies, high-tech percussion, echoing vocals, sampled keyboards, and layers of sophisticated accents. The degrees of spaciousness, headroom, and dynamics are nothing less than inspiring, while the newly enhanced detail, texture, and clarity make the songs sing like never before. As for Nicks’ voice? Wait ’til you experience the transparency and depth. \r\n
      \r\n
      Those advantages extend, of course, to the aforementioned “I Can’t Wait”, a statement-making opener shot through with modulating synthesizers, splashy drums, metallic guitars, and serious drama. Holed up in a massive studio, Nicks required just one take to nail her part, which she called “magic and simply not able to beat”. The singer-songwriter also distilled the reverberating emotional essence of the Top 20 tune, stating “when I hear it on the radio, this incredible feeling comes over me, like something really incredible is about to happen”.\r\n
      \r\n
      The same can be said for nearly all of Rock a Little. Crafted by the likes of Songwriters Hall of Fame multi-instrumentalist/producer Rick Nowels, Heartbreakers organist Benmont Tench, bassist Bob Glaub, jack-of-all-trades Greg Phillinganes, and session-pro guitarists Waddy Watchel, Les Dudek, and Danny Kortchmar along with another two dozen or so participants the record spills with diverse ideas, shapes, and moods. Everything is in the right place, as evidenced by the swirling glide and sensual undertow of the slightly funky title track to the snapping rhythmic pace and big hooks of “Imperial Hotel”, one of Nicks’ standout moments. \r\n
      \r\n
      “What was it she wanted ?” Nicks queries on “No Spoken Word”, continuing a theme of contemplation that runs through the narratives. Nicks never lands on a definite answer, but hearing her explore loneliness, love, and the secrets we keep to ourselves proves continuously rewarding. Take her passionate performance on a cover of Chas Sanford’s “Talk to Me”, a Top 5 smash furthered by tasteful saxophone lines and understated folk elements. Immersive yourself in the grand sonic corridors of “If I Were You”, laden with Nicks’ signature mysticism. \r\n
      \r\n
      Moreover, surrender to the gravitas of the closing “Has Anyone Ever Written Anything for You”, a piano ballad composed about the death of Joe Walsh’s three-year-old daughter. As Nicks asserts earlier on the album, she sings for things money can’t buy. \r\n
      \r\n
      So, rock a little, yes, but dare to feel even more.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Stevie Nicks (lead vocals, synthesizers), Rick Nowels (synthesizers, guitars, backing vocals), Bill Payne (synthesizers), Charles Judge (keyboards, synthesizers), Benmont Tench (piano, organ)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=fwi-DDHalU0&list=PLVMgMdYqIEka6hAOqw1KeDHcUlZ0-yiUr&index=7"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-603"
    -titreMorceau: [
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        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. I Can’t Wait"
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      [
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        "nom" => "2. Rock a Little (Go Ahead Lily)"
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      [
        "ordre" => 3
        "nom" => "Side B : "
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      [
        "ordre" => 4
        "nom" => "1. Sister Honey"
      ]
      [
        "ordre" => 5
        "nom" => "2. I Sing for the Things"
      ]
      [
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        "nom" => "3. Imperial Hotel"
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      [
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        "nom" => "Side C :"
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        "nom" => "2. Talk to Me"
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      [
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      ]
      [
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2083 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2092 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2085 …}
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    }
    -modifierLe: DateTime @1772958485 {#2076
      date: 2026-03-08 08:28:05.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2089 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-rock-a-little-2-lp-45-rpm-mobile-fidelity-sound-lab-mfsl-2-603"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …}
}

[
  "produit" => App\Entity\Produit {#2099
    -id: 1419
    -nom: "JT"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      James Taylor (acoustic guitar, electric guitar, vocals), Danny Kortchmar (electric guitar, acoustic guitar), Lee Ritenour (electric guitar), Leland Sklar (bass guitar), Carole King (piano, backing vocals), David Sanborn, Michael Brecker (saxophone), Clarence McDonald (keyboards, piano), Ralph MacDonald (percussion), Russ Kunkel (drums, percussion).\r\n
      \r\n
      - Triple-Platinum Album Reestablished James Taylor's Prominent Place in the Folk-Rock Community : JT Finds Singer Alternating Between Shade and Light !\r\n
      - Warmth, Immediacy, and Intimacy: Mobile Fidelity's Numbered-Edition 180 gram 33 RPM LP Is Sourced from the Original Analog Master Tapes for Exceptional Sound !\r\n
      - 1/4" / 15 IPS / Dolby A analog master to DSD 64 to analog console to lathe !\r\n
      \r\n
      James Taylor's best-selling record since 1970's hallmark Sweet Baby James, the triple-platinum JT takes its permanent place as one of the singer's most enduring albums an affair that gorges on country, blues, and rock styles as well as incisive songwriting. As the preeminent singer-songwriter's Columbia debut, it catapulted Taylor back into the limelight and reestablished his place as the era's leading-edge folk-rock troubadour.\r\n
      \r\n
      Sourced from the original analog master tapes, Mobile Fidelity's numbered-edition 180 gram LP possesses a warmth, immediacy, and intimacy absent from other pressings. The singer's comforting voice, breath control, and enchanting guitar lines sound as if they pour right out of the studio control room. Similarly, the splendid array of backing instrumentation is balanced, vivid, and dynamic. Taylor should always sound this realistic, warm, and lively.\r\n
      \r\n
      More than any other of his records, JT features all sides of Taylor's lyrical persona. Optimistic, content material fills half of the 1977 set while Taylor reveals a darker, moodier identity on a number of songs that keep the 12 track set alternating between shade and light, shadow and sun. He turns romantic and blissful on the touching ballad "There We Are", praises the power of love on "Your Smiling Face", and enchants with the graceful "Secret O'Life".\r\n
      \r\n
      In addition to channeling domestic bliss, Taylor expresses surprise and cynicism on "Honey Don't Leave L.A.", delves into despair on "Another Grey Morning", and invites sardonic tones on "Bartender's Blues." The result is a complete picture of an extraordinary songwriter and an accurate sketch of the mixed emotions many of us feel when it comes to romance. Taylor's ability to capture deep-seated feelings and set them to lyrical and musical poetry explains why we relate to him on such a meta-level. It's also why his music, including JT, remains timeless.\r\n
      \r\n
      Taylor doesn't do it all alone. JT benefits from an all-star support cast. Carly Simon and Linda Ronstadt supply background vocals, saxophone great David Sanborn plays the horn, Russ Kunkel mans the percussion, and arranger David Campbell oversees the strings and woodwinds. It's no wonder why many fans consider this gorgeous collection of Laurel Canyon pop-rock Taylor's finest.\r\n
      \r\n
      Whether you've never heard this record or know it inside and out, this reissue will open your ears to previously hidden details ranging from pedal-steel guitar accents to honky-tonk tonalities. Taylor's funky rhythms, too, gain in stature, as does his command of pace and tempo.
      """
    -prixVente: "69.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "James Taylor (acoustic guitar, electric guitar, vocals), Danny Kortchmar (electric guitar, acoustic guitar), Lee Ritenour (electric guitar), Leland Sklar (bass guitar), Carole King (piano, backing vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=QrXdNiQohyw&list=RDQrXdNiQohyw&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-354"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Your Smiling Face "
      ]
      [
        "ordre" => 2
        "nom" => "2. There We Are "
      ]
      [
        "ordre" => 3
        "nom" => "3. Honey Don’t Leave L.A. "
      ]
      [
        "ordre" => 4
        "nom" => "4. Another Grey Morning "
      ]
      [
        "ordre" => 5
        "nom" => "5. Bartender’s Blues "
      ]
      [
        "ordre" => 6
        "nom" => "6. Secret O’ Life"
      ]
      [
        "ordre" => 7
        "nom" => "Side B : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Handy Man "
      ]
      [
        "ordre" => 9
        "nom" => "2. I Was Only Telling a Lie "
      ]
      [
        "ordre" => 10
        "nom" => "3. Looking for Love on Broadway "
      ]
      [
        "ordre" => 11
        "nom" => "4. Terra Nova "
      ]
      [
        "ordre" => 12
        "nom" => "5. Traffic Jam "
      ]
      [
        "ordre" => 13
        "nom" => "6. If I Keep My Heart Out of Sight"
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2101 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2110 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2103 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2105 …}
    -enregistreLe: DateTime @1542052893 {#2095
      date: 2018-11-12 20:01:33.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1771865631 {#2094
      date: 2026-02-23 16:53:51.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2107 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-jt-mobile-fidelity-sound-lab-mfsl-1-354"
  }
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App\Twig\Components\GestionPanierFavoriComponents {#3394
  -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 {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2099
    -id: 1419
    -nom: "JT"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      James Taylor (acoustic guitar, electric guitar, vocals), Danny Kortchmar (electric guitar, acoustic guitar), Lee Ritenour (electric guitar), Leland Sklar (bass guitar), Carole King (piano, backing vocals), David Sanborn, Michael Brecker (saxophone), Clarence McDonald (keyboards, piano), Ralph MacDonald (percussion), Russ Kunkel (drums, percussion).\r\n
      \r\n
      - Triple-Platinum Album Reestablished James Taylor's Prominent Place in the Folk-Rock Community : JT Finds Singer Alternating Between Shade and Light !\r\n
      - Warmth, Immediacy, and Intimacy: Mobile Fidelity's Numbered-Edition 180 gram 33 RPM LP Is Sourced from the Original Analog Master Tapes for Exceptional Sound !\r\n
      - 1/4" / 15 IPS / Dolby A analog master to DSD 64 to analog console to lathe !\r\n
      \r\n
      James Taylor's best-selling record since 1970's hallmark Sweet Baby James, the triple-platinum JT takes its permanent place as one of the singer's most enduring albums an affair that gorges on country, blues, and rock styles as well as incisive songwriting. As the preeminent singer-songwriter's Columbia debut, it catapulted Taylor back into the limelight and reestablished his place as the era's leading-edge folk-rock troubadour.\r\n
      \r\n
      Sourced from the original analog master tapes, Mobile Fidelity's numbered-edition 180 gram LP possesses a warmth, immediacy, and intimacy absent from other pressings. The singer's comforting voice, breath control, and enchanting guitar lines sound as if they pour right out of the studio control room. Similarly, the splendid array of backing instrumentation is balanced, vivid, and dynamic. Taylor should always sound this realistic, warm, and lively.\r\n
      \r\n
      More than any other of his records, JT features all sides of Taylor's lyrical persona. Optimistic, content material fills half of the 1977 set while Taylor reveals a darker, moodier identity on a number of songs that keep the 12 track set alternating between shade and light, shadow and sun. He turns romantic and blissful on the touching ballad "There We Are", praises the power of love on "Your Smiling Face", and enchants with the graceful "Secret O'Life".\r\n
      \r\n
      In addition to channeling domestic bliss, Taylor expresses surprise and cynicism on "Honey Don't Leave L.A.", delves into despair on "Another Grey Morning", and invites sardonic tones on "Bartender's Blues." The result is a complete picture of an extraordinary songwriter and an accurate sketch of the mixed emotions many of us feel when it comes to romance. Taylor's ability to capture deep-seated feelings and set them to lyrical and musical poetry explains why we relate to him on such a meta-level. It's also why his music, including JT, remains timeless.\r\n
      \r\n
      Taylor doesn't do it all alone. JT benefits from an all-star support cast. Carly Simon and Linda Ronstadt supply background vocals, saxophone great David Sanborn plays the horn, Russ Kunkel mans the percussion, and arranger David Campbell oversees the strings and woodwinds. It's no wonder why many fans consider this gorgeous collection of Laurel Canyon pop-rock Taylor's finest.\r\n
      \r\n
      Whether you've never heard this record or know it inside and out, this reissue will open your ears to previously hidden details ranging from pedal-steel guitar accents to honky-tonk tonalities. Taylor's funky rhythms, too, gain in stature, as does his command of pace and tempo.
      """
    -prixVente: "69.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "James Taylor (acoustic guitar, electric guitar, vocals), Danny Kortchmar (electric guitar, acoustic guitar), Lee Ritenour (electric guitar), Leland Sklar (bass guitar), Carole King (piano, backing vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=QrXdNiQohyw&list=RDQrXdNiQohyw&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-354"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Your Smiling Face "
      ]
      [
        "ordre" => 2
        "nom" => "2. There We Are "
      ]
      [
        "ordre" => 3
        "nom" => "3. Honey Don’t Leave L.A. "
      ]
      [
        "ordre" => 4
        "nom" => "4. Another Grey Morning "
      ]
      [
        "ordre" => 5
        "nom" => "5. Bartender’s Blues "
      ]
      [
        "ordre" => 6
        "nom" => "6. Secret O’ Life"
      ]
      [
        "ordre" => 7
        "nom" => "Side B : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Handy Man "
      ]
      [
        "ordre" => 9
        "nom" => "2. I Was Only Telling a Lie "
      ]
      [
        "ordre" => 10
        "nom" => "3. Looking for Love on Broadway "
      ]
      [
        "ordre" => 11
        "nom" => "4. Terra Nova "
      ]
      [
        "ordre" => 12
        "nom" => "5. Traffic Jam "
      ]
      [
        "ordre" => 13
        "nom" => "6. If I Keep My Heart Out of Sight"
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2101 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
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    -morceauMP3: Doctrine\ORM\PersistentCollection {#2103 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2105 …}
    -enregistreLe: DateTime @1542052893 {#2095
      date: 2018-11-12 20:01:33.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1771865631 {#2094
      date: 2026-02-23 16:53:51.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2107 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-jt-mobile-fidelity-sound-lab-mfsl-1-354"
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[
  "produit" => App\Entity\Produit {#2115
    -id: 3008
    -nom: "The Captain and Me (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - The Album That Made the Doobie Brothers Superstars: The Captain and Me Features the Hits "China Grove" and "Long Train Runnin'", Even Balance Between Edgy Rock and Rustic Ballads !\r\n
      - Experience the 1973 Record in Definitive Sound: Mobile Fidelity's Numbered-Edition 180 gram 45 RPM (2 LP) Set Elevates Ted Templeman's Production and Comes Housed in a Stoughton Gatefold Jacket !\r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Taking off on the commercial success of Toulouse Street, The Captain and Me propelled the Doobie Brothers to superstar status. Having spent an entire year on the charts after its March 1973 release, the band's third record features one classic after another. Not to mention an even-keeled balance between gritty rock fare and mellow balladry that highlights the group's chemistry and songwriting prowess. And a guest turn on pedal steel by Steely Dan alum Jeff “Skunk” Baxter, who’d officially crack the Doobie Brothers’ lineup the following year. \r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180 gram 45 RPM (2 LP) presents The Captain and Me in definitive sound. Given the luxurious room of a 45 RPM version for the first time and benefiting from the wider grooves, the music unfolds amid large soundstages replete with ultra-quiet backgrounds, vivid dynamics, and sharp imaging. Ted Templeman’s excellent production charms like never before. \r\n
      \r\n
      The organic sonics of The Captain and Me demonstrate why myriad listeners swear allegiance to 70s recordings. Facets that help make the album so welcoming voices that naturally rise and fall, notes that properly carry and decay, bass lines you can trace from beginning to end, well-placed percussive accents, warm tones, defined separation between the players come across on this collectible reissue with involving presence, openness, and realism. Everything sounds crisp and clear. Nothing is overdone or out of place, even with the addition of strings and synthesizers in places. \r\n
      \r\n
      No wonder why The Captain and Me stands as one the feel-good California quintet's signature works. Balanced between Tom Johnston's harder-edged contributions and Patrick Simmons' rustic excursions, the album displays a stunning array of high harmonies and interlocking rhythms. Laidback yet engaged, the stylistic combination belies the Doobies' roots as a Northern California bar band that played at afternoon jam sessions for members of the Hells Angels and parallels its evolution into a more polished, confident collective on par with mainstream peers the Eagles and the Allman Brothers Band.\r\n
      \r\n
      Such biker-meets-beach mentality informs the lead-off "Natural Thing" a midtempo tune that feeds of the tension between the acoustic and electric guitars while showing off the the band’s then-new incorporation of ARP synthesizers and on the skyward title track, which builds in energy as it moves towards a climax. And of course, there's the Top 15 smash "China Grove" and Top 10 hit "Long Train Runnin'". Each pop-rock hallmark rides memorable guitar riffs into the sunset. Each conjures the liberating feelings of wind blowing through your hair and three-day weekends. Each never gets old. \r\n
      \r\n
      By keeping their craft deceptively simple and thoroughly enjoyable, the Doobies understand music is supposed to be fun and that it needs to groove. And groove and sway The Captain and Me does without fail. You could say it keeps on movin’. Another key reason for its ageless charm : The playing of pianist Bill Payne. The Little Feat member appears on five cuts, including the romantic “South City Midnight Lady” (along with Baxter), polyrhythmic “Without You”, and blues corker “Dark Eyed Cajun Woman”. \r\n
      \r\n
      You’d likely never guess the Doobie Brothers made The Captain and Me under the pressures associated with a quick turnaround time and demands for a set that would prove its prior LP wasn’t a fluke. More than two million copies in sales, two massive singles, and Top 10 chart status did more than that. The Captain and Me sent the band on its way to Rock and Roll Hall of Fame stature and permanent standing as one of the great rock ‘n’ roll bands of its time.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Tom Johnston, Patrick Simmons (guitar, vocals), Tiran Porter (bass, backing vocals), John Hartman, Michael Hossack (drums, percussion), Bill Payne (keyboards), Jeff Baxter (pedal steel guitar)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ffGfxHxGj_g&list=RDffGfxHxGj_g&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-597"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Natural Thing"
      ]
      [
        "ordre" => 2
        "nom" => "2. Long Train Runnin’"
      ]
      [
        "ordre" => 3
        "nom" => "3. China Grove"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Dark Eyed Cajun Woman"
      ]
      [
        "ordre" => 6
        "nom" => "2. Clear as the Driven Snow"
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Without You"
      ]
      [
        "ordre" => 9
        "nom" => "2. South City Midnight Lady"
      ]
      [
        "ordre" => 10
        "nom" => "Side D : "
      ]
      [
        "ordre" => 11
        "nom" => "1. Evil Woman"
      ]
      [
        "ordre" => 12
        "nom" => "2. Busted Down Around O’Connelly Corners"
      ]
      [
        "ordre" => 13
        "nom" => "3. Ukiah"
      ]
      [
        "ordre" => 14
        "nom" => "4. The Captain and Me"
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
      [
        "ordre" => 16
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2037 …}
    -label: App\Entity\Label {#1063 …}
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      date: 2026-02-23 16:19:09.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1771863868 {#2113
      date: 2026-02-23 16:24:28.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2120 …}
    -disponible: null
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  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
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    -id: 3008
    -nom: "The Captain and Me (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - The Album That Made the Doobie Brothers Superstars: The Captain and Me Features the Hits "China Grove" and "Long Train Runnin'", Even Balance Between Edgy Rock and Rustic Ballads !\r\n
      - Experience the 1973 Record in Definitive Sound: Mobile Fidelity's Numbered-Edition 180 gram 45 RPM (2 LP) Set Elevates Ted Templeman's Production and Comes Housed in a Stoughton Gatefold Jacket !\r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Taking off on the commercial success of Toulouse Street, The Captain and Me propelled the Doobie Brothers to superstar status. Having spent an entire year on the charts after its March 1973 release, the band's third record features one classic after another. Not to mention an even-keeled balance between gritty rock fare and mellow balladry that highlights the group's chemistry and songwriting prowess. And a guest turn on pedal steel by Steely Dan alum Jeff “Skunk” Baxter, who’d officially crack the Doobie Brothers’ lineup the following year. \r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180 gram 45 RPM (2 LP) presents The Captain and Me in definitive sound. Given the luxurious room of a 45 RPM version for the first time and benefiting from the wider grooves, the music unfolds amid large soundstages replete with ultra-quiet backgrounds, vivid dynamics, and sharp imaging. Ted Templeman’s excellent production charms like never before. \r\n
      \r\n
      The organic sonics of The Captain and Me demonstrate why myriad listeners swear allegiance to 70s recordings. Facets that help make the album so welcoming voices that naturally rise and fall, notes that properly carry and decay, bass lines you can trace from beginning to end, well-placed percussive accents, warm tones, defined separation between the players come across on this collectible reissue with involving presence, openness, and realism. Everything sounds crisp and clear. Nothing is overdone or out of place, even with the addition of strings and synthesizers in places. \r\n
      \r\n
      No wonder why The Captain and Me stands as one the feel-good California quintet's signature works. Balanced between Tom Johnston's harder-edged contributions and Patrick Simmons' rustic excursions, the album displays a stunning array of high harmonies and interlocking rhythms. Laidback yet engaged, the stylistic combination belies the Doobies' roots as a Northern California bar band that played at afternoon jam sessions for members of the Hells Angels and parallels its evolution into a more polished, confident collective on par with mainstream peers the Eagles and the Allman Brothers Band.\r\n
      \r\n
      Such biker-meets-beach mentality informs the lead-off "Natural Thing" a midtempo tune that feeds of the tension between the acoustic and electric guitars while showing off the the band’s then-new incorporation of ARP synthesizers and on the skyward title track, which builds in energy as it moves towards a climax. And of course, there's the Top 15 smash "China Grove" and Top 10 hit "Long Train Runnin'". Each pop-rock hallmark rides memorable guitar riffs into the sunset. Each conjures the liberating feelings of wind blowing through your hair and three-day weekends. Each never gets old. \r\n
      \r\n
      By keeping their craft deceptively simple and thoroughly enjoyable, the Doobies understand music is supposed to be fun and that it needs to groove. And groove and sway The Captain and Me does without fail. You could say it keeps on movin’. Another key reason for its ageless charm : The playing of pianist Bill Payne. The Little Feat member appears on five cuts, including the romantic “South City Midnight Lady” (along with Baxter), polyrhythmic “Without You”, and blues corker “Dark Eyed Cajun Woman”. \r\n
      \r\n
      You’d likely never guess the Doobie Brothers made The Captain and Me under the pressures associated with a quick turnaround time and demands for a set that would prove its prior LP wasn’t a fluke. More than two million copies in sales, two massive singles, and Top 10 chart status did more than that. The Captain and Me sent the band on its way to Rock and Roll Hall of Fame stature and permanent standing as one of the great rock ‘n’ roll bands of its time.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Tom Johnston, Patrick Simmons (guitar, vocals), Tiran Porter (bass, backing vocals), John Hartman, Michael Hossack (drums, percussion), Bill Payne (keyboards), Jeff Baxter (pedal steel guitar)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
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    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ffGfxHxGj_g&list=RDffGfxHxGj_g&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-597"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
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      [
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        "nom" => "3. China Grove"
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        "nom" => "Side B : "
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        "nom" => "1. Dark Eyed Cajun Woman"
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      [
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        "nom" => "Side C :"
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        "nom" => "2. South City Midnight Lady"
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      [
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      ]
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      [
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        "nom" => ""
      ]
      [
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2037 …}
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    -modifierLe: DateTime @1771863868 {#2113
      date: 2026-02-23 16:24:28.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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[
  "produit" => App\Entity\Produit {#2128
    -id: 2784
    -nom: "The Stooges (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - Always a Real Cool Time The Stooges’ Primal Self-Titled Debut Changed Rock ‘n’ Roll and Anticipated Punk, Includes “I Wanna Be Your Dog” and “No Fun” !\r\n
      - Experience the Groundbreaking 1969 Record in Definitive Sound and Celebrate Elektra 75, Mobile Fidelity’s Numbered Edition 180 gram  45 RPM (2 LP) Set Plays with Revealing Liveliness, Detail, and Physicality !\r\n
      - 1/4” / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Few albums inspired the reactions and registered the impact of the Stooges’ primordial self-titled debut. To a majority of listeners who encountered it shortly after it was released the same week Woodstock happened in 1969, the record seemingly came from another planet despite the fact its songs reflect the band’s Detroit surroundings and youthful malaise. \r\n
      \r\n
      Originally deemed by Rolling Stone “loud, boring, tasteless, unimaginative and childish” sentiments shared by many critics only later to be included on the magazine’s 500 Greatest Albums of All Time register, The Stooges established the template for myriad styles and the snarling attitude that would be associated with the still-years-away punk scene. Time further proved the band’s stomping, clattering rock ‘n’ roll way ahead of the curve given the work is now cited on endless “Best Album” lists. \r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton gatefold jacket, and reissued to celebrate Elektra 75, Mobile Fidelity’s numbered-edition 180 gram 45 RPM (2 LP) set marks the first time Iggy Pop and Co.’s groundbreaking statement is available at 45 RPM speed. This definitive-sounding copy benefits from the extra groove space by playing with enhanced definition, greater separation, and more realistic presence than prior versions. \r\n
      \r\n
      The sonic characteristics that help make The Stooges unique the welling fuzztones; the dark, wet smack of the low end; the cavernous reverb and wah-wah; the in-the-red overdrive; the vibrant handclaps; the nearly detached timbre of Pop’s vocal sneer; the grit, grime, and grind of the stacked rhythms come across with involving clarity, liveliness, detail, and dimensionality. For all of their twisted density and savage tonality, songs project with a deep openness and large dynamic. It’s maybe as close as music has ever come to literally vibrating. \r\n
      \r\n
      Indeed, everything Pop, bassist Dave Alexander, and brothers Ron and Scott Asheton create on The Stooges is utterly corporeal. The genesis of the band’s then-inimitable approach traces back to the Motor City’s industrial facilities; the urge to tear down the pretense of the hippie movement; the feeling of being an outsider amid a society reckoning with a collision of cultures; and the genuine desire to be completely original. With Pop as the only true musician in the quartet, the Stooges pursued a do-it-yourself ethic that had no precedent in their era.\r\n
      \r\n
      Having constructed their own instruments from the likes of oil drums, vacuum cleaners, blenders, washboards, and various scraps, the Stooges eschewed structure and embraced experimentalism, improvisation, and personality. They used their lack of experience to their advantage, a trait manifested via the crude makeup and basic minimalism of nearly every note recorded for The Stooges. \r\n
      \r\n
      Three tracks “Real Cool Time”, “Not Right”, “Little Doll” were essentially developed on the spot after the band, which seldom bothered with fixed arrangements and flew by the seat of its pants to see what would transpire onstage, realized it needed more material to fill out the album. That requirement also explains why the chanted mantra “We Will Fall” stretches beyond the 10 minute mark as it feeds into the fractured, psychedelic mood coursing throughout the effort.\r\n
      \r\n
      As for the best-known cuts ? The Stooges rehearsed and memorized them before entering the Hit Factory with their producer, Velvet Underground alumni John Cale. Echoing the recurrent sound of a metal press stamping out automotive panels, and drenched in dirty reverb, the opening “1969” balances the band’s street-walking aggression, dance-baiting attack, and dissatisfied ennui, the rhymed lyrics popping with truthful flair and Ron Asheton’s guitar functioning as a supercharged stun gun. A love ballad like none other, “Ann”, the first song Pop wrote for the ensemble, initially peers through a beaded curtain before its mysticism gives way to menace and distortion.\r\n
      \r\n
      Nothing more aptly captures the Stooges’ essence than “I Wanna Be Your Dog”, a modern staple since covered by dozens of artists. Ranked the 314th Greatest Song of All Time by Rolling Stone, and based around a combination sleigh bells/one-note piano riff and rudimentary guitar chord sequence that maintains a non-varying pattern for nearly the entire duration, the steamrolling track hypnotizes by way of a groove that could extend for hours without growing tiresome. Its simple brilliance and scuzzy ooze are matched by the scuffed, scraping “No Fun”, an expressive pout almost nimble in build albeit edgy, dangerous, and explosive in practice. Just like Pop himself. \r\n
      \r\n
      Decades on, every moment of The Stooges remains a real cool time.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Iggy Pop (vocals), Ron Asheton (guitar), Dave Alexander (bass), Scott Asheton (drums), John Cale (viola)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ie531yTt3Ug&list=RDie531yTt3Ug&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL MFSL 2-605"
    -titreMorceau: [
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        "ordre" => 11
        "nom" => "3. Little Doll"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2130 …}
    -label: App\Entity\Label {#1063 …}
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      date: 2026-02-02 13:49:14.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3493
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2128
    -id: 2784
    -nom: "The Stooges (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - Always a Real Cool Time The Stooges’ Primal Self-Titled Debut Changed Rock ‘n’ Roll and Anticipated Punk, Includes “I Wanna Be Your Dog” and “No Fun” !\r\n
      - Experience the Groundbreaking 1969 Record in Definitive Sound and Celebrate Elektra 75, Mobile Fidelity’s Numbered Edition 180 gram  45 RPM (2 LP) Set Plays with Revealing Liveliness, Detail, and Physicality !\r\n
      - 1/4” / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Few albums inspired the reactions and registered the impact of the Stooges’ primordial self-titled debut. To a majority of listeners who encountered it shortly after it was released the same week Woodstock happened in 1969, the record seemingly came from another planet despite the fact its songs reflect the band’s Detroit surroundings and youthful malaise. \r\n
      \r\n
      Originally deemed by Rolling Stone “loud, boring, tasteless, unimaginative and childish” sentiments shared by many critics only later to be included on the magazine’s 500 Greatest Albums of All Time register, The Stooges established the template for myriad styles and the snarling attitude that would be associated with the still-years-away punk scene. Time further proved the band’s stomping, clattering rock ‘n’ roll way ahead of the curve given the work is now cited on endless “Best Album” lists. \r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton gatefold jacket, and reissued to celebrate Elektra 75, Mobile Fidelity’s numbered-edition 180 gram 45 RPM (2 LP) set marks the first time Iggy Pop and Co.’s groundbreaking statement is available at 45 RPM speed. This definitive-sounding copy benefits from the extra groove space by playing with enhanced definition, greater separation, and more realistic presence than prior versions. \r\n
      \r\n
      The sonic characteristics that help make The Stooges unique the welling fuzztones; the dark, wet smack of the low end; the cavernous reverb and wah-wah; the in-the-red overdrive; the vibrant handclaps; the nearly detached timbre of Pop’s vocal sneer; the grit, grime, and grind of the stacked rhythms come across with involving clarity, liveliness, detail, and dimensionality. For all of their twisted density and savage tonality, songs project with a deep openness and large dynamic. It’s maybe as close as music has ever come to literally vibrating. \r\n
      \r\n
      Indeed, everything Pop, bassist Dave Alexander, and brothers Ron and Scott Asheton create on The Stooges is utterly corporeal. The genesis of the band’s then-inimitable approach traces back to the Motor City’s industrial facilities; the urge to tear down the pretense of the hippie movement; the feeling of being an outsider amid a society reckoning with a collision of cultures; and the genuine desire to be completely original. With Pop as the only true musician in the quartet, the Stooges pursued a do-it-yourself ethic that had no precedent in their era.\r\n
      \r\n
      Having constructed their own instruments from the likes of oil drums, vacuum cleaners, blenders, washboards, and various scraps, the Stooges eschewed structure and embraced experimentalism, improvisation, and personality. They used their lack of experience to their advantage, a trait manifested via the crude makeup and basic minimalism of nearly every note recorded for The Stooges. \r\n
      \r\n
      Three tracks “Real Cool Time”, “Not Right”, “Little Doll” were essentially developed on the spot after the band, which seldom bothered with fixed arrangements and flew by the seat of its pants to see what would transpire onstage, realized it needed more material to fill out the album. That requirement also explains why the chanted mantra “We Will Fall” stretches beyond the 10 minute mark as it feeds into the fractured, psychedelic mood coursing throughout the effort.\r\n
      \r\n
      As for the best-known cuts ? The Stooges rehearsed and memorized them before entering the Hit Factory with their producer, Velvet Underground alumni John Cale. Echoing the recurrent sound of a metal press stamping out automotive panels, and drenched in dirty reverb, the opening “1969” balances the band’s street-walking aggression, dance-baiting attack, and dissatisfied ennui, the rhymed lyrics popping with truthful flair and Ron Asheton’s guitar functioning as a supercharged stun gun. A love ballad like none other, “Ann”, the first song Pop wrote for the ensemble, initially peers through a beaded curtain before its mysticism gives way to menace and distortion.\r\n
      \r\n
      Nothing more aptly captures the Stooges’ essence than “I Wanna Be Your Dog”, a modern staple since covered by dozens of artists. Ranked the 314th Greatest Song of All Time by Rolling Stone, and based around a combination sleigh bells/one-note piano riff and rudimentary guitar chord sequence that maintains a non-varying pattern for nearly the entire duration, the steamrolling track hypnotizes by way of a groove that could extend for hours without growing tiresome. Its simple brilliance and scuzzy ooze are matched by the scuffed, scraping “No Fun”, an expressive pout almost nimble in build albeit edgy, dangerous, and explosive in practice. Just like Pop himself. \r\n
      \r\n
      Decades on, every moment of The Stooges remains a real cool time.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Iggy Pop (vocals), Ron Asheton (guitar), Dave Alexander (bass), Scott Asheton (drums), John Cale (viola)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ie531yTt3Ug&list=RDie531yTt3Ug&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL MFSL 2-605"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
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        "nom" => "1. 1969"
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        "ordre" => 2
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        "nom" => "Side C :"
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        "nom" => "2. Real Cool Time"
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        "nom" => "3. Little Doll"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2130 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
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    -modifierLe: DateTime @1770040154 {#2126
      date: 2026-02-02 13:49:14.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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[
  "produit" => App\Entity\Produit {#2144
    -id: 2228
    -nom: "Groovin’ (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Felix Cavaliere (keyboards, organ, vocals), Gene Cornish (guitar, bass guitar, harmonica, percussion, vocals), Eddie Brigati (percussion, vocals), Dino Danelli (drums, percussion), David Brigati (backing vocals), Hubert Laws (flute), Chuck Rainey (bass guitar).\r\n
      \r\n
      Blue-Eyed Soul, Garage Rock, Harmonious Pop, and Optimistic Vibes Coexist on Groovin': The Young Rascals' 1967 Landmark Features Three Top 10 Singles and Limitless Personality\r\n
      \r\n
      Mastered from the Original Master Tapes and Pressed at RTI for Supreme Sound: Numbered Mobile Fidelity 180 gram 45 RPM Mono (2 LP) Set Also Includes Bonus Track, "A Beautiful Morning".\r\n
      \r\n
      Simultaneously elevated and bypassed by the artistically prolific year in which it was released, the Young Rascals' Groovin' remains high-water mark of a collective Rolling Stone boldly proclaimed "the blackest white group of all" in 1970. Home to three Top 10 singles and a diverse array of pop music in step with the era's exploratory creativity, the set belongs aside the Beatles' Sgt. Peppers' Lonely Hearts Club Band, Love's Forever Changes, Jefferson Airplane's Surrealistic Pillow, and 1967's other pioneering recordings. Particularly now that it boasts definitive sonics.\r\n
      \r\n
      Mastered from the original master tapes and pressed on dead-quiet vinyl at RTI, Mobile Fidelity's numbered-edition 180 gram 45 RPM (2 LP) of Groovin' presents the album in fully restored mono. In addition, the painstakingly produced restoration includes "A Beautiful Morning", an early 1968 million-selling hit that reached the third spot on the Billboard Hot 100 chart and debuted as the first release under the band's then-newly truncated Rascals name. Blue-eyed soul and innocuous optimism have rarely sounded more contagious than on this audiophile-grade reissue.\r\n
      \r\n
      Expertly portraying the quartet's unmistakable harmonies, the analog set captures the deep-seated personality and effortless melodies that seemingly occupy every passage. Reflecting the playfulness of the cover art, the members demonstrate a cohesiveness, chemistry, and charm made vividly apparent via the newly uncovered detail, airiness, and tonalities. Benefiting from the focus, immersion, and accuracy unique to mono, and free of any artificial panning or effects, Mobile Fidelity's edition lets the songs breathe and expand. Notes blossom and decay, voices rise and fall, and the craftsmanship of the arrangements emerges with revealing clarity. Long overlooked due to the dozens of other landmarks issued in the pivotal year, Groovin' now firmly earns its place in history as a masterwork.\r\n
      \r\n
      Look no further than the opening "A Girl Like You", commandeered by Felix Cavaliere's confident singing and skated along by peppy jazz-rock architecture marked by exuberant horns, lilting piano lines, and splashing rhythms. Or "How Can I Be Sure", on which Eddie Brigati takes the vocal lead over a waltzing pattern that conveys joyousness, rumination, and the rollercoaster ups / downs that accompany the initial stages of a relationship. Brigati also does the honors on the reflective, subdued, albeit optimistic Motown cover "A Place in the Sun", while he and Cavaliere share the lead on "If You Knew", a strolling ditty underlined by a subtle, swift bass line.\r\n
      \r\n
      Of course, no piece on Groovin' remains more celebrated or recognized than the smash title track part of the Rock and Roll Hall of Fame's collection of 500 Songs That Shaped Rock and Roll. As birds chirp and congas echo, the Young Rascals paint a picture of bliss, with R&B harmonies and a laidback harmonica whisking the listener to ecstasy. The original B-side, the Latin-inspired "Sueno", further puts the foursome's vocal aptitude on display. Sonically and lyrically ("I have been flying high above reality"; "Only thing needed is someone to come along and trip along with me"), it hints at the psychedelic experimentation the group would soon embrace to its detriment.\r\n
      \r\n
      Indeed, Groovin' steers clear of any indulgence or falseness, wrapping its metaphorical arms around on the colors, moods, and possibilities of the age. Here, upbeat soul ("I'm So Happy Now") coexists with persuasive garage rock ("Find Somebody") and energized, fuzz-toned nuggets ("You Better Run") that prove the Young Rascals had their ears to the ground in both the States and England. In practically every way, it is thoroughly 1967 and a quintessential part of any music library.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Felix Cavaliere (keyboards, organ, vocals), Gene Cornish (guitar, bass guitar, harmonica, percussion, vocals), Eddie Brigati (percussion, vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=qrP7UXVGuwo"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-503"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. A Girl Like You "
      ]
      [
        "ordre" => 2
        "nom" => "2. Find Somebody "
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
      ]
      [
        "ordre" => 4
        "nom" => "1. I’m So Happy Now "
      ]
      [
        "ordre" => 5
        "nom" => "2. Sueno "
      ]
      [
        "ordre" => 6
        "nom" => "3. How Can I Be Sure "
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Groovin’ "
      ]
      [
        "ordre" => 9
        "nom" => "2. If You Knew "
      ]
      [
        "ordre" => 10
        "nom" => "3. I Don’t Love You Any More "
      ]
      [
        "ordre" => 11
        "nom" => "4. You Better Run "
      ]
      [
        "ordre" => 12
        "nom" => "Side D : "
      ]
      [
        "ordre" => 13
        "nom" => "1. A Place in the Sun "
      ]
      [
        "ordre" => 14
        "nom" => "2. It’s Love "
      ]
      [
        "ordre" => 15
        "nom" => "3. A Beautiful Morning"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2146 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2155 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2148 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2150 …}
    -enregistreLe: DateTime @1653895450 {#2141
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    }
    -modifierLe: DateTime @1770022525 {#2142
      date: 2026-02-02 08:55:25.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -slug: "vinyles-groovin-2-lp-45-rpm-mobile-fidelity-sound-lab-mfsl-2-503"
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App\Twig\Components\GestionPanierFavoriComponents {#3544
  -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 {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2144
    -id: 2228
    -nom: "Groovin’ (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Felix Cavaliere (keyboards, organ, vocals), Gene Cornish (guitar, bass guitar, harmonica, percussion, vocals), Eddie Brigati (percussion, vocals), Dino Danelli (drums, percussion), David Brigati (backing vocals), Hubert Laws (flute), Chuck Rainey (bass guitar).\r\n
      \r\n
      Blue-Eyed Soul, Garage Rock, Harmonious Pop, and Optimistic Vibes Coexist on Groovin': The Young Rascals' 1967 Landmark Features Three Top 10 Singles and Limitless Personality\r\n
      \r\n
      Mastered from the Original Master Tapes and Pressed at RTI for Supreme Sound: Numbered Mobile Fidelity 180 gram 45 RPM Mono (2 LP) Set Also Includes Bonus Track, "A Beautiful Morning".\r\n
      \r\n
      Simultaneously elevated and bypassed by the artistically prolific year in which it was released, the Young Rascals' Groovin' remains high-water mark of a collective Rolling Stone boldly proclaimed "the blackest white group of all" in 1970. Home to three Top 10 singles and a diverse array of pop music in step with the era's exploratory creativity, the set belongs aside the Beatles' Sgt. Peppers' Lonely Hearts Club Band, Love's Forever Changes, Jefferson Airplane's Surrealistic Pillow, and 1967's other pioneering recordings. Particularly now that it boasts definitive sonics.\r\n
      \r\n
      Mastered from the original master tapes and pressed on dead-quiet vinyl at RTI, Mobile Fidelity's numbered-edition 180 gram 45 RPM (2 LP) of Groovin' presents the album in fully restored mono. In addition, the painstakingly produced restoration includes "A Beautiful Morning", an early 1968 million-selling hit that reached the third spot on the Billboard Hot 100 chart and debuted as the first release under the band's then-newly truncated Rascals name. Blue-eyed soul and innocuous optimism have rarely sounded more contagious than on this audiophile-grade reissue.\r\n
      \r\n
      Expertly portraying the quartet's unmistakable harmonies, the analog set captures the deep-seated personality and effortless melodies that seemingly occupy every passage. Reflecting the playfulness of the cover art, the members demonstrate a cohesiveness, chemistry, and charm made vividly apparent via the newly uncovered detail, airiness, and tonalities. Benefiting from the focus, immersion, and accuracy unique to mono, and free of any artificial panning or effects, Mobile Fidelity's edition lets the songs breathe and expand. Notes blossom and decay, voices rise and fall, and the craftsmanship of the arrangements emerges with revealing clarity. Long overlooked due to the dozens of other landmarks issued in the pivotal year, Groovin' now firmly earns its place in history as a masterwork.\r\n
      \r\n
      Look no further than the opening "A Girl Like You", commandeered by Felix Cavaliere's confident singing and skated along by peppy jazz-rock architecture marked by exuberant horns, lilting piano lines, and splashing rhythms. Or "How Can I Be Sure", on which Eddie Brigati takes the vocal lead over a waltzing pattern that conveys joyousness, rumination, and the rollercoaster ups / downs that accompany the initial stages of a relationship. Brigati also does the honors on the reflective, subdued, albeit optimistic Motown cover "A Place in the Sun", while he and Cavaliere share the lead on "If You Knew", a strolling ditty underlined by a subtle, swift bass line.\r\n
      \r\n
      Of course, no piece on Groovin' remains more celebrated or recognized than the smash title track part of the Rock and Roll Hall of Fame's collection of 500 Songs That Shaped Rock and Roll. As birds chirp and congas echo, the Young Rascals paint a picture of bliss, with R&B harmonies and a laidback harmonica whisking the listener to ecstasy. The original B-side, the Latin-inspired "Sueno", further puts the foursome's vocal aptitude on display. Sonically and lyrically ("I have been flying high above reality"; "Only thing needed is someone to come along and trip along with me"), it hints at the psychedelic experimentation the group would soon embrace to its detriment.\r\n
      \r\n
      Indeed, Groovin' steers clear of any indulgence or falseness, wrapping its metaphorical arms around on the colors, moods, and possibilities of the age. Here, upbeat soul ("I'm So Happy Now") coexists with persuasive garage rock ("Find Somebody") and energized, fuzz-toned nuggets ("You Better Run") that prove the Young Rascals had their ears to the ground in both the States and England. In practically every way, it is thoroughly 1967 and a quintessential part of any music library.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Felix Cavaliere (keyboards, organ, vocals), Gene Cornish (guitar, bass guitar, harmonica, percussion, vocals), Eddie Brigati (percussion, vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
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[
  "produit" => App\Entity\Produit {#2160
    -id: 2178
    -nom: "Women and Children First - (Box Set 2 LP) UltraDisc One-Step 45 RPM"
    -informationComplementaire: null
    -description: """
      MASTERED FROM THE ORIGINAL MASTER TAPES AND PRESSED ON MOFI SUPERVINYL FOR A DEFINITIVE LISTENING EXPERIENCE !\r\n
      \r\n
      Van Halen vocalist David Lee Roth says it all on the second song of the band's third album and third consecutive smash in less than three years time. "Everybody wants some!", he declares before immediately querying, "Baby, how 'bout, you ?" Roth and the rest of Van Halen already knew the answer. The quartet further confirmed its status as America's leading rock band and principal party starters on Women and Children First while heading in harder, heavier directions with thrilling songs that Rolling Stone scribe David Fricke rightly deemed "works of high-volume art." Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and strictly limited and numbered, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) set of the triple-platinum effort ensures demand for the 1980 record has never been higher.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Alex Van Halen (drums), Edward Van Halen (guitar), David Lee Roth (vocals), Michael Anthony (bass)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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    -preCommande: false
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App\Twig\Components\GestionPanierFavoriComponents {#3595
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2620 …}
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    -id: 2178
    -nom: "Women and Children First - (Box Set 2 LP) UltraDisc One-Step 45 RPM"
    -informationComplementaire: null
    -description: """
      MASTERED FROM THE ORIGINAL MASTER TAPES AND PRESSED ON MOFI SUPERVINYL FOR A DEFINITIVE LISTENING EXPERIENCE !\r\n
      \r\n
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      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Alex Van Halen (drums), Edward Van Halen (guitar), David Lee Roth (vocals), Michael Anthony (bass)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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[
  "produit" => App\Entity\Produit {#2176
    -id: 2179
    -nom: "Van Halen - (Box Set 2 LP) UltraDisc One-Step 45 RPM"
    -informationComplementaire: null
    -description: """
      MASTERED FROM THE ORIGINAL ANALOG MASTER TAPES AND PRESSED ON MOFI SUPERVINYL !\r\n
      \r\n
      Van Halen did more than announce to the world the earthshaking arrival of a revolutionary guitarist. Performed by an enterprising California quartet that took its name from two of its principal members, the 1978 debut ripped headlines away from punk, injected fresh energy into a then-moribund rock 'n' roll scene, reimagined how heavy music and throwback pop could coexist, and invited everyone to experience the top-down pleasures of a beachfront Saturday night every day of the week no matter where they lived. Painstakingly restored by Mobile Fidelity Sound Lab, and the first of a multi-album series in an exciting partnership between the famous reissue label and Van Halen, Van Halen delivers feel-good thrills and hormonally charged desires like never before.\r\n
      \r\n
      Limited to 15000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analog master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180 gram 45 RPM (2 LP) collector's edition pays tribute to the record's merit and allows fans to experience Van Halen's original blend of raw power, Hollywood flair, and vaudeville fun for generations to come. Playing with reference-setting sonics that elevate a 10-times-platinum landmark whose importance cannot be quantitatively measured, this definitive version provides a clear, clean, transparent, balanced, and turn-the-volume-up-to-11 view of an album that birthed entirely new styles. Since MoFi's unique SuperVinyl compound allows you to crank the decibels to your wildest desires without risking noise-floor interference, prepare to not only hear but feel Van Halen in your chest, no fifth-row concert seat necessary.\r\n
      \r\n
      The premium packaging and gorgeous presentation of the UD1S Van Halen pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the iconic cover art to the meticulous finishes and, yes, of course, Eddie Van Halen's pioneering fretwork and his brother Alex's double-bass percussion.\r\n
      \r\n
      Indeed, could a piece of music that transformed how countless guitarists approached their instrument be more fittingly named than "Eruption" ? Likely not, and in just 102 seconds, Eddie Van Halen rewrote, reimagined, and reconfigured a vocabulary last significantly updated a decade earlier by fellow six-string wizard Jimi Hendrix. Akin to the Washington State legend, Eddie Van Halen developed his own techniques and tones all the while making his seismic accomplishments seem effortless. Devoid of the pretense, ego, and showiness that infected many of his imitators, the Dutch native sticks to a straightforward approach that underlines the authority, prowess, and visionary scope of his playing and then-unheard-of finger-tapping skills. Throughout Van Halen, he establishes himself as an instant idol a savant whose otherworldly combination of breadth, poise, feel, speed, force, and melody seems beamed in from another galaxy.\r\n
      \r\n
      As does nearly every song on the record, whose cohesiveness and dynamic put into perspective the advanced chemistry and one-for-all spirit the youthful band had out of the gates. Having paid its dues for years in bars and clubs – going as far as recording a 24 track demo for Kiss bassist Gene Simmons at Village Recorders only to be spurned by management companies that felt its music wouldn't go anywhere Van Halen finally got a deserved break when Warner Bros. executives signed the group in 1977. The subsequent recording sessions further testify on behalf of the band's synergy and alignment. Completed in just a few weeks with producer Ted Templeman, Van Halen was primarily cut live in the studio with minimal overdubs and edits. The explosiveness, energy, and electricity remain definitive, and as heard on this UD1S set, put the group on a private stage humming amplifiers, Frankenstrat guitar, bright spotlights, sweaty headbands, and then some.\r\n
      \r\n
      Van Halen yielded just one hit in the form of a Top 40 single (a breathless cover of the Kinks' "You Really Got Me") but practically every song on the revered LP has become a staple. Named the 202nd Greatest Album of All Time by Rolling Stone and considered by countless experts as one of the best debuts in history, the record displays what can happen with four distinct talents gel and strive for the same purposes. In Van Halen's case, the latter almost always involved partying, freedom, sex, and, in the immortal words of singer David Lee Roth, living "life like there's no tomorrow." The celebration manifests from the opening notes of the strutting "Runnin' with the Devil" announced with the blare of droning car horns, Michael Anthony's robust bass line, and Alex Van Halen's thumping drumming and continues through the conclusion of the white-hot "On Fire", goosed by Eddie Van Halen's race-track-ready lines, Roth's flamboyant deliveries, and the rhythm section's cat-like pounce.\r\n
      \r\n
      Picking out individual highlights on Van Halen is akin to trying to count all the stars in a clear nighttime desert sky : There are far too many to identify, once you see one you notice another dozen you didn't spot before, and the cluster is best enjoyed as a whole. What's evident over repeat listens is the sheer diversity, a fact that's often overlooked: The high harmonies and background funk of "Jamie's Cryin'"; the insistent cane-and-a-tophat shuffle and doo-wop shoo-bop vocal break on "I'm the One"; the throwback acoustic blues that spreads into fast-paced, single-entendre wildfire on the Roth-led standout interpretation of John Brim's "Ice Cream Man".\r\n
      \r\n
      Like the man says, on Van Halen, all the flavors are guaranteed to satisfy. Secure your limited-numbered edition of this masterwork today before it sells out like every prior MoFi UD1S release.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Alex Van Halen (drums), Edward Van Halen (guitar), David Roth (vocals), Michael Anthony (bass)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=2VFJB-ZeVqM"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-032"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "1. Runnin' with the Devil"
      ]
      [
        "ordre" => 1
        "nom" => "2. Eruption"
      ]
      [
        "ordre" => 2
        "nom" => "3. You Really Got Me"
      ]
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        "ordre" => 3
        "nom" => "4. Ain't Talkin' ‘Bout Love"
      ]
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        "nom" => "5. I'm the One"
      ]
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        "ordre" => 5
        "nom" => "6. Jamie's Cryin'"
      ]
      [
        "ordre" => 6
        "nom" => "7. Atomic Punk"
      ]
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        "ordre" => 7
        "nom" => "8. Feel Your Love Tonight"
      ]
      [
        "ordre" => 8
        "nom" => "9. Little Dreamer"
      ]
      [
        "ordre" => 9
        "nom" => "10. Ice Cream Man"
      ]
      [
        "ordre" => 10
        "nom" => "11. On Fire"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2162 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2184 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2177 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2179 …}
    -enregistreLe: DateTime @1640698921 {#2173
      date: 2021-12-28 13:42:01.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1770013681 {#2174
      date: 2026-02-02 06:28:01.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2181 …}
    -disponible: null
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    -slug: "vinyles-van-halen-box-set-2-lp-ultradisc-one-step-45-rpm-mobile-fidelity-sound-lab-ud1s-032"
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]

App\Twig\Components\GestionPanierFavoriComponents {#3648
  -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 {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2176
    -id: 2179
    -nom: "Van Halen - (Box Set 2 LP) UltraDisc One-Step 45 RPM"
    -informationComplementaire: null
    -description: """
      MASTERED FROM THE ORIGINAL ANALOG MASTER TAPES AND PRESSED ON MOFI SUPERVINYL !\r\n
      \r\n
      Van Halen did more than announce to the world the earthshaking arrival of a revolutionary guitarist. Performed by an enterprising California quartet that took its name from two of its principal members, the 1978 debut ripped headlines away from punk, injected fresh energy into a then-moribund rock 'n' roll scene, reimagined how heavy music and throwback pop could coexist, and invited everyone to experience the top-down pleasures of a beachfront Saturday night every day of the week no matter where they lived. Painstakingly restored by Mobile Fidelity Sound Lab, and the first of a multi-album series in an exciting partnership between the famous reissue label and Van Halen, Van Halen delivers feel-good thrills and hormonally charged desires like never before.\r\n
      \r\n
      Limited to 15000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analog master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180 gram 45 RPM (2 LP) collector's edition pays tribute to the record's merit and allows fans to experience Van Halen's original blend of raw power, Hollywood flair, and vaudeville fun for generations to come. Playing with reference-setting sonics that elevate a 10-times-platinum landmark whose importance cannot be quantitatively measured, this definitive version provides a clear, clean, transparent, balanced, and turn-the-volume-up-to-11 view of an album that birthed entirely new styles. Since MoFi's unique SuperVinyl compound allows you to crank the decibels to your wildest desires without risking noise-floor interference, prepare to not only hear but feel Van Halen in your chest, no fifth-row concert seat necessary.\r\n
      \r\n
      The premium packaging and gorgeous presentation of the UD1S Van Halen pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the iconic cover art to the meticulous finishes and, yes, of course, Eddie Van Halen's pioneering fretwork and his brother Alex's double-bass percussion.\r\n
      \r\n
      Indeed, could a piece of music that transformed how countless guitarists approached their instrument be more fittingly named than "Eruption" ? Likely not, and in just 102 seconds, Eddie Van Halen rewrote, reimagined, and reconfigured a vocabulary last significantly updated a decade earlier by fellow six-string wizard Jimi Hendrix. Akin to the Washington State legend, Eddie Van Halen developed his own techniques and tones all the while making his seismic accomplishments seem effortless. Devoid of the pretense, ego, and showiness that infected many of his imitators, the Dutch native sticks to a straightforward approach that underlines the authority, prowess, and visionary scope of his playing and then-unheard-of finger-tapping skills. Throughout Van Halen, he establishes himself as an instant idol a savant whose otherworldly combination of breadth, poise, feel, speed, force, and melody seems beamed in from another galaxy.\r\n
      \r\n
      As does nearly every song on the record, whose cohesiveness and dynamic put into perspective the advanced chemistry and one-for-all spirit the youthful band had out of the gates. Having paid its dues for years in bars and clubs – going as far as recording a 24 track demo for Kiss bassist Gene Simmons at Village Recorders only to be spurned by management companies that felt its music wouldn't go anywhere Van Halen finally got a deserved break when Warner Bros. executives signed the group in 1977. The subsequent recording sessions further testify on behalf of the band's synergy and alignment. Completed in just a few weeks with producer Ted Templeman, Van Halen was primarily cut live in the studio with minimal overdubs and edits. The explosiveness, energy, and electricity remain definitive, and as heard on this UD1S set, put the group on a private stage humming amplifiers, Frankenstrat guitar, bright spotlights, sweaty headbands, and then some.\r\n
      \r\n
      Van Halen yielded just one hit in the form of a Top 40 single (a breathless cover of the Kinks' "You Really Got Me") but practically every song on the revered LP has become a staple. Named the 202nd Greatest Album of All Time by Rolling Stone and considered by countless experts as one of the best debuts in history, the record displays what can happen with four distinct talents gel and strive for the same purposes. In Van Halen's case, the latter almost always involved partying, freedom, sex, and, in the immortal words of singer David Lee Roth, living "life like there's no tomorrow." The celebration manifests from the opening notes of the strutting "Runnin' with the Devil" announced with the blare of droning car horns, Michael Anthony's robust bass line, and Alex Van Halen's thumping drumming and continues through the conclusion of the white-hot "On Fire", goosed by Eddie Van Halen's race-track-ready lines, Roth's flamboyant deliveries, and the rhythm section's cat-like pounce.\r\n
      \r\n
      Picking out individual highlights on Van Halen is akin to trying to count all the stars in a clear nighttime desert sky : There are far too many to identify, once you see one you notice another dozen you didn't spot before, and the cluster is best enjoyed as a whole. What's evident over repeat listens is the sheer diversity, a fact that's often overlooked: The high harmonies and background funk of "Jamie's Cryin'"; the insistent cane-and-a-tophat shuffle and doo-wop shoo-bop vocal break on "I'm the One"; the throwback acoustic blues that spreads into fast-paced, single-entendre wildfire on the Roth-led standout interpretation of John Brim's "Ice Cream Man".\r\n
      \r\n
      Like the man says, on Van Halen, all the flavors are guaranteed to satisfy. Secure your limited-numbered edition of this masterwork today before it sells out like every prior MoFi UD1S release.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Alex Van Halen (drums), Edward Van Halen (guitar), David Roth (vocals), Michael Anthony (bass)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=2VFJB-ZeVqM"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-032"
    -titreMorceau: [
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        "ordre" => 0
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        "ordre" => 2
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        "ordre" => 3
        "nom" => "4. Ain't Talkin' ‘Bout Love"
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        "ordre" => 4
        "nom" => "5. I'm the One"
      ]
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        "ordre" => 5
        "nom" => "6. Jamie's Cryin'"
      ]
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        "ordre" => 6
        "nom" => "7. Atomic Punk"
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      [
        "ordre" => 7
        "nom" => "8. Feel Your Love Tonight"
      ]
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        "nom" => "9. Little Dreamer"
      ]
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      ]
      [
        "ordre" => 10
        "nom" => "11. On Fire"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2162 …}
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    -enregistreLe: DateTime @1640698921 {#2173
      date: 2021-12-28 13:42:01.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1770013681 {#2174
      date: 2026-02-02 06:28:01.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-van-halen-box-set-2-lp-ultradisc-one-step-45-rpm-mobile-fidelity-sound-lab-ud1s-032"
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  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …}
}

[
  "produit" => App\Entity\Produit {#2189
    -id: 2181
    -nom: "Fair Warning - (Box Set 2 LP) UltraDisc One-Step 45 RPM"
    -informationComplementaire: null
    -description: """
      MASTERED FROM THE ORIGINAL MASTER TAPES AND PRESSED ON MOFI SUPERVINYL !\r\n
      \r\n
      The song titles on Van Halen's aptly titled Fair Warning don't lie. The likes of "Unchained," "Mean Street", "Push Comes to Shove", "One Foot Out the Door", and more indicate the mood the band channels on its 1981 record. It's the nastiest, darkest, and fiercest album of the group's storied career. Guitarist Eddie Van Halen uses the forceful arrangements as a playground for his seemingly unlimited arsenal. Supported by a crack rhythm section and an inspired David Lee Roth, he performs with an almost impossible combination of punk-like intensity, technical finesse, lyrical fluidity, and unbridled emotion. For the fourth time in four years, Van Halen threw down the gauntlet to all challengers and emerged victorious. Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and strictly limited and numbered, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) set sounds the alarm with unfettered clarity, dynamics, and immediacy.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Alex Van Halen (drums), Edward Van Halen (guitar), Michael Anthony (bass), David Lee Roth (vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=m4akn6e59TQ"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-035"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Mean Street"
      ]
      [
        "ordre" => 1
        "nom" => "2. Dirty Movies"
      ]
      [
        "ordre" => 2
        "nom" => "3. Sinners Swing !"
      ]
      [
        "ordre" => 3
        "nom" => "4. Hear About It Later"
      ]
      [
        "ordre" => 4
        "nom" => "5. Unchained"
      ]
      [
        "ordre" => 5
        "nom" => "6. Push Comes to Shove"
      ]
      [
        "ordre" => 6
        "nom" => "7. So This Is Love ?"
      ]
      [
        "ordre" => 7
        "nom" => "8. Sunday Afternoon in the Park"
      ]
      [
        "ordre" => 8
        "nom" => "9. One Foot Out the Door"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2162 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2197 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2190 …}
    -typeMasterTape: null
    -marque: null
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    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
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    -caracteristique: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2192 …}
    -enregistreLe: DateTime @1640766262 {#2186
      date: 2021-12-29 08:24:22.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1770013448 {#2187
      date: 2026-02-02 06:24:08.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2194 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-fair-warning-box-set-2-lp-ultradisc-one-step-45-rpm-mobile-fidelity-sound-lab-ud1s-035"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3696
  -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 {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2189
    -id: 2181
    -nom: "Fair Warning - (Box Set 2 LP) UltraDisc One-Step 45 RPM"
    -informationComplementaire: null
    -description: """
      MASTERED FROM THE ORIGINAL MASTER TAPES AND PRESSED ON MOFI SUPERVINYL !\r\n
      \r\n
      The song titles on Van Halen's aptly titled Fair Warning don't lie. The likes of "Unchained," "Mean Street", "Push Comes to Shove", "One Foot Out the Door", and more indicate the mood the band channels on its 1981 record. It's the nastiest, darkest, and fiercest album of the group's storied career. Guitarist Eddie Van Halen uses the forceful arrangements as a playground for his seemingly unlimited arsenal. Supported by a crack rhythm section and an inspired David Lee Roth, he performs with an almost impossible combination of punk-like intensity, technical finesse, lyrical fluidity, and unbridled emotion. For the fourth time in four years, Van Halen threw down the gauntlet to all challengers and emerged victorious. Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and strictly limited and numbered, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) set sounds the alarm with unfettered clarity, dynamics, and immediacy.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Alex Van Halen (drums), Edward Van Halen (guitar), Michael Anthony (bass), David Lee Roth (vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=m4akn6e59TQ"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-035"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Mean Street"
      ]
      [
        "ordre" => 1
        "nom" => "2. Dirty Movies"
      ]
      [
        "ordre" => 2
        "nom" => "3. Sinners Swing !"
      ]
      [
        "ordre" => 3
        "nom" => "4. Hear About It Later"
      ]
      [
        "ordre" => 4
        "nom" => "5. Unchained"
      ]
      [
        "ordre" => 5
        "nom" => "6. Push Comes to Shove"
      ]
      [
        "ordre" => 6
        "nom" => "7. So This Is Love ?"
      ]
      [
        "ordre" => 7
        "nom" => "8. Sunday Afternoon in the Park"
      ]
      [
        "ordre" => 8
        "nom" => "9. One Foot Out the Door"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2162 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2197 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2190 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2192 …}
    -enregistreLe: DateTime @1640766262 {#2186
      date: 2021-12-29 08:24:22.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1770013448 {#2187
      date: 2026-02-02 06:24:08.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2194 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-fair-warning-box-set-2-lp-ultradisc-one-step-45-rpm-mobile-fidelity-sound-lab-ud1s-035"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3891
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3892 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3940 …}
  +isValidated: false
  +validatedFields: []
}