Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2549
  -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 {#2396 …}
}

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

App\Twig\Components\ListePanier {#2626
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2629 …}
  -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 {#2628 …}
  -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 {#2396 …}
  -formView: Symfony\Component\Form\FormView {#2665 …}
  -form: Symfony\Component\Form\Form {#2815 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1841
    -id: 3009
    -nom: "World Clique"
    -informationComplementaire: "Redécouvrez "World Clique" dans une édition audiophile exceptionnelle signée Mobile Fidelity Sound Lab. Ce double vinyle 45 RPM sublime les grooves funk, house et pop de Deee-Lite avec une qualité sonore remarquable et une immersion totale."
    -description: """
      Redécouvrez toute l’énergie et l’originalité de "World Clique" dans cette prestigieuse édition audiophile 2 LP 45 RPM signée Mobile Fidelity Sound Lab. Véritable icône du début des années 90, cet album culte du groupe Deee-Lite mélange avec audace house, funk, pop, hip-hop et influences psychédéliques dans un cocktail sonore aussi festif qu’innovant. Porté par l’incontournable “Groove Is in the Heart”, World Clique reste aujourd’hui une référence majeure de la scène dance alternative.\r\n
      \r\n
      Grâce au savoir-faire reconnu de Mobile Fidelity et au pressage en double vinyle 45 tours, cette édition offre une restitution sonore exceptionnelle, avec une dynamique impressionnante, des basses profondes et un niveau de détail remarquable. Chaque titre bénéficie d’une scène sonore ample et immersive qui sublime les arrangements et l’énergie du groupe. Pensé pour les audiophiles comme pour les collectionneurs, ce pressage premium permet de redécouvrir l’album dans des conditions d’écoute optimales, au plus proche des bandes originales. Une pièce incontournable pour toute collection vinyle exigeante.\r\n
      \r\n
      Musicians : \r\n
      Lady Miss Kier (lead & backing vocals), DJ Dmitry (keyboards, bass, guitar), Towa Tei (sampling, programming), Bootsy Collins (bass, guitar, vocals), Q-Tip (rap vocals), Fred Wesley (trombone), Maceo Parker (saxophone), Bill “Chicken on Fire” Coleman (vocals), Sheila Slappy (background vocals).\r\n
      \r\n
      - De-lovely, Delightful, and Truly Delicious: Deee-Lite’s World Clique Makes Deliriously Fun Dance Magic with House, Funk, and Soul Music, Includes “Groove Is in the Heart” and Contributions from Bootsy Collins, Maceo Parker, and Fred Wesley !\r\n
      \r\n
      - Hear the 1990 Club Favorite in Audiophile Sound for the First Time : Strictly Limited to 2000 Numbered Copies, Mobile Fidelity’s 180 gram 45 RPM (2 LP) Set Abounds with Tones, Colors, Definition, and Spatial Details !\r\n
      \r\n
      - 1/2” / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Dig! A rare club album that crossed over into the mainstream and became an international success, World Clique seemingly came from out of the blue from a band whose whimsical, quasi-psychedelic name Deee-Lite hints at the sheer fun, quirky personality, and humorous flair within its diverse borders. Renowned for the smash “Groove Is in the Heart”, ranked  N° 233 on Rolling Stone’s list of the 500 Greatest Songs of All Time and N° 2 on Billboard’s 100 Best Dance Songs of All Time, the 1990 record is a good-time dive into funk, house, disco, and pop waters that never fails to put a smile on listeners’ faces or a spring in their step. \r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, strictly limited to 2000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180 gram 45 RPM (2 LP) set presents World Clique in audiophile quality for the first time. One of the most important aspects of the effort rhythmic grooves, natch tremendously benefits from the fact the 48 minute album gets spread across four vinyl sides. The upgrade allows for a boost in groove velocity and near eradication of inner-groove distortion all the while enhancing high- and low-frequency reproduction. Unless you’ve got out-of-print 12 inch singles from this Billboard Top 20 set, you’ve never even come close to hearing how good it sounds. \r\n
      \r\n
      Constructed via a hybrid of instrumentation, singing, and samples, World Clique unfurls with a rainbow of colors, tones, details, and effects. This collectible reissue zeros in on the separation and spatial location crucial to the tracks, with clever touches such as supplementary echoes to panned vocals and hand claps in defined positions amid broad, deep soundstages. The clarity of everything from Lady Miss Kier’s breathy vocals and the group’s effortless hooks to the statement-making horns from James Brown band legends Maceo Parker and Fred Wesley brings Deee-Lite’s joyous delirium to life in multi-dimensional fashion. \r\n
      \r\n
      Cool, real, fresh: The terms the trio tosses about on the album-opening “Deee-Lite Theme” still apply, even with the evolution of beat technology. Beholden to no trend, look or algorithm, Deee-Lite approaches World Clique as if anything is possible. That feeling extends to how the group weaves a broad palette of samples into its arrangements. Rather than using pieces of songs by the likes of Betty Wright, Quincy Jones, and the Monkees as foundations  and then layering original segments on top Deee-Lite eschews then-popular excessive convention and judiciously incorporates samples as smart accents, transitions, and punctuation marks. The group’s savvy knack for sunny hooks, piano riffs, and unpredictability does the rest. \r\n
      \r\n
      “Won’t you listen to what the DJ is spinnin’”, Kier instructs on the nuanced “E.S.P.”, the advice indicative of the carefree spirit and feet-moving vibes that make World Clique an instant party starter and mood elevator. Indeed, the very titles of most of the songs make Deee-Lite’s positive intentions transparent. The collective follows through with music steeped in retro R&B, daisy-age hip-hop, lite psychedelia, and bubbly pop that wiggles, flows, and turns your space into an imaginary dance floor. \r\n
      \r\n
      More proof World Clique is much more than a one-hit wonder ? Kier’s spry and airy vocals, which inject songs such as the simmering “Good Beat”, hop-scotching title track, and percolating “What Is Love ?” with intrigue, soulfulness, and spice. They helped turn “Power of Love” into Deee-Lite’s second N° 1 hit on Billboard’s Dance Club Songs chart. And they seamlessly blend with Collins’ guitar riffs and Parker and Wesley’s horns on the multifaceted “Try Me On... ’m Very You”.\r\n
      \r\n
      Of course, what else needs to be said about that tandem’s work on “Groove Is in the Heart,” which hit the Top 5 on three Billboard charts and the Top 30 on yet another ? Collins’ cooler-than-thou spoken intro and chorus interjections. That slide whistle. The start of an Eva Gabor comment on “Green Acres” transformed into its own speech motif. That cowbell. Those fluid bass lines. That get-down sass and kitsch. That spot-on rap interlude from Q-Tip. Add it all up and you have the song voted Best Single in the 1990 Pazz & Jop poll and one that is on “best” decade lists from Pitchfork, NME, Time Out, Billboard, Slant, and more to say nothing of “best” all-time lists.\r\n
      \r\n
      De-lovely, delightful, and truly delicious.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Lady Miss Kier (lead & backing vocals), DJ Dmitry (keyboards, bass, guitar), Towa Tei (sampling, programming), Bootsy Collins (bass, guitar, vocals)..."
    -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=etviGf1uWlg&list=OLAK5uy_l6b5h-Keoiin0TiXs_1hnLR3pV1ZVhozE"
    -referenceProduit: "Mobile Fidelity Sound Lab 2-609"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Deee-Lite Theme"
      ]
      [
        "ordre" => 2
        "nom" => "2. Good Beat"
      ]
      [
        "ordre" => 3
        "nom" => "3. Power of Love"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Try Me On... ’m Very You"
      ]
      [
        "ordre" => 6
        "nom" => "2. Smile On"
      ]
      [
        "ordre" => 7
        "nom" => "3. What Is Love ?"
      ]
      [
        "ordre" => 8
        "nom" => "Side C :"
      ]
      [
        "ordre" => 9
        "nom" => "1. World Clique"
      ]
      [
        "ordre" => 10
        "nom" => "2. E.S.P."
      ]
      [
        "ordre" => 11
        "nom" => "3. Groove Is in the Heart"
      ]
      [
        "ordre" => 12
        "nom" => "Side D : "
      ]
      [
        "ordre" => 13
        "nom" => "1. Who Was That ?"
      ]
      [
        "ordre" => 14
        "nom" => "2. Deep-Ending"
      ]
      [
        "ordre" => 15
        "nom" => "3. Build the Bridge"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1464 …}
    -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 @1772526682 {#1896
      date: 2026-03-03 08:31:22.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1778165047 {#1889
      date: 2026-05-07 14:44:07.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-world-clique-mobile-fidelity-sound-lab-2-609"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3090
  -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 {#2628 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#1841
    -id: 3009
    -nom: "World Clique"
    -informationComplementaire: "Redécouvrez "World Clique" dans une édition audiophile exceptionnelle signée Mobile Fidelity Sound Lab. Ce double vinyle 45 RPM sublime les grooves funk, house et pop de Deee-Lite avec une qualité sonore remarquable et une immersion totale."
    -description: """
      Redécouvrez toute l’énergie et l’originalité de "World Clique" dans cette prestigieuse édition audiophile 2 LP 45 RPM signée Mobile Fidelity Sound Lab. Véritable icône du début des années 90, cet album culte du groupe Deee-Lite mélange avec audace house, funk, pop, hip-hop et influences psychédéliques dans un cocktail sonore aussi festif qu’innovant. Porté par l’incontournable “Groove Is in the Heart”, World Clique reste aujourd’hui une référence majeure de la scène dance alternative.\r\n
      \r\n
      Grâce au savoir-faire reconnu de Mobile Fidelity et au pressage en double vinyle 45 tours, cette édition offre une restitution sonore exceptionnelle, avec une dynamique impressionnante, des basses profondes et un niveau de détail remarquable. Chaque titre bénéficie d’une scène sonore ample et immersive qui sublime les arrangements et l’énergie du groupe. Pensé pour les audiophiles comme pour les collectionneurs, ce pressage premium permet de redécouvrir l’album dans des conditions d’écoute optimales, au plus proche des bandes originales. Une pièce incontournable pour toute collection vinyle exigeante.\r\n
      \r\n
      Musicians : \r\n
      Lady Miss Kier (lead & backing vocals), DJ Dmitry (keyboards, bass, guitar), Towa Tei (sampling, programming), Bootsy Collins (bass, guitar, vocals), Q-Tip (rap vocals), Fred Wesley (trombone), Maceo Parker (saxophone), Bill “Chicken on Fire” Coleman (vocals), Sheila Slappy (background vocals).\r\n
      \r\n
      - De-lovely, Delightful, and Truly Delicious: Deee-Lite’s World Clique Makes Deliriously Fun Dance Magic with House, Funk, and Soul Music, Includes “Groove Is in the Heart” and Contributions from Bootsy Collins, Maceo Parker, and Fred Wesley !\r\n
      \r\n
      - Hear the 1990 Club Favorite in Audiophile Sound for the First Time : Strictly Limited to 2000 Numbered Copies, Mobile Fidelity’s 180 gram 45 RPM (2 LP) Set Abounds with Tones, Colors, Definition, and Spatial Details !\r\n
      \r\n
      - 1/2” / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Dig! A rare club album that crossed over into the mainstream and became an international success, World Clique seemingly came from out of the blue from a band whose whimsical, quasi-psychedelic name Deee-Lite hints at the sheer fun, quirky personality, and humorous flair within its diverse borders. Renowned for the smash “Groove Is in the Heart”, ranked  N° 233 on Rolling Stone’s list of the 500 Greatest Songs of All Time and N° 2 on Billboard’s 100 Best Dance Songs of All Time, the 1990 record is a good-time dive into funk, house, disco, and pop waters that never fails to put a smile on listeners’ faces or a spring in their step. \r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, strictly limited to 2000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180 gram 45 RPM (2 LP) set presents World Clique in audiophile quality for the first time. One of the most important aspects of the effort rhythmic grooves, natch tremendously benefits from the fact the 48 minute album gets spread across four vinyl sides. The upgrade allows for a boost in groove velocity and near eradication of inner-groove distortion all the while enhancing high- and low-frequency reproduction. Unless you’ve got out-of-print 12 inch singles from this Billboard Top 20 set, you’ve never even come close to hearing how good it sounds. \r\n
      \r\n
      Constructed via a hybrid of instrumentation, singing, and samples, World Clique unfurls with a rainbow of colors, tones, details, and effects. This collectible reissue zeros in on the separation and spatial location crucial to the tracks, with clever touches such as supplementary echoes to panned vocals and hand claps in defined positions amid broad, deep soundstages. The clarity of everything from Lady Miss Kier’s breathy vocals and the group’s effortless hooks to the statement-making horns from James Brown band legends Maceo Parker and Fred Wesley brings Deee-Lite’s joyous delirium to life in multi-dimensional fashion. \r\n
      \r\n
      Cool, real, fresh: The terms the trio tosses about on the album-opening “Deee-Lite Theme” still apply, even with the evolution of beat technology. Beholden to no trend, look or algorithm, Deee-Lite approaches World Clique as if anything is possible. That feeling extends to how the group weaves a broad palette of samples into its arrangements. Rather than using pieces of songs by the likes of Betty Wright, Quincy Jones, and the Monkees as foundations  and then layering original segments on top Deee-Lite eschews then-popular excessive convention and judiciously incorporates samples as smart accents, transitions, and punctuation marks. The group’s savvy knack for sunny hooks, piano riffs, and unpredictability does the rest. \r\n
      \r\n
      “Won’t you listen to what the DJ is spinnin’”, Kier instructs on the nuanced “E.S.P.”, the advice indicative of the carefree spirit and feet-moving vibes that make World Clique an instant party starter and mood elevator. Indeed, the very titles of most of the songs make Deee-Lite’s positive intentions transparent. The collective follows through with music steeped in retro R&B, daisy-age hip-hop, lite psychedelia, and bubbly pop that wiggles, flows, and turns your space into an imaginary dance floor. \r\n
      \r\n
      More proof World Clique is much more than a one-hit wonder ? Kier’s spry and airy vocals, which inject songs such as the simmering “Good Beat”, hop-scotching title track, and percolating “What Is Love ?” with intrigue, soulfulness, and spice. They helped turn “Power of Love” into Deee-Lite’s second N° 1 hit on Billboard’s Dance Club Songs chart. And they seamlessly blend with Collins’ guitar riffs and Parker and Wesley’s horns on the multifaceted “Try Me On... ’m Very You”.\r\n
      \r\n
      Of course, what else needs to be said about that tandem’s work on “Groove Is in the Heart,” which hit the Top 5 on three Billboard charts and the Top 30 on yet another ? Collins’ cooler-than-thou spoken intro and chorus interjections. That slide whistle. The start of an Eva Gabor comment on “Green Acres” transformed into its own speech motif. That cowbell. Those fluid bass lines. That get-down sass and kitsch. That spot-on rap interlude from Q-Tip. Add it all up and you have the song voted Best Single in the 1990 Pazz & Jop poll and one that is on “best” decade lists from Pitchfork, NME, Time Out, Billboard, Slant, and more to say nothing of “best” all-time lists.\r\n
      \r\n
      De-lovely, delightful, and truly delicious.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Lady Miss Kier (lead & backing vocals), DJ Dmitry (keyboards, bass, guitar), Towa Tei (sampling, programming), Bootsy Collins (bass, guitar, vocals)..."
    -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=etviGf1uWlg&list=OLAK5uy_l6b5h-Keoiin0TiXs_1hnLR3pV1ZVhozE"
    -referenceProduit: "Mobile Fidelity Sound Lab 2-609"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Deee-Lite Theme"
      ]
      [
        "ordre" => 2
        "nom" => "2. Good Beat"
      ]
      [
        "ordre" => 3
        "nom" => "3. Power of Love"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Try Me On... ’m Very You"
      ]
      [
        "ordre" => 6
        "nom" => "2. Smile On"
      ]
      [
        "ordre" => 7
        "nom" => "3. What Is Love ?"
      ]
      [
        "ordre" => 8
        "nom" => "Side C :"
      ]
      [
        "ordre" => 9
        "nom" => "1. World Clique"
      ]
      [
        "ordre" => 10
        "nom" => "2. E.S.P."
      ]
      [
        "ordre" => 11
        "nom" => "3. Groove Is in the Heart"
      ]
      [
        "ordre" => 12
        "nom" => "Side D : "
      ]
      [
        "ordre" => 13
        "nom" => "1. Who Was That ?"
      ]
      [
        "ordre" => 14
        "nom" => "2. Deep-Ending"
      ]
      [
        "ordre" => 15
        "nom" => "3. Build the Bridge"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1464 …}
    -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 @1772526682 {#1896
      date: 2026-03-03 08:31:22.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1778165047 {#1889
      date: 2026-05-07 14:44:07.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-world-clique-mobile-fidelity-sound-lab-2-609"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2396 …}
}

[
  "produit" => App\Entity\Produit {#2035
    -id: 3075
    -nom: "Fun House"
    -informationComplementaire: "Avec Iggy Pop au sommet de son intensité, "Fun House" vous plonge dans un rock sauvage, sans compromis. Riffs puissants, rythme hypnotique, et une touche de folie apportée par Steve Mackay au saxophone, tout est réuni pour une écoute inoubliable."
    -description: """
      Fun House, l’album culte de The Stooges !\r\n
      \r\n
      Sorti en 1970, "Fun House" est un album incontournable du rock proto-punk. Mené par Iggy Pop, The Stooges livrent une performance brute et intense, marquée par les riffs saturés de Ron Asheton et une rythmique puissante.\r\n
      \r\n
      L’apport du saxophoniste Steve Mackay confère à l’album une dimension expérimentale unique. Véritable référence du rock alternatif et du punk, Fun House influence encore aujourd’hui de nombreux artistes.\r\n
      \r\n
      - The Stooges Make the Ultimate Rock ‘n’ Roll Statement on "Fun House" : Primal Punk-Jazz Landmark Is Ranked the 94th Greatest Album of All Time by Rolling Stone !\r\n
      \r\n
      - Experience the Band’s 1970 Effort in Definitive Sound on Vinyl : Mobile Fidelity’s Numbered-Edition 180 gram 45 RPM (2 LP) Set Explodes with Energy, Immediacy, and Force !\r\n
      \r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      “Do you feel it ?” Iggy Pop asks on “Dirt”. The answer is patently obvious for anyone who encounters the Stooges’ Fun House. \r\n
      \r\n
      This is a record on which unabandoned feeling takes precedence, primal energy surges to the fore, outsider attitude snarls with destructive force, electrifying chaos assumes the form of wild joyousness all of which might very well be impossible to put into words. Legendary Village Voice journalist Robert Christgau even admitted “language wasn’t designed for the job” of conveying what many critics and artists believe to be the ultimate rock ‘n’ roll statement. \r\n
      \r\n
      Sourced from the original 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) set marks the first time this 1970 landmark is available at 45 RPM speed. This definitive-sounding copy benefits from the extra groove space by playing with enhanced definition, greater emotionalism, and more realistic ambience than prior versions. \r\n
      \r\n
      From beginning to end, the live-in-the-room characteristics and sudden mayhem closely identified with Fun House and Don Gallucci’s esteemed production the unrelenting sense of groove; the sheer impact of the rhythms; the bleed of the unmuted volumes; the ferocity of Pop’s heat-seeking vocals; the bruising churn of the low end; the grit, grime, and grind of four dudes and auxiliary saxophonist Steven Mackay bent on breaking into another dimension emerge with gripping presence, body, and power. The Stooges’ most controlled, focused, and hot-wired creation, Fun House now adopts the sonic vigor of the atom bomb or hydroelectric plant to which Christgau thought of comparing it.\r\n
      \r\n
      Intense, cohesive, and aggressive, Fun House differs from and improves upon the Stooges’ groundbreaking debut in several ways. For starters, the quartet developed nearly all of the songs that ended up on the record over the course of several months of shows they performed on the weekends. They weren’t under pressure to write additional material once the sessions commenced a circumstance that led to on-the-spot songs such as “Not Right” and “Little Doll” on their self-titled set. Just as importantly, they were matched with Gallucci, whose pedigree as an organist on the Kingsmen’s “Louie Louie” and television credits as a member of Dick Clark’s house band in Don and the Good Times immediately endeared him to the band.\r\n
      \r\n
      The Stooges’ instinctive faith in Gallucci paid immediate dividends. In tune with the fact the Stooges’ managed the equivalent of bottling lightning at their distinctive shows, Gallucci sought to capture their concert vibe. He thwarted convention and removed all the drapes, carpeting, and other vibration-deadening accoutrements from Elektra Sound Recorders the studio just a short stroll away from the group’s temporary digs at Tropicana Motel. He also let Pop sing, grunt, shout, and bark in live fashion via a hand-held microphone sent through two Marshall amplifiers that served as his personal PA system. Engineer Brian Ross-Myring was the final piece to what became a recording for the ages. \r\n
      \r\n
      Gallucci and Ross-Myring had another brilliant idea when they planned to have the Stooges knock out one tune in the studio per day in an order that would mirror the sequence on the record. First, they invited the band to run through the songs on what essentially functioned as a preparation day during which levels, baffles, and positions would be dialed in. Then, they got down to business, achieving the goal of nailing down a song each day and providing Gallucci roughly between 15 and 25 takes of each to choose for the official version. Reportedly, aside from two guitar overdubs, every note of Fun House transpired as you hear it today. \r\n
      \r\n
      That goes for the relentless riffing of guitarist Ron Asheton, corrosive pounding of drummer Scott Asheton, sinewy swaying of bassist Dave Alexander, blustery howling of Pop, and untamed, nearly stream-of-conscious blaring of Mackay. Plucked from his job at a record store in Michigan just two days before the sessions began, the young saxophonist helped push the Stooges to avant galaxies no artist ever visited on “1970”, the title track, and “L.A. Blues”, the latter an attempt by Gallucci to chronicle the Stooges’ famed concert-ending freak-outs. To get in the proper frame of mind, the band dropped acid and let fly. \r\n
      \r\n
      Often imitated and never duplicated, the results continue to melt minds more than 50 years after Pop and company got loose. Ranked the 94th greatest album of all time by Rolling Stone, said to be “the greatest rock ‘n’ roll album ever made” by Jack White, and championed by everyone from vaunted critics such as Lester Bangs and Ben Edmonds to musicians like Henry Rollins and Steve Albini, Fun House feels alright. It’s gonna stick you deep inside.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Iggy Pop (vocals), Ron Asheton (guitar), Dave Alexander (bass), Steve Mackay (saxophone), Scott Asheton (drums)"
    -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=B9Q5luXFkAI&list=RDB9Q5luXFkAI&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-606"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
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        "nom" => "1. Down on the Street"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2037 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3204
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2628 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2035
    -id: 3075
    -nom: "Fun House"
    -informationComplementaire: "Avec Iggy Pop au sommet de son intensité, "Fun House" vous plonge dans un rock sauvage, sans compromis. Riffs puissants, rythme hypnotique, et une touche de folie apportée par Steve Mackay au saxophone, tout est réuni pour une écoute inoubliable."
    -description: """
      Fun House, l’album culte de The Stooges !\r\n
      \r\n
      Sorti en 1970, "Fun House" est un album incontournable du rock proto-punk. Mené par Iggy Pop, The Stooges livrent une performance brute et intense, marquée par les riffs saturés de Ron Asheton et une rythmique puissante.\r\n
      \r\n
      L’apport du saxophoniste Steve Mackay confère à l’album une dimension expérimentale unique. Véritable référence du rock alternatif et du punk, Fun House influence encore aujourd’hui de nombreux artistes.\r\n
      \r\n
      - The Stooges Make the Ultimate Rock ‘n’ Roll Statement on "Fun House" : Primal Punk-Jazz Landmark Is Ranked the 94th Greatest Album of All Time by Rolling Stone !\r\n
      \r\n
      - Experience the Band’s 1970 Effort in Definitive Sound on Vinyl : Mobile Fidelity’s Numbered-Edition 180 gram 45 RPM (2 LP) Set Explodes with Energy, Immediacy, and Force !\r\n
      \r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      “Do you feel it ?” Iggy Pop asks on “Dirt”. The answer is patently obvious for anyone who encounters the Stooges’ Fun House. \r\n
      \r\n
      This is a record on which unabandoned feeling takes precedence, primal energy surges to the fore, outsider attitude snarls with destructive force, electrifying chaos assumes the form of wild joyousness all of which might very well be impossible to put into words. Legendary Village Voice journalist Robert Christgau even admitted “language wasn’t designed for the job” of conveying what many critics and artists believe to be the ultimate rock ‘n’ roll statement. \r\n
      \r\n
      Sourced from the original 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) set marks the first time this 1970 landmark is available at 45 RPM speed. This definitive-sounding copy benefits from the extra groove space by playing with enhanced definition, greater emotionalism, and more realistic ambience than prior versions. \r\n
      \r\n
      From beginning to end, the live-in-the-room characteristics and sudden mayhem closely identified with Fun House and Don Gallucci’s esteemed production the unrelenting sense of groove; the sheer impact of the rhythms; the bleed of the unmuted volumes; the ferocity of Pop’s heat-seeking vocals; the bruising churn of the low end; the grit, grime, and grind of four dudes and auxiliary saxophonist Steven Mackay bent on breaking into another dimension emerge with gripping presence, body, and power. The Stooges’ most controlled, focused, and hot-wired creation, Fun House now adopts the sonic vigor of the atom bomb or hydroelectric plant to which Christgau thought of comparing it.\r\n
      \r\n
      Intense, cohesive, and aggressive, Fun House differs from and improves upon the Stooges’ groundbreaking debut in several ways. For starters, the quartet developed nearly all of the songs that ended up on the record over the course of several months of shows they performed on the weekends. They weren’t under pressure to write additional material once the sessions commenced a circumstance that led to on-the-spot songs such as “Not Right” and “Little Doll” on their self-titled set. Just as importantly, they were matched with Gallucci, whose pedigree as an organist on the Kingsmen’s “Louie Louie” and television credits as a member of Dick Clark’s house band in Don and the Good Times immediately endeared him to the band.\r\n
      \r\n
      The Stooges’ instinctive faith in Gallucci paid immediate dividends. In tune with the fact the Stooges’ managed the equivalent of bottling lightning at their distinctive shows, Gallucci sought to capture their concert vibe. He thwarted convention and removed all the drapes, carpeting, and other vibration-deadening accoutrements from Elektra Sound Recorders the studio just a short stroll away from the group’s temporary digs at Tropicana Motel. He also let Pop sing, grunt, shout, and bark in live fashion via a hand-held microphone sent through two Marshall amplifiers that served as his personal PA system. Engineer Brian Ross-Myring was the final piece to what became a recording for the ages. \r\n
      \r\n
      Gallucci and Ross-Myring had another brilliant idea when they planned to have the Stooges knock out one tune in the studio per day in an order that would mirror the sequence on the record. First, they invited the band to run through the songs on what essentially functioned as a preparation day during which levels, baffles, and positions would be dialed in. Then, they got down to business, achieving the goal of nailing down a song each day and providing Gallucci roughly between 15 and 25 takes of each to choose for the official version. Reportedly, aside from two guitar overdubs, every note of Fun House transpired as you hear it today. \r\n
      \r\n
      That goes for the relentless riffing of guitarist Ron Asheton, corrosive pounding of drummer Scott Asheton, sinewy swaying of bassist Dave Alexander, blustery howling of Pop, and untamed, nearly stream-of-conscious blaring of Mackay. Plucked from his job at a record store in Michigan just two days before the sessions began, the young saxophonist helped push the Stooges to avant galaxies no artist ever visited on “1970”, the title track, and “L.A. Blues”, the latter an attempt by Gallucci to chronicle the Stooges’ famed concert-ending freak-outs. To get in the proper frame of mind, the band dropped acid and let fly. \r\n
      \r\n
      Often imitated and never duplicated, the results continue to melt minds more than 50 years after Pop and company got loose. Ranked the 94th greatest album of all time by Rolling Stone, said to be “the greatest rock ‘n’ roll album ever made” by Jack White, and championed by everyone from vaunted critics such as Lester Bangs and Ben Edmonds to musicians like Henry Rollins and Steve Albini, Fun House feels alright. It’s gonna stick you deep inside.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Iggy Pop (vocals), Ron Asheton (guitar), Dave Alexander (bass), Steve Mackay (saxophone), Scott Asheton (drums)"
    -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=B9Q5luXFkAI&list=RDB9Q5luXFkAI&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-606"
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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: 2993
    -nom: "Anticipation (2 LP) 45 RPM"
    -informationComplementaire: "Redécouvrez Anticipation comme vous ne l’avez jamais entendu. Dans cette édition (2 LP) 45 RPM signée Mobile Fidelity, la voix envoûtante de Carly Simon s’exprime avec une clarté et une profondeur exceptionnelles."
    -description: """
      Sorti en 1971, "Anticipation" est le deuxième album studio de Carly Simon, une œuvre qui a contribué à asseoir sa réputation comme l’une des voix les plus sensibles et élégantes de la scène folk-pop américaine. Porté par le titre emblématique “Anticipation”, l’album mêle subtilement introspection, romantisme et finesse mélodique.\r\n
      \r\n
      Cette édition exceptionnelle signée Mobile Fidelity Sound Lab propose une réédition audiophile en double vinyle 45 RPM, offrant une restitution sonore d’une précision remarquable. Grâce à une gravure haute définition et un pressage de qualité supérieure, chaque nuance de la voix de Carly Simon et chaque détail instrumental prennent une nouvelle dimension.\r\n
      \r\n
      Pensé pour les collectionneurs et les amateurs de haute fidélité, ce pressage met en valeur la richesse analogique originale de l’album tout en offrant une expérience d’écoute immersive, fidèle à l’intention artistique de l’époque.\r\n
      \r\n
      - Carly Simon's Gold-Certified Anticipation Is Steeped In Romantic Yearning : Largely Autobiographical Album Boldly Addresses Longing, Love, and Vulnerability !\r\n
      - On 180 gram 45 RPM (2 LP) for the First Time: Strictly Limited to 3000 Numbered Copies, Mobile Fidelity’s Reissue Lays Bare the Personal Emotions, Acoustic Arrangements, and Vocal Nuances !\r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Carly Simon’s quietly intense sophomore album comes across like an assertive notice nailed to a telephone pole for all to see. Bold, personal, and autobiographical, Anticipation announces the arrival of an artist who won’t back down. While Simon stands her ground on her eponymous debut, she elevates her passion and persona to heightened levels throughout this gold-certified record, dealing in private matters related to love, relationships, and desire. At times, Simon is nothing short of primal. She reflects on the difficulties of retaining your own identity while also giving yourself to a partner. Simon’s connection to her folk roots would never be stronger. \r\n
      \r\n
      Sourced from the original master tapes, strictly limited to 3000 numbered copies, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180 gram 45 RPM (2 LP) set of Anticipation lays bare the rich tapestries afforded by the spare blend of soft guitars, mellow orchestration, and dreamy melodies. Audiophiles and record collectors, take note: This is the first time Anticipation has been available on 45RPM. The wider grooves and dead-quiet surfaces prove extremely rewarding. \r\n
      \r\n
      The rhythmic framework anchored by session pro Andy Newmark’s drumming sounds dynamic and balanced, with songs benefiting from a focused midrange and taut low-end. Simon’s attachment to and investment in each lyric is made evident by way of the intimate, hushed atmospherics and expansive responsiveness. And just as Simon’s vocals feel more transparent and direct, so, too, do the supporting choral arrangements. \r\n
      \r\n
      Released before the singer-songwriter movement reached full bloom, Anticipation remains remarkable for the high-quality songwriting and Simon’s gutsy stance. The album cover depicting the vocalist holding the gates at Queen Mary’s Garden in Regent’s Park and seemingly defying anyone to take her on serves as a metaphor for the content within. \r\n
      \r\n
      Known for having relationships with high-profile partners, Simon was heavily involved with Cat Stevens leading up to the recording of Anticipation. She draws from her experiences to craft tunes that resonate because of their honesty, realism, and strength. Few of those moments are better known than the Top 20 title track, which Simon composed in just 15 minutes as she waited for Stevens to pick her up for a date. Imbued with the nervousness, tension, and excitement that accompany the moments when a romance could go either way, the Grammy-nominated song presages the feminist-minded vulnerability and burning longing that informs a majority of the record. \r\n
      \r\n
      On the soulful “Legend in Your Own Time”, also inspired by Stevens, Simon harnesses yearning as a conduit to feel-good paradise. Deemed by Rolling Stone an “absolute clincher, an awesome description of the psychic ravages of gone-nuts, know-nothing love”, her cover of Kris Kristofferson’s “I’ve Got to Have You” moans with no-holds-barred desire and breathtaking sensuality.\r\n
      \r\n
       For all the wanting Simon pursues on Anticipation, her way of staying in control vocally and personally make the record a courageous statement of contemporary femininity. For further evidence, look to the bossa nova of “Summer’s Coming Around Again”, somber “Share the End”, soothing “Three Days”, and sincere “Julie Through the Glass”, a tribute to her young niece. \r\n
      \r\n
      Simon would achieve international fame with her next album, No Secrets. Yet as this definitive reissue shows, Anticipation suggests the rest of the world was just a little late catching up to her.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Carly Simon (acoustic guitar, piano, vocals), Jim "Jimmy" Ryan (acoustic & electric guitars, electric bass), Paul Glanz (piano), John Ryan (acoustic bass, double bass), Andy Newmark (drums, percussion)"
    -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=4NwP3wes4M8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-2631"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
      ]
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        "ordre" => 1
        "nom" => "1. Anticipation"
      ]
      [
        "ordre" => 2
        "nom" => "2. Legend in Your Own Time "
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        "nom" => "Side B : "
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        "nom" => "1. Our First Day Together"
      ]
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        "nom" => "2. The Girl You Think You See"
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        "nom" => "3. Summer’s Coming Around Again "
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        "nom" => "2. The Garden "
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        "nom" => "3. I’ve Got to Have You"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3255
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2628 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2051
    -id: 2993
    -nom: "Anticipation (2 LP) 45 RPM"
    -informationComplementaire: "Redécouvrez Anticipation comme vous ne l’avez jamais entendu. Dans cette édition (2 LP) 45 RPM signée Mobile Fidelity, la voix envoûtante de Carly Simon s’exprime avec une clarté et une profondeur exceptionnelles."
    -description: """
      Sorti en 1971, "Anticipation" est le deuxième album studio de Carly Simon, une œuvre qui a contribué à asseoir sa réputation comme l’une des voix les plus sensibles et élégantes de la scène folk-pop américaine. Porté par le titre emblématique “Anticipation”, l’album mêle subtilement introspection, romantisme et finesse mélodique.\r\n
      \r\n
      Cette édition exceptionnelle signée Mobile Fidelity Sound Lab propose une réédition audiophile en double vinyle 45 RPM, offrant une restitution sonore d’une précision remarquable. Grâce à une gravure haute définition et un pressage de qualité supérieure, chaque nuance de la voix de Carly Simon et chaque détail instrumental prennent une nouvelle dimension.\r\n
      \r\n
      Pensé pour les collectionneurs et les amateurs de haute fidélité, ce pressage met en valeur la richesse analogique originale de l’album tout en offrant une expérience d’écoute immersive, fidèle à l’intention artistique de l’époque.\r\n
      \r\n
      - Carly Simon's Gold-Certified Anticipation Is Steeped In Romantic Yearning : Largely Autobiographical Album Boldly Addresses Longing, Love, and Vulnerability !\r\n
      - On 180 gram 45 RPM (2 LP) for the First Time: Strictly Limited to 3000 Numbered Copies, Mobile Fidelity’s Reissue Lays Bare the Personal Emotions, Acoustic Arrangements, and Vocal Nuances !\r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Carly Simon’s quietly intense sophomore album comes across like an assertive notice nailed to a telephone pole for all to see. Bold, personal, and autobiographical, Anticipation announces the arrival of an artist who won’t back down. While Simon stands her ground on her eponymous debut, she elevates her passion and persona to heightened levels throughout this gold-certified record, dealing in private matters related to love, relationships, and desire. At times, Simon is nothing short of primal. She reflects on the difficulties of retaining your own identity while also giving yourself to a partner. Simon’s connection to her folk roots would never be stronger. \r\n
      \r\n
      Sourced from the original master tapes, strictly limited to 3000 numbered copies, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180 gram 45 RPM (2 LP) set of Anticipation lays bare the rich tapestries afforded by the spare blend of soft guitars, mellow orchestration, and dreamy melodies. Audiophiles and record collectors, take note: This is the first time Anticipation has been available on 45RPM. The wider grooves and dead-quiet surfaces prove extremely rewarding. \r\n
      \r\n
      The rhythmic framework anchored by session pro Andy Newmark’s drumming sounds dynamic and balanced, with songs benefiting from a focused midrange and taut low-end. Simon’s attachment to and investment in each lyric is made evident by way of the intimate, hushed atmospherics and expansive responsiveness. And just as Simon’s vocals feel more transparent and direct, so, too, do the supporting choral arrangements. \r\n
      \r\n
      Released before the singer-songwriter movement reached full bloom, Anticipation remains remarkable for the high-quality songwriting and Simon’s gutsy stance. The album cover depicting the vocalist holding the gates at Queen Mary’s Garden in Regent’s Park and seemingly defying anyone to take her on serves as a metaphor for the content within. \r\n
      \r\n
      Known for having relationships with high-profile partners, Simon was heavily involved with Cat Stevens leading up to the recording of Anticipation. She draws from her experiences to craft tunes that resonate because of their honesty, realism, and strength. Few of those moments are better known than the Top 20 title track, which Simon composed in just 15 minutes as she waited for Stevens to pick her up for a date. Imbued with the nervousness, tension, and excitement that accompany the moments when a romance could go either way, the Grammy-nominated song presages the feminist-minded vulnerability and burning longing that informs a majority of the record. \r\n
      \r\n
      On the soulful “Legend in Your Own Time”, also inspired by Stevens, Simon harnesses yearning as a conduit to feel-good paradise. Deemed by Rolling Stone an “absolute clincher, an awesome description of the psychic ravages of gone-nuts, know-nothing love”, her cover of Kris Kristofferson’s “I’ve Got to Have You” moans with no-holds-barred desire and breathtaking sensuality.\r\n
      \r\n
       For all the wanting Simon pursues on Anticipation, her way of staying in control vocally and personally make the record a courageous statement of contemporary femininity. For further evidence, look to the bossa nova of “Summer’s Coming Around Again”, somber “Share the End”, soothing “Three Days”, and sincere “Julie Through the Glass”, a tribute to her young niece. \r\n
      \r\n
      Simon would achieve international fame with her next album, No Secrets. Yet as this definitive reissue shows, Anticipation suggests the rest of the world was just a little late catching up to her.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Carly Simon (acoustic guitar, piano, vocals), Jim "Jimmy" Ryan (acoustic & electric guitars, electric bass), Paul Glanz (piano), John Ryan (acoustic bass, double bass), Andy Newmark (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=4NwP3wes4M8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-2631"
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        "nom" => "2. The Girl You Think You See"
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        "nom" => "2. The Garden "
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        "nom" => "2. Julie Through the Glass"
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[
  "produit" => App\Entity\Produit {#2069
    -id: 2957
    -nom: "My Morning Jacket Z -  (Box Set 2 LP) UltraDisc One-Step 45 RPM"
    -informationComplementaire: null
    -description: """
      - My Morning Jacket Explores Cosmic Frontiers on Z: Rolling Stone Ranks the Band's Fourth Effort as One of the 500 Greatest Albums of All Time ! \r\n
      \r\n
      - Experience the 2005 Record in Audiophile Sound for the First Time : Strictly Limited to 2500 Numbered Copies, Mobile Fidelity’s UltraDisc One-Step 180 gram 45 RPM (2 LP) Box Set Includes a Bonus Track and Custom Art !\r\n
      \r\n
      - 1/2” / 15 IPS / Dolby SR analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      My Morning Jacket found itself at a crossroads as it prepared to create the record that would become its breakthrough. Two members had amicably departed on a prior tour, and their replacements were settling into the group’s chemistry. The Kentucky ensemble also felt a desire to change up the approaches that served it so well on its first three LPs. Getting out of that comfort zone, making great use of the recent recruits, and inviting a professional producer into the fold paid immense dividends in the form of the critically revered Z.\r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, and strictly limited to 2500 numbered copies, Mobile Fidelity’s UltraDisc One-Step 180 gram 45 RPM (2 LP) box set of Z presents the 2005 effort ranked by Rolling Stone as one of the 500 Greatest Albums of All Time  in audiophile-grade sound for the first time. A considerable part of the record’s celebrated appeal and success John Leckie’s outstanding production, which tamps down the group’s signature reverb and washes the music with organic warmth and cosmic textures emerges with previously unheard openness, presence, and grandness. \r\n
      \r\n
      Benefitting from an ultra-low noise floor, superior groove definition, and dead-quiet surfaces, this collectible edition frames leader Jim James and company’s fare amid deep-black backgrounds and expansive soundstages. Songs feel natural, golden, and seemingly endless in scope. The extent of the dynamic breadth and accuracy of detail you sense will likely only be limited by the capacity of your stereo. You’ll hear the subtle nuances and smooth falsetto of James’ voice; liveliness of the studio environment; atmospheric flourishes of the effects pedals; wet splash and pounce of the percussion; soft sparkle of the keyboards; and the near-infinite tonality of the guitars like never before. Those benefits extend to the bonus track “Where to Begin”.\r\n
      \r\n
      The deluxe packaging of Mobile Fidelity’s Z UD1S set celebrates the work’s distinguished status with unique art developed in collaboration with the band. Housed in a slipcase, the LPs come in special foil-stamped jackets. You also get two inserts devised by the group for this release. Aurally and visually, this reissue is for listeners who want to engage in everything involved with the album, including Kathleen Lolley’s striking cover art. It depicts a trio of avian surgeons operating on one of their own a bird that happens to have a city inside his belly. James chose the image because of the way it represents the world within all of us and suggests the need to block out exterior noise and focus on your surroundings. \r\n
      \r\n
      Following its own advice, My Morning Jacket concentrates on the matters at hand throughout Z. Zooming beyond the Southern-styled rock and rustic balladry of its earlier LPs, the quintet invigorated by newcomers Carl Broemel on guitar and Bo Koster on keyboards invites exotic vocabularies and psychedelic ambience into its wheelhouse all the while tightening up structures and building upon past achievements. A conscious decision to ensconce itself in a studio that would eliminate distractions led the group to a remote area of the Catskill Mountains and away from its usual confines of Louisville, Kentucky. The final piece that locked everything into place? Co-producer Leckie. \r\n
      \r\n
      A veteran of Abbey Road Studios who worked in various capacities on albums by the likes of George Harrison, Pink Floyd and Wings, Leckie touted an impressive engineering and production resume that included efforts by the Stone Roses, XTC, Muse, and Radiohead by the time James met him before the sessions began. Leckie’s outsider perspective helped spur My Morning Jacket to glorious heights and change how the band operated.\r\n
      \r\n
      Z testifies on behalf of the brilliance of that collaboration, with adventurous arrangements and forays into reggae, R&B, and soul-jazz taking listeners on wondrous journeys into outer galaxies. The burbling undercurrents and calming bass lines on the opening “Wordless Chorus” a song true to its name plunges you into the depths of a vast ocean. James’ rising “aaaah” releases ultimately give way to “whooo” howls that speak to the liberating feelings at hand. A quick coda that nicks Elton John’s “Bennie and the Jets” underlines the mood.\r\n
      \r\n
      From there, Z continues to delight and surprise. Songs evoke rays of light pouring through a prism and projecting wide spectrums of color; the majestic glow of the flashing aurora borealis on a crisp night; the vast expanse of desert-plains horizons and towering sight of a tree-dense forest. As much about settings and transformation as melody, Z pulls you into its crevices, mysteries, and chasms. As tour guides and groove sorcerers, James and friends don tophats and wave magic wands. \r\n
      \r\n
      Surrender to the teeter-totter variations of the sincere “It Beats 4 U”, an ode complete with whistling from multi-hyphenate musician Andrew Bird. Shimmy and shake as “What a Wonderful Man” sparks with lightning-strike joy and dials up the crunch. Bob to the hypnotic reggae riffs and springboard rhythms of “Off the Record” as it casts out gloom and rejoices with happiness, the song’s second half even hinting at the Rolling Stones’ “Can’t You Hear Me Knocking” as it dives down an experimental black hole. Embrace the miniature piano ballet that is “Knot Comes Loose”, delivered by James in a churchy voice. \r\n
      \r\n
      “Listen, listen” he enthusiastically instructs on the building “Gideon” Fantastic advice for an album that never repeats itself or grows stale.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Jim James (guitar, lead vocals), Tom Blankenship (bass guitar), Bo Koster (keyboards), Carl Broemel (guitar, pedal steel, saxophone, backing vocals), Patrick Hallahan (drums, percussion)"
    -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=q15sZK-8sPw&list=PLNPGM2D7aODd0OlYnfgHnUn4NniZD3_xU&index=2"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S 2-074"
    -titreMorceau: [
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        "ordre" => 0
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        "nom" => "1. What a Wonderful Man"
      ]
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        "nom" => "2. Off the Record"
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        "nom" => "Side C :"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2071 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3306
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2628 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
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    -id: 2957
    -nom: "My Morning Jacket Z -  (Box Set 2 LP) UltraDisc One-Step 45 RPM"
    -informationComplementaire: null
    -description: """
      - My Morning Jacket Explores Cosmic Frontiers on Z: Rolling Stone Ranks the Band's Fourth Effort as One of the 500 Greatest Albums of All Time ! \r\n
      \r\n
      - Experience the 2005 Record in Audiophile Sound for the First Time : Strictly Limited to 2500 Numbered Copies, Mobile Fidelity’s UltraDisc One-Step 180 gram 45 RPM (2 LP) Box Set Includes a Bonus Track and Custom Art !\r\n
      \r\n
      - 1/2” / 15 IPS / Dolby SR analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      My Morning Jacket found itself at a crossroads as it prepared to create the record that would become its breakthrough. Two members had amicably departed on a prior tour, and their replacements were settling into the group’s chemistry. The Kentucky ensemble also felt a desire to change up the approaches that served it so well on its first three LPs. Getting out of that comfort zone, making great use of the recent recruits, and inviting a professional producer into the fold paid immense dividends in the form of the critically revered Z.\r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, and strictly limited to 2500 numbered copies, Mobile Fidelity’s UltraDisc One-Step 180 gram 45 RPM (2 LP) box set of Z presents the 2005 effort ranked by Rolling Stone as one of the 500 Greatest Albums of All Time  in audiophile-grade sound for the first time. A considerable part of the record’s celebrated appeal and success John Leckie’s outstanding production, which tamps down the group’s signature reverb and washes the music with organic warmth and cosmic textures emerges with previously unheard openness, presence, and grandness. \r\n
      \r\n
      Benefitting from an ultra-low noise floor, superior groove definition, and dead-quiet surfaces, this collectible edition frames leader Jim James and company’s fare amid deep-black backgrounds and expansive soundstages. Songs feel natural, golden, and seemingly endless in scope. The extent of the dynamic breadth and accuracy of detail you sense will likely only be limited by the capacity of your stereo. You’ll hear the subtle nuances and smooth falsetto of James’ voice; liveliness of the studio environment; atmospheric flourishes of the effects pedals; wet splash and pounce of the percussion; soft sparkle of the keyboards; and the near-infinite tonality of the guitars like never before. Those benefits extend to the bonus track “Where to Begin”.\r\n
      \r\n
      The deluxe packaging of Mobile Fidelity’s Z UD1S set celebrates the work’s distinguished status with unique art developed in collaboration with the band. Housed in a slipcase, the LPs come in special foil-stamped jackets. You also get two inserts devised by the group for this release. Aurally and visually, this reissue is for listeners who want to engage in everything involved with the album, including Kathleen Lolley’s striking cover art. It depicts a trio of avian surgeons operating on one of their own a bird that happens to have a city inside his belly. James chose the image because of the way it represents the world within all of us and suggests the need to block out exterior noise and focus on your surroundings. \r\n
      \r\n
      Following its own advice, My Morning Jacket concentrates on the matters at hand throughout Z. Zooming beyond the Southern-styled rock and rustic balladry of its earlier LPs, the quintet invigorated by newcomers Carl Broemel on guitar and Bo Koster on keyboards invites exotic vocabularies and psychedelic ambience into its wheelhouse all the while tightening up structures and building upon past achievements. A conscious decision to ensconce itself in a studio that would eliminate distractions led the group to a remote area of the Catskill Mountains and away from its usual confines of Louisville, Kentucky. The final piece that locked everything into place? Co-producer Leckie. \r\n
      \r\n
      A veteran of Abbey Road Studios who worked in various capacities on albums by the likes of George Harrison, Pink Floyd and Wings, Leckie touted an impressive engineering and production resume that included efforts by the Stone Roses, XTC, Muse, and Radiohead by the time James met him before the sessions began. Leckie’s outsider perspective helped spur My Morning Jacket to glorious heights and change how the band operated.\r\n
      \r\n
      Z testifies on behalf of the brilliance of that collaboration, with adventurous arrangements and forays into reggae, R&B, and soul-jazz taking listeners on wondrous journeys into outer galaxies. The burbling undercurrents and calming bass lines on the opening “Wordless Chorus” a song true to its name plunges you into the depths of a vast ocean. James’ rising “aaaah” releases ultimately give way to “whooo” howls that speak to the liberating feelings at hand. A quick coda that nicks Elton John’s “Bennie and the Jets” underlines the mood.\r\n
      \r\n
      From there, Z continues to delight and surprise. Songs evoke rays of light pouring through a prism and projecting wide spectrums of color; the majestic glow of the flashing aurora borealis on a crisp night; the vast expanse of desert-plains horizons and towering sight of a tree-dense forest. As much about settings and transformation as melody, Z pulls you into its crevices, mysteries, and chasms. As tour guides and groove sorcerers, James and friends don tophats and wave magic wands. \r\n
      \r\n
      Surrender to the teeter-totter variations of the sincere “It Beats 4 U”, an ode complete with whistling from multi-hyphenate musician Andrew Bird. Shimmy and shake as “What a Wonderful Man” sparks with lightning-strike joy and dials up the crunch. Bob to the hypnotic reggae riffs and springboard rhythms of “Off the Record” as it casts out gloom and rejoices with happiness, the song’s second half even hinting at the Rolling Stones’ “Can’t You Hear Me Knocking” as it dives down an experimental black hole. Embrace the miniature piano ballet that is “Knot Comes Loose”, delivered by James in a churchy voice. \r\n
      \r\n
      “Listen, listen” he enthusiastically instructs on the building “Gideon” Fantastic advice for an album that never repeats itself or grows stale.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Jim James (guitar, lead vocals), Tom Blankenship (bass guitar), Bo Koster (keyboards), Carl Broemel (guitar, pedal steel, saxophone, backing vocals), Patrick Hallahan (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2071 …}
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[
  "produit" => App\Entity\Produit {#2085
    -id: 3066
    -nom: "N° 4"
    -informationComplementaire: "Plongez dans l’intensité brute de "N° 4", l’un des albums les plus puissants de Stone Temple Pilots. Entre riffs tranchants, mélodies envoûtantes et énergie alternative des années 90, ce disque incarne toute la tension et le génie du groupe à son apogée."
    -description: """
      Sorti en 1999, "N° 4" de Stone Temple Pilots marque un retour aux racines rock du groupe après des expérimentations plus psychédéliques. Porté par la voix charismatique de Scott Weiland, l’album mêle habilement puissance grunge, influences hard rock et touches mélodiques plus subtiles.\r\n
      \r\n
      La section rythmique solide formée par Robert DeLeo et Eric Kretz soutient les guitares incisives et créatives de Dean DeLeo, donnant naissance à des titres emblématiques comme “Down”, “Heaven & Hot Rods” ou encore la ballade sombre “Atlanta”.\r\n
      \r\n
      Entre rage contenue et moments de fragilité, "N° 4" reflète aussi une période turbulente pour le groupe, ce qui confère à l’album une authenticité et une intensité rares. C’est un disque à la fois brut, mélodique et profondément humain, devenu incontournable dans la discographie du rock alternatif.\r\n
      \r\n
      Musicians :\r\n
      Scott Weiland (vocals, organ), Dean DeLeo (electric & acoustic guitars,  lap steel and six-string bass), Robert DeLeo (bass, percussion, guitar, fuzz bass, and zither, backing vocals), Eric Kretz (drums, percussion), Brendan O’Brien (keyboards, piano, percussion, backing vocals), David Campbell (string arrangement), Suzie Katayama, Larry Corbett (cello), Joel Derouin (concertmaster), Evan Wilson (violin, strings), Barrett Martin (bass marimba). \r\n
      \r\n
      - Stone Temple Pilots Return to Their Hard-Rock Roots on the Heavy "N° 4" : Brendan O’Brien-Produced Album Explores Dark Themes, Includes the Hit Single “Sour Girl” !\r\n
      \r\n
      - Hear the 1999 Record in Audiophile Sound : Mobile Fidelity’s Numbered-Edition 180 gram 45 RPM (2 LP) Plays with Stellar Dynamics, Comes Housed in a Stoughton Gatefold Jacket !\r\n
      \r\n
      - 1/2” / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Vengeance is sweet. Dismissed by some insiders due to vocalist Scott Weiland’s legal issues, and viewed by many critics as a band that rode the coattails of its predecessors, Stone Temple Pilots fired a loud shot across the bow in 1999 in the form of N° 4. Blending the strengths of the quartet’s three prior LPs while marking a return to its hard-rock roots, the platinum-certified record stands as the heaviest and edgiest of the California ensemble’s career. That it succeeded while flying in the face of prevailing trends underlines its historic significance and appeal.\r\n
      \r\n
      Sourced from the original analog tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180 gram 45 RPM (2 LP) set presents N° 4. in audiophile sound for the first time on vinyl. With exceptional groove definition, quiet surfaces, and black backgrounds, this collectible edition plays with enhanced liveliness, balance, and solidity that raise the profile of an album that doubled down on rock during a time when most of the style’s practitioners abandoned it in favor of electronic elements or quit the scene entirely. \r\n
      \r\n
      Helmed by the band’s go-to producer, Brendan O’Brien, "N° 4" makes a big noise. The thick crunch of the guitars, bang and crash of the drums, fluid textures of the bass, and lingering echo of the studio space: All are conveyed with newly revealed immediacy, presence, and scope on this reissue, which also delivers the music’s punch and power with visceral impact. Other aspects that tremendously benefit from the restoration: The tenor, attitude, grain, and pitch of Weiland’s versatile voice. While partially obscured or collapsed on prior pressings, imaging and separation come into full view on this version.\r\n
      \r\n
      Despite its general back-to-basics nature, "N° 4" contains a wealth of colors, dynamics, and subtle accents that demand careful unpacking and transparent resolution. Nothing more so than the wide-spanning sounds and sizable footprints of the guitars and percussion. Massive riffs drive sledgehammer tracks such as the grinding “Down”, stormy “Heaven & Hot Rods”, stomping “No Way Out”, and vitriolic “Sex & Violence”. The latter is as close as Stone Temple Pilots ever came to garage-rock territory. The aforementioned cuts and several others bulldoze and plow, their muscular arrangements caked with rich sludge and aluminum tones, their sinister moods draped in distortion. \r\n
      \r\n
      Even as they embrace aggression and toughness, Stone Temple Pilots don’t overlook the importance of sticky hooks and accessible melodies. The springboard motions of the pop-streaked “Church on Sunday” and shuffling patterns of the dreamy “Sour Girl”, the group’s biggest-ever Billboard single, spotlight the ace songwriting chemistry between Weiland and guitarist Robert DeLeo. Ditto the lush “Glide”, a spacy nod to the ‘70s glam movement. It features Weiland singing at the top of his range and, for good measure, a folksy outro steered by an otherworldly zither. And let’s not forget the closing “Atlanta”, a mini-epic complete with a formal string section and spry tunefulness that echoes the Rodgers and Hammerstein standard “My Favorite Things”. \r\n
      \r\n
      Stone Temple Pilots also briefly dial it back and hint at optimism on “I Got You”, a country-tinged ditty sent up with pedal-steel guitar, six-string bass, and piano. Yet N° 4 unmistakably remains a creation of its circumstances. While the album’s edgy sonic character speaks to the gaping holes left by artists who abandoned rock to chase the latest crazes, the lyrical themes relate to Weiland’s problems and addictions. \r\n
      \r\n
      Recorded after the singer spent time in jail for drug violations, N° 4 doesn’t shy from dark desires or wallowing despair. Most narratives seemingly read as confessions and pleas. They concern personal loss, chemical abuse, toxic impulses, and desperate struggles. Weiland addresses everything head on without gloss or protective shielding, the painful disclosures “I used to love me but I hate me now”; “troubled times, when my mind begins to wander to the spoon”; “ I got the message but I lost the race”; “son of a bitch, I know what the itch is like”; “keep it away now, motherfucker, keep it away” - jibing with the band’s omnipresent snarl. \r\n
      \r\n
      Having climbed to N° 6 on the charts amid a de-fanged mainstream era that rewarded boy bands and pin-up pop stars, "N° 4" may not be Stone Temple Pilots’ most commercially successful effort. But it remains their most uncompromising. And that status that arguably carries more weight than any other.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2087 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3357
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2628 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2085
    -id: 3066
    -nom: "N° 4"
    -informationComplementaire: "Plongez dans l’intensité brute de "N° 4", l’un des albums les plus puissants de Stone Temple Pilots. Entre riffs tranchants, mélodies envoûtantes et énergie alternative des années 90, ce disque incarne toute la tension et le génie du groupe à son apogée."
    -description: """
      Sorti en 1999, "N° 4" de Stone Temple Pilots marque un retour aux racines rock du groupe après des expérimentations plus psychédéliques. Porté par la voix charismatique de Scott Weiland, l’album mêle habilement puissance grunge, influences hard rock et touches mélodiques plus subtiles.\r\n
      \r\n
      La section rythmique solide formée par Robert DeLeo et Eric Kretz soutient les guitares incisives et créatives de Dean DeLeo, donnant naissance à des titres emblématiques comme “Down”, “Heaven & Hot Rods” ou encore la ballade sombre “Atlanta”.\r\n
      \r\n
      Entre rage contenue et moments de fragilité, "N° 4" reflète aussi une période turbulente pour le groupe, ce qui confère à l’album une authenticité et une intensité rares. C’est un disque à la fois brut, mélodique et profondément humain, devenu incontournable dans la discographie du rock alternatif.\r\n
      \r\n
      Musicians :\r\n
      Scott Weiland (vocals, organ), Dean DeLeo (electric & acoustic guitars,  lap steel and six-string bass), Robert DeLeo (bass, percussion, guitar, fuzz bass, and zither, backing vocals), Eric Kretz (drums, percussion), Brendan O’Brien (keyboards, piano, percussion, backing vocals), David Campbell (string arrangement), Suzie Katayama, Larry Corbett (cello), Joel Derouin (concertmaster), Evan Wilson (violin, strings), Barrett Martin (bass marimba). \r\n
      \r\n
      - Stone Temple Pilots Return to Their Hard-Rock Roots on the Heavy "N° 4" : Brendan O’Brien-Produced Album Explores Dark Themes, Includes the Hit Single “Sour Girl” !\r\n
      \r\n
      - Hear the 1999 Record in Audiophile Sound : Mobile Fidelity’s Numbered-Edition 180 gram 45 RPM (2 LP) Plays with Stellar Dynamics, Comes Housed in a Stoughton Gatefold Jacket !\r\n
      \r\n
      - 1/2” / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Vengeance is sweet. Dismissed by some insiders due to vocalist Scott Weiland’s legal issues, and viewed by many critics as a band that rode the coattails of its predecessors, Stone Temple Pilots fired a loud shot across the bow in 1999 in the form of N° 4. Blending the strengths of the quartet’s three prior LPs while marking a return to its hard-rock roots, the platinum-certified record stands as the heaviest and edgiest of the California ensemble’s career. That it succeeded while flying in the face of prevailing trends underlines its historic significance and appeal.\r\n
      \r\n
      Sourced from the original analog tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180 gram 45 RPM (2 LP) set presents N° 4. in audiophile sound for the first time on vinyl. With exceptional groove definition, quiet surfaces, and black backgrounds, this collectible edition plays with enhanced liveliness, balance, and solidity that raise the profile of an album that doubled down on rock during a time when most of the style’s practitioners abandoned it in favor of electronic elements or quit the scene entirely. \r\n
      \r\n
      Helmed by the band’s go-to producer, Brendan O’Brien, "N° 4" makes a big noise. The thick crunch of the guitars, bang and crash of the drums, fluid textures of the bass, and lingering echo of the studio space: All are conveyed with newly revealed immediacy, presence, and scope on this reissue, which also delivers the music’s punch and power with visceral impact. Other aspects that tremendously benefit from the restoration: The tenor, attitude, grain, and pitch of Weiland’s versatile voice. While partially obscured or collapsed on prior pressings, imaging and separation come into full view on this version.\r\n
      \r\n
      Despite its general back-to-basics nature, "N° 4" contains a wealth of colors, dynamics, and subtle accents that demand careful unpacking and transparent resolution. Nothing more so than the wide-spanning sounds and sizable footprints of the guitars and percussion. Massive riffs drive sledgehammer tracks such as the grinding “Down”, stormy “Heaven & Hot Rods”, stomping “No Way Out”, and vitriolic “Sex & Violence”. The latter is as close as Stone Temple Pilots ever came to garage-rock territory. The aforementioned cuts and several others bulldoze and plow, their muscular arrangements caked with rich sludge and aluminum tones, their sinister moods draped in distortion. \r\n
      \r\n
      Even as they embrace aggression and toughness, Stone Temple Pilots don’t overlook the importance of sticky hooks and accessible melodies. The springboard motions of the pop-streaked “Church on Sunday” and shuffling patterns of the dreamy “Sour Girl”, the group’s biggest-ever Billboard single, spotlight the ace songwriting chemistry between Weiland and guitarist Robert DeLeo. Ditto the lush “Glide”, a spacy nod to the ‘70s glam movement. It features Weiland singing at the top of his range and, for good measure, a folksy outro steered by an otherworldly zither. And let’s not forget the closing “Atlanta”, a mini-epic complete with a formal string section and spry tunefulness that echoes the Rodgers and Hammerstein standard “My Favorite Things”. \r\n
      \r\n
      Stone Temple Pilots also briefly dial it back and hint at optimism on “I Got You”, a country-tinged ditty sent up with pedal-steel guitar, six-string bass, and piano. Yet N° 4 unmistakably remains a creation of its circumstances. While the album’s edgy sonic character speaks to the gaping holes left by artists who abandoned rock to chase the latest crazes, the lyrical themes relate to Weiland’s problems and addictions. \r\n
      \r\n
      Recorded after the singer spent time in jail for drug violations, N° 4 doesn’t shy from dark desires or wallowing despair. Most narratives seemingly read as confessions and pleas. They concern personal loss, chemical abuse, toxic impulses, and desperate struggles. Weiland addresses everything head on without gloss or protective shielding, the painful disclosures “I used to love me but I hate me now”; “troubled times, when my mind begins to wander to the spoon”; “ I got the message but I lost the race”; “son of a bitch, I know what the itch is like”; “keep it away now, motherfucker, keep it away” - jibing with the band’s omnipresent snarl. \r\n
      \r\n
      Having climbed to N° 6 on the charts amid a de-fanged mainstream era that rewarded boy bands and pin-up pop stars, "N° 4" may not be Stone Temple Pilots’ most commercially successful effort. But it remains their most uncompromising. And that status that arguably carries more weight than any other.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Scott Weiland (vocals, organ), Dean DeLeo (electric & acoustic guitars,  lap steel and six-string bass), Robert DeLeo (bass, percussion, guitar, fuzz bass, and zither, backing vocals), Eric Kretz (drums, percussion)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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    -setBoxMusic: false
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    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=zDQr4cPahXo&list=RDzDQr4cPahXo&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab 2-595"
    -titreMorceau: [
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2087 …}
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[
  "produit" => App\Entity\Produit {#2101
    -id: 3053
    -nom: "Heart Shaped World - Box Set (2 LP) 45 RPM UltraDisc One-Step"
    -informationComplementaire: "Plongez dans l’atmosphère envoûtante de Heart Shaped World de Chris Isaak. Porté par le mythique "Wicked Game", cet album mêle mélancolie et sensualité dans un son à la fois rétro et intemporel."
    -description: """
      Sorti en 1989, "Heart Shaped World" est l’album qui révèle pleinement Chris Isaak au grand public. Entre rock, rockabilly et ambiances dream pop, il développe une identité sonore immédiatement reconnaissable, guitares réverbérées, rythmiques épurées et voix habitée.\r\n
      \r\n
      Porté par le succès planétaire de "Wicked Game", l’album s’impose comme une œuvre à la fois intime et cinématographique. Chaque morceau explore des thèmes universels, le désir, la solitude, l’amour impossible, dans une atmosphère nocturne et élégante.\r\n
      \r\n
      La guitare aérienne de James Calvin Wilsey joue un rôle central, créant un paysage sonore hypnotique qui enveloppe l’auditeur. L’ensemble donne un disque intemporel, à la croisée des influences vintage et d’une sensibilité moderne.\r\n
      \r\n
      - Chris Isaak’s Heart Shaped World Is a Mood Masterpiece : Double-Platinum Album Features the Smash “Wicked Game”, Brilliant Singing, and Extraordinary Guitar Tones\r\n
      \r\n
      - Experience the Brooding 1989 Album in Definitive Sound : Mobile Fidelity’s UltraDisc 180 gram 45 RPM (2 LP) Box Set Is Strictly Limited to 3000 Numbered Copies and Includes the Bonus Track “Diddley Daddy” !\r\n
      \r\n
      - 1/2” 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      There was nothing in contemporary music like Chris Isaak’s Heart Shaped World when it hit shelves in June 1989. More than three decades later, the singer-songwriter’s third album still sounds unique and claims a backstory nearly as fascinating as the retro-leaning material and standout performances that propelled it to sales of more than 2.5 million copies. Home to the Top 10 smash “Wicked Game”, the set remains a masterful mood piece that invites you to pour a late-night drink, sit in a dimmed room, and relish Isaak’s elegant albeit raw ruminations on love, relationships, and questionable decisions. \r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, strictly limited to 3000 numbered copies, and featuring the bonus track “Diddley Daddy”, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) box set of Heart Shaped World unearths the staggering inner details, saturated tones, and brilliant atmospherics of the crisp production. It brings you up close and personal with Isaak’s spectacular singing impeccably controlled, tense, brooding, steamy, smoldering, haunted situated amidst stripped-down backdrops that allow every note to fully bloom and decay. \r\n
      \r\n
      While Isaak’s ever-steady baritone remains the anchor, the contributions of his trusty backing band, the aptly named Silvertone, come across with just as much cool, command, and realism. The indispensable playing of guitarist James Calvin Wilsey particularly emerges with superb clarity and dimensionality. The character of his 1965 Fender Stratocaster, shivering twang of his spring-coiled fills, and his signature use of reverb, delay, and vibrato seamlessly match Isaak's patient deliveries and the band’s unhurried rhythms. Experienced on UD1S with ultra-black backgrounds and a nearly invisible noise floor, Heart Shaped World is in every regard a demonstration disc. \r\n
      \r\n
      The premium packaging of this UD1S pressing befits its elevated status. Housed in a deluxe slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, this reissue is for discerning listeners who desire to immerse themselves in everything involved with the album, not the least of which is the cover art depicting a lost-in-thought Isaak staring ahead and sitting in what appears to be an efficiency apartment. The image epitomizes the record’s lonesome temperaments and pensive themes.\r\n
      \r\n
      Of course, if not for director David Lynch hand-picking two cuts from Heart Shaped World for his 1990 film Wild at Heart, the record would’ve probably suffered the same fate as Isaak’s prior efforts and gone unnoticed by the mainstream. Despite receiving raves from outlets such as NME, Chicago Tribune, and Rolling Stone upon its original release, the album stalled in the lower quadrants of the Billboard charts and, after a few weeks, dropped off. \r\n
      \r\n
      Cue the ear of Lee Chesnut. Then the music director for a large Atlanta radio station, Chesnut heard the instrumental version of “Wicked Game” on Lynch’s soundtrack and started airing the album rendition at all hours of the day. Aided by a sensual video featuring Isaak and supermodel Helena Christensen, the song found its way into the public consciousness by early ‘91 and helped make Isaak a most unlikely mainstream star in an era where his techniques had little to nothing in common with popular tastes. \r\n
      \r\n
      Despite its vintage vibes and shared DNA with legends such as Roy Orbison, Chet Baker, and Glen Campbell, Heart Shaped World transcends nostalgia, rockabilly, and throwback tropes. For all the melodrama and sadness at hand, Isaak’s gorgeously transparent singing dives deep underneath emotional surfaces. He mines subtleties that indicate his feelings go beyond heartbreak and anguish, and occasionally suggest frustration, menace, and anger. You can hear it in his quivering falsetto, and the slow and methodical ways he allows delicate whispers to break into shadowy phrasing that crosses over to the darker sides of romance and desire.\r\n
      \r\n
      That approach bolsters the title track, which suggests calm yet moves on ominous currents its simmering pace and snare-drum snappiness foreshadowing Isaak raising the volume and urgency during the coda. The southwestern-tinged “Wrong to Love You” plays with similar concepts of hesitation, unease, and discord, Isaak careful never to fully erupt and give anything away. His poised deliveries offer a master class in the art of insinuation and hurt on “Nothing’s Changed”, sent up with a wordless backing chorus and crackling guitar lines straight out of a Memphis blues joint. \r\n
      \r\n
      Heart Shaped World further boosts its merit via its abundant stylistic variations, from the upbeat country-and-western trot of “I’m Not Waiting” and Spanish acoustic shimmer of the jazz-based ballad “Blue Spanish Sky” to the swinging horn-accompanied grooves of “Don’t Make Me Love You” and desert smokiness of the understated “Kings of the Highway”. On the latter, Isaak comes across as resigned and absolute. His singing and pain worm their way into your soul, and echo akin to the way the music prepares to strike when you least expect. \r\n
      \r\n
      “Trouble going 'round”, Isaak croons right as the album begins. “Trouble going down”. Damn straight.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Chris Isaak (guitar, vocals), James Calvin Wilsey (lead guitar), Rowland Salley (bass), Kenney Dale Johnson (drums), John Shanks (guitar, keyboards), Jeff Watson (guitar), Greg Leisz (pedal steel guitar)."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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    -referenceProduit: "Mobile Fidelity Sound Lab MFSL MFSL 45UD1S 2-075"
    -titreMorceau: [
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        "nom" => "Side B : "
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        "nom" => "Side C :"
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        "nom" => "3. Forever Young"
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        "nom" => "Side D : "
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        "nom" => "1. Nothing's Changed"
      ]
      [
        "ordre" => 13
        "nom" => "2. In The Heat Of The Jungle"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2103 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3408
  -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 {#2628 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2101
    -id: 3053
    -nom: "Heart Shaped World - Box Set (2 LP) 45 RPM UltraDisc One-Step"
    -informationComplementaire: "Plongez dans l’atmosphère envoûtante de Heart Shaped World de Chris Isaak. Porté par le mythique "Wicked Game", cet album mêle mélancolie et sensualité dans un son à la fois rétro et intemporel."
    -description: """
      Sorti en 1989, "Heart Shaped World" est l’album qui révèle pleinement Chris Isaak au grand public. Entre rock, rockabilly et ambiances dream pop, il développe une identité sonore immédiatement reconnaissable, guitares réverbérées, rythmiques épurées et voix habitée.\r\n
      \r\n
      Porté par le succès planétaire de "Wicked Game", l’album s’impose comme une œuvre à la fois intime et cinématographique. Chaque morceau explore des thèmes universels, le désir, la solitude, l’amour impossible, dans une atmosphère nocturne et élégante.\r\n
      \r\n
      La guitare aérienne de James Calvin Wilsey joue un rôle central, créant un paysage sonore hypnotique qui enveloppe l’auditeur. L’ensemble donne un disque intemporel, à la croisée des influences vintage et d’une sensibilité moderne.\r\n
      \r\n
      - Chris Isaak’s Heart Shaped World Is a Mood Masterpiece : Double-Platinum Album Features the Smash “Wicked Game”, Brilliant Singing, and Extraordinary Guitar Tones\r\n
      \r\n
      - Experience the Brooding 1989 Album in Definitive Sound : Mobile Fidelity’s UltraDisc 180 gram 45 RPM (2 LP) Box Set Is Strictly Limited to 3000 Numbered Copies and Includes the Bonus Track “Diddley Daddy” !\r\n
      \r\n
      - 1/2” 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      There was nothing in contemporary music like Chris Isaak’s Heart Shaped World when it hit shelves in June 1989. More than three decades later, the singer-songwriter’s third album still sounds unique and claims a backstory nearly as fascinating as the retro-leaning material and standout performances that propelled it to sales of more than 2.5 million copies. Home to the Top 10 smash “Wicked Game”, the set remains a masterful mood piece that invites you to pour a late-night drink, sit in a dimmed room, and relish Isaak’s elegant albeit raw ruminations on love, relationships, and questionable decisions. \r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, strictly limited to 3000 numbered copies, and featuring the bonus track “Diddley Daddy”, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) box set of Heart Shaped World unearths the staggering inner details, saturated tones, and brilliant atmospherics of the crisp production. It brings you up close and personal with Isaak’s spectacular singing impeccably controlled, tense, brooding, steamy, smoldering, haunted situated amidst stripped-down backdrops that allow every note to fully bloom and decay. \r\n
      \r\n
      While Isaak’s ever-steady baritone remains the anchor, the contributions of his trusty backing band, the aptly named Silvertone, come across with just as much cool, command, and realism. The indispensable playing of guitarist James Calvin Wilsey particularly emerges with superb clarity and dimensionality. The character of his 1965 Fender Stratocaster, shivering twang of his spring-coiled fills, and his signature use of reverb, delay, and vibrato seamlessly match Isaak's patient deliveries and the band’s unhurried rhythms. Experienced on UD1S with ultra-black backgrounds and a nearly invisible noise floor, Heart Shaped World is in every regard a demonstration disc. \r\n
      \r\n
      The premium packaging of this UD1S pressing befits its elevated status. Housed in a deluxe slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, this reissue is for discerning listeners who desire to immerse themselves in everything involved with the album, not the least of which is the cover art depicting a lost-in-thought Isaak staring ahead and sitting in what appears to be an efficiency apartment. The image epitomizes the record’s lonesome temperaments and pensive themes.\r\n
      \r\n
      Of course, if not for director David Lynch hand-picking two cuts from Heart Shaped World for his 1990 film Wild at Heart, the record would’ve probably suffered the same fate as Isaak’s prior efforts and gone unnoticed by the mainstream. Despite receiving raves from outlets such as NME, Chicago Tribune, and Rolling Stone upon its original release, the album stalled in the lower quadrants of the Billboard charts and, after a few weeks, dropped off. \r\n
      \r\n
      Cue the ear of Lee Chesnut. Then the music director for a large Atlanta radio station, Chesnut heard the instrumental version of “Wicked Game” on Lynch’s soundtrack and started airing the album rendition at all hours of the day. Aided by a sensual video featuring Isaak and supermodel Helena Christensen, the song found its way into the public consciousness by early ‘91 and helped make Isaak a most unlikely mainstream star in an era where his techniques had little to nothing in common with popular tastes. \r\n
      \r\n
      Despite its vintage vibes and shared DNA with legends such as Roy Orbison, Chet Baker, and Glen Campbell, Heart Shaped World transcends nostalgia, rockabilly, and throwback tropes. For all the melodrama and sadness at hand, Isaak’s gorgeously transparent singing dives deep underneath emotional surfaces. He mines subtleties that indicate his feelings go beyond heartbreak and anguish, and occasionally suggest frustration, menace, and anger. You can hear it in his quivering falsetto, and the slow and methodical ways he allows delicate whispers to break into shadowy phrasing that crosses over to the darker sides of romance and desire.\r\n
      \r\n
      That approach bolsters the title track, which suggests calm yet moves on ominous currents its simmering pace and snare-drum snappiness foreshadowing Isaak raising the volume and urgency during the coda. The southwestern-tinged “Wrong to Love You” plays with similar concepts of hesitation, unease, and discord, Isaak careful never to fully erupt and give anything away. His poised deliveries offer a master class in the art of insinuation and hurt on “Nothing’s Changed”, sent up with a wordless backing chorus and crackling guitar lines straight out of a Memphis blues joint. \r\n
      \r\n
      Heart Shaped World further boosts its merit via its abundant stylistic variations, from the upbeat country-and-western trot of “I’m Not Waiting” and Spanish acoustic shimmer of the jazz-based ballad “Blue Spanish Sky” to the swinging horn-accompanied grooves of “Don’t Make Me Love You” and desert smokiness of the understated “Kings of the Highway”. On the latter, Isaak comes across as resigned and absolute. His singing and pain worm their way into your soul, and echo akin to the way the music prepares to strike when you least expect. \r\n
      \r\n
      “Trouble going 'round”, Isaak croons right as the album begins. “Trouble going down”. Damn straight.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Chris Isaak (guitar, vocals), James Calvin Wilsey (lead guitar), Rowland Salley (bass), Kenney Dale Johnson (drums), John Shanks (guitar, keyboards), Jeff Watson (guitar), Greg Leisz (pedal steel guitar)."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=jd-qI62gNJM&list=OLAK5uy_mCikd-mLC4SYxsssIh394kKCcHtfs-vpo"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL MFSL 45UD1S 2-075"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Heart Shaped World"
      ]
      [
        "ordre" => 2
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        "nom" => "3. Don't Make Me Dream About You"
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        "nom" => "Side B : "
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        "nom" => "1. Kings Of The Highway"
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        "nom" => "2. Wicked Game "
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        "nom" => "Side C :"
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      ]
      [
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2103 …}
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[
  "produit" => App\Entity\Produit {#2117
    -id: 2951
    -nom: "Live at P.J.'S Hollywood California"
    -informationComplementaire: "Plongez dans l’énergie brute de "Live at P.J.'s", où Kool & The Gang enflamment la scène avec un funk puissant, spontané et irrésistible. Un live vibrant, au plus près du groove."
    -description: """
      Sorti en 1971, "Live at P.J.'s" est un témoignage authentique des débuts explosifs de Kool & The Gang. Enregistré dans un club de Los Angeles, cet album live capture toute la puissance et la spontanéité du groupe sur scène, bien avant leurs succès planétaires.\r\n
      \r\n
      À travers des morceaux dynamiques comme “N.T.” ou “Funky Man”, le collectif dévoile un son brut, porté par des cuivres percutants, des lignes de basse hypnotiques et des rythmes irrésistibles. Loin des productions plus lisses de leurs années suivantes, cet opus met en lumière leur ADN funk et jazz, nourri d’improvisation et d’interaction avec le public.\r\n
      \r\n
      Live at P.J.'s, c’est l’essence même d’un concert, une atmosphère électrique, une énergie contagieuse et un groupe en totale communion avec son audience. Un incontournable pour les amateurs de funk authentique et les passionnés de musique live.\r\n
      \r\n
      - The Record That Preceded the Soul-Jazz Movement : Kool and the Gang’s Funky Live at P.J.’S Thrills with Boundless Diversity, Virtuosic Interplay, and Contagious Grooves !\r\n
      - Experience the Exhilarating 1971 Album in Audiophile Sound for the First Time : Strictly - Limited to 2000 Numbered Copies, Mobile Fidelity’s 180 gram 33 RPM LP Plays with Exceptional Definition and Clarity !\r\n
      - 1/4” / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Make it funky. Kool and the Gang do that and much more on Live at P.J.’S, a freewheeling concert album that both preceded the resurgent soul-jazz movement by decades and demonstrated the boundless diversity, virtuosic skill, arrangement chops, and contagious energy of a band that over the course of its career refused to be hemmed in to any particular style or characteristic. Filled with then-new compositions, this wordless 1971 set comes on like one long, magnetic, ever-shifting groove. And it’s never been better. \r\n
      \r\n
      Sourced from the original analog master tapes, strictly limited to 2000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180 gram 33 RPM LP presents the incalculably influential record in audiophile sound for the very first time. Compared to prior editions, Live at P.J.’S plays with deeper, tauter bass, enhanced definition, and more realistic presence. Everything from the brassiness of the horns to the snap of the snare to the rattle of the congas comes across in full-range perspective. \r\n
      \r\n
      This collectible version of the monster LP also exhibits a combination of clarity, solidity, and imaging that helps bring to light every note Kool and the Gang committed to tape that late May 1971 Saturday night at a show that kicked off at 10:45 local time and came amidst another of the group’s busy tour schedules. Though augmented with strings later in the studio, the core of Live at P.J.’s remains what the septet of Robert “Kool” Bell, saxophonist Ronald Bell, drummer George Brown, guitarist Claydes Smith, trumpeter Robert Mickens, and multi-instrumentalists Dennis Thomas and Ricky West delivered onstage. \r\n
      \r\n
      That includes not only the standout musicianship but the inventive approaches, fearless attitudes, and immense creativity. Practically inconceivable today, Kool and the Gang entered the Hollywood, CA club with the intent of documenting seven new songs without concern of advance familiarity or the threat of getting ripped off by someone who happened to be in the audience. It’s just how the band operated since forming in New Jersey during the mid-60s. Namely, with a focus on crowd response, an emphasis on trial-by-fire song testing, and a worry-free outlook on being copied by others. \r\n
      \r\n
      Indeed, Bell once dismissed the latter issue as irrelevant, noting that “nobody could ever make it sound real but us anyway.” Cocky ? Perhaps. Truthful ? Absolutely. Bell and company walk the talk on Live at P.J.’S, further notable for being the band’s second consecutive live effort and second concert release of 1971. And remember, this is a group that had just one studio LP to its credit. Ignoring any preexisting conventions, the strategy simultaneously captured the vision of an ensemble that made its own rules and built its reputation by way of its live performances. \r\n
      \r\n
      No less of an authority than the Godfather of Soul himself, James Brown, said of Live at P.J.’s: “Don’t play this in the car when you drive. The groove is so funky, you’ll wreck”. And consider that the album-opening “N.T.” shorthand for “no title” includes one of the most famous drum breaks in history, one since sampled by the likes of Public Enemy, N.W.A, Nas, Q-Tip, and other prominent hip-hop artists. Or, just listen to how magic transpires from one cut to the next, the collective reflecting its symbiotic chemistry and knack for on-point rhythmic expressiveness.  \r\n
      \r\n
      The final LP of Kool and the Gang’s jazz-centric era, and the last set it released before the group gained a foothold on commercial radio, Live at P.J.’s cooks with excursions into tropical-flavored material “Ricksonata”, romantic fare (an inspired take of the pop evergreen’ “You’ve Lost That Lovin’ Feeling”, Latin-leaning work a cover of saxophone legend Charles Lloyd’s “Sombrero Sam”, and even pieces that could serve as film-score backdrops “Lucky for Me”. \r\n
      \r\n
      Throughout the journey, Kool and the Gang retain a crisp attack and clear sense of direction, its overall methodology best summed up on the aptly titled “Ronnie’s Groove”, penned by Ronnie Bell, who also functioned as the band’s defacto musical director. Of course, no moment here outshines another, with all of the songs including the Isaac Hayes tribute “Ike’s Mood” and upbeat, complex trip of “Dujii” reaching for and attaining space on a higher plane. \r\n
      \r\n
      Kool Jazz, all ‘around.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Robert "Kool" Bell (bass, vocals), Ronald Bell (keyboards, vocals),  Dennis "D.T." Thomas (alto saxophone, flute), Claydes Charles Smith (guitar), Ricky Westfield (trumpet), George Brown (drums, vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
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    -extraitYoutube: "https://www.youtube.com/watch?v=blYEu4rYrhk&list=PLEBBBFcAycEi2Qi7kFyYTW6KGo0qLOGmT&index=6"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-579"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-live-at-p-j-s-hollywood-california-mobile-fidelity-sound-lab-mfsl-1-579"
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App\Twig\Components\GestionPanierFavoriComponents {#3459
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  +produit: App\Entity\Produit {#2117
    -id: 2951
    -nom: "Live at P.J.'S Hollywood California"
    -informationComplementaire: "Plongez dans l’énergie brute de "Live at P.J.'s", où Kool & The Gang enflamment la scène avec un funk puissant, spontané et irrésistible. Un live vibrant, au plus près du groove."
    -description: """
      Sorti en 1971, "Live at P.J.'s" est un témoignage authentique des débuts explosifs de Kool & The Gang. Enregistré dans un club de Los Angeles, cet album live capture toute la puissance et la spontanéité du groupe sur scène, bien avant leurs succès planétaires.\r\n
      \r\n
      À travers des morceaux dynamiques comme “N.T.” ou “Funky Man”, le collectif dévoile un son brut, porté par des cuivres percutants, des lignes de basse hypnotiques et des rythmes irrésistibles. Loin des productions plus lisses de leurs années suivantes, cet opus met en lumière leur ADN funk et jazz, nourri d’improvisation et d’interaction avec le public.\r\n
      \r\n
      Live at P.J.'s, c’est l’essence même d’un concert, une atmosphère électrique, une énergie contagieuse et un groupe en totale communion avec son audience. Un incontournable pour les amateurs de funk authentique et les passionnés de musique live.\r\n
      \r\n
      - The Record That Preceded the Soul-Jazz Movement : Kool and the Gang’s Funky Live at P.J.’S Thrills with Boundless Diversity, Virtuosic Interplay, and Contagious Grooves !\r\n
      - Experience the Exhilarating 1971 Album in Audiophile Sound for the First Time : Strictly - Limited to 2000 Numbered Copies, Mobile Fidelity’s 180 gram 33 RPM LP Plays with Exceptional Definition and Clarity !\r\n
      - 1/4” / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Make it funky. Kool and the Gang do that and much more on Live at P.J.’S, a freewheeling concert album that both preceded the resurgent soul-jazz movement by decades and demonstrated the boundless diversity, virtuosic skill, arrangement chops, and contagious energy of a band that over the course of its career refused to be hemmed in to any particular style or characteristic. Filled with then-new compositions, this wordless 1971 set comes on like one long, magnetic, ever-shifting groove. And it’s never been better. \r\n
      \r\n
      Sourced from the original analog master tapes, strictly limited to 2000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180 gram 33 RPM LP presents the incalculably influential record in audiophile sound for the very first time. Compared to prior editions, Live at P.J.’S plays with deeper, tauter bass, enhanced definition, and more realistic presence. Everything from the brassiness of the horns to the snap of the snare to the rattle of the congas comes across in full-range perspective. \r\n
      \r\n
      This collectible version of the monster LP also exhibits a combination of clarity, solidity, and imaging that helps bring to light every note Kool and the Gang committed to tape that late May 1971 Saturday night at a show that kicked off at 10:45 local time and came amidst another of the group’s busy tour schedules. Though augmented with strings later in the studio, the core of Live at P.J.’s remains what the septet of Robert “Kool” Bell, saxophonist Ronald Bell, drummer George Brown, guitarist Claydes Smith, trumpeter Robert Mickens, and multi-instrumentalists Dennis Thomas and Ricky West delivered onstage. \r\n
      \r\n
      That includes not only the standout musicianship but the inventive approaches, fearless attitudes, and immense creativity. Practically inconceivable today, Kool and the Gang entered the Hollywood, CA club with the intent of documenting seven new songs without concern of advance familiarity or the threat of getting ripped off by someone who happened to be in the audience. It’s just how the band operated since forming in New Jersey during the mid-60s. Namely, with a focus on crowd response, an emphasis on trial-by-fire song testing, and a worry-free outlook on being copied by others. \r\n
      \r\n
      Indeed, Bell once dismissed the latter issue as irrelevant, noting that “nobody could ever make it sound real but us anyway.” Cocky ? Perhaps. Truthful ? Absolutely. Bell and company walk the talk on Live at P.J.’S, further notable for being the band’s second consecutive live effort and second concert release of 1971. And remember, this is a group that had just one studio LP to its credit. Ignoring any preexisting conventions, the strategy simultaneously captured the vision of an ensemble that made its own rules and built its reputation by way of its live performances. \r\n
      \r\n
      No less of an authority than the Godfather of Soul himself, James Brown, said of Live at P.J.’s: “Don’t play this in the car when you drive. The groove is so funky, you’ll wreck”. And consider that the album-opening “N.T.” shorthand for “no title” includes one of the most famous drum breaks in history, one since sampled by the likes of Public Enemy, N.W.A, Nas, Q-Tip, and other prominent hip-hop artists. Or, just listen to how magic transpires from one cut to the next, the collective reflecting its symbiotic chemistry and knack for on-point rhythmic expressiveness.  \r\n
      \r\n
      The final LP of Kool and the Gang’s jazz-centric era, and the last set it released before the group gained a foothold on commercial radio, Live at P.J.’s cooks with excursions into tropical-flavored material “Ricksonata”, romantic fare (an inspired take of the pop evergreen’ “You’ve Lost That Lovin’ Feeling”, Latin-leaning work a cover of saxophone legend Charles Lloyd’s “Sombrero Sam”, and even pieces that could serve as film-score backdrops “Lucky for Me”. \r\n
      \r\n
      Throughout the journey, Kool and the Gang retain a crisp attack and clear sense of direction, its overall methodology best summed up on the aptly titled “Ronnie’s Groove”, penned by Ronnie Bell, who also functioned as the band’s defacto musical director. Of course, no moment here outshines another, with all of the songs including the Isaac Hayes tribute “Ike’s Mood” and upbeat, complex trip of “Dujii” reaching for and attaining space on a higher plane. \r\n
      \r\n
      Kool Jazz, all ‘around.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Robert "Kool" Bell (bass, vocals), Ronald Bell (keyboards, vocals),  Dennis "D.T." Thomas (alto saxophone, flute), Claydes Charles Smith (guitar), Ricky Westfield (trumpet), George Brown (drums, vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=blYEu4rYrhk&list=PLEBBBFcAycEi2Qi7kFyYTW6KGo0qLOGmT&index=6"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-579"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. N.T."
      ]
      [
        "ordre" => 2
        "nom" => "2. Ricksonata"
      ]
      [
        "ordre" => 3
        "nom" => "3. Sombrero Sam"
      ]
      [
        "ordre" => 4
        "nom" => "4. Ronnie’s Groove"
      ]
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        "nom" => "Side B : "
      ]
      [
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        "nom" => "1. Ike’s Mood"
      ]
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        "nom" => "2. You’ve Lost That Lovin’ Feeling"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2119 …}
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[
  "produit" => App\Entity\Produit {#2133
    -id: 2916
    -nom: "Cloud Nine (2 LP) 45 RPM"
    -informationComplementaire: "Plongez dans "Cloud Nine", l’album qui a bouleversé la soul. Entre rythmes psychédéliques et messages percutants, les Temptations réinventent leur son et capturent l’esprit d’une époque en pleine mutation."
    -description: """
      Sorti en 1969, "Cloud Nine" marque un tournant décisif dans la carrière des Temptations. Sous l’impulsion du producteur visionnaire Norman Whitfield, le groupe abandonne progressivement la soul romantique qui a fait son succès pour explorer un son plus audacieux : le psychedelic soul.\r\n
      \r\n
      Porté par des orchestrations innovantes, des grooves hypnotiques et des textes plus engagés, l’album aborde des thématiques sociales fortes comme la pression urbaine, l’aliénation et l’évasion. Le titre éponyme "Cloud Nine" devient un immense succès et vaut au groupe son premier Grammy Award.\r\n
      \r\n
      Avec cet album, les Temptations redéfinissent leur identité artistique et participent à l’évolution de la musique soul vers des territoires plus expérimentaux, ouvrant la voie à une nouvelle ère sonore chez Motown.\r\n
      \r\n
      - The Temptations Get High on Psychedelic Soul: Cloud Nine Soars with Ambitious Arrangements and Production, Features Standout Vocal Performances and Instrumentation by the Funk Brothers !\r\n
      - Experience Motown’s First Grammy-Winning Album in Audiophile Sound: Strictly Limited to 3000 Numbered Copies, Mobile Fidelity’s 180 gram 45 RPM (2 LP) Reissue of 1969 Effort Plays with Remarkable Clarity, Separation, and Openness !\r\n
      - ¼” / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      The Temptations’ Cloud Nine announced that Motown and “The Sound of Young America” would never be the same. Influenced by the emergence of cutting-edge rock and pop currents, as well as increasing sociopolitical turmoil, the album broke down barriers between rock, psychedelia, and soul while heralding the arrival of visionary arrangements and production techniques. Bookended by traditional R&B numbers, the 1969 record sent the Temptations in bold new directions and signaled the advent of psychedelic soul.\r\n
      \r\n
      Sourced from the original master tapes, strictly limited to 3000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180 gram 45 PM (2 LP) set presents Cloud Nine in audiophile sound for the first time on a domestic pressing. This collectible reissue bestows Norman Whitfield’s extraordinary production with the grand-scale dynamics, natural tonality, expansive openness, and low-end weight it deserves. The timbre of each of the five members’ voices is readily identifiable even within the group harmonies bestowing a realism never experienced outside the recording studio. \r\n
      \r\n
      Making its debut on 45 RPM, the album further benefits from the wide groove space by playing with greater separation and more realistic presence than prior editions. Everything from the brassiness of the horns to the dry snap of the snare comes across with reference-grade clarity and positioning. And since Motown’s renowned Funk Brothers backing band plays on many of the cuts, you’ll want to savor every note. The imaging, soundstaging, and organic bloom-and-decay of the notes make that possible. \r\n
      \r\n
      Amid Cloud Nine, the instrumentation and architecture stand out as much as any element. Never before had a Motown album contained such ambitious patterns and complex passages. Seemingly conscientious of the departure from their past methods, the Temptations and Whitfield bunched together the tracks that mark a deep dive into psychedelic territory and counterbalance them with seven sterling soul cuts that dovetail with Motown tradition drenched with heartfelt vocals, swelling strings, and finger-snapping beats. \r\n
      \r\n
      On the original 33 RPM release, traditional Motown soul laden with heartfelt vocals, swelling strings, and finger-snapping beats occupies Side Two. These songs reveal an ensemble still very much on top of delivering pristine pop-soul material graced with romantic sweetness, persuasive insistent, and soaring highs. Re-energized after the departure of lead singer David Ruffin, who was fired for a variety of reasons in June 1968, the Temptations seamlessly meld with his replacement, Dennis Edwards, on one melodic gem after another. \r\n
      \r\n
      The collective tackles five songs co-written by the legendary Motown team of Barrett Strong and Whitfield. Not the least of which are the smooth, shuffling “Why Did She Have to Leave Me (Why Did She Have to Go)” and deceptively simple, horn-spiked “Gonna Keep on Tryin’ till I Win Your Love.” On these tracks, as well as on a lush rendition of the ballad “Love Is a Hurtin’ Thing” and pleading, tender send-up of the Gerry Goffin-Carole King classic “Hey Girl,” Edwards and Paul Williams take turns on the lead with the estimable Eddie Kendricks, Melvin Franklin, and Otis Williams providing backing support. \r\n
      \r\n
      All five vocalists trade-off leads on the simmering title track, a groundbreaking composition shot through with wah-wah-pedal effects, liquid funk, deep bass lines, Cuban percussion, saturated reverb, and gang choruses. Whitfield mines each member’s natural vocal range with spectacular results, keeps time with cymbals, and channels both the heated temperatures and escapist desires of a society embroiled in war, conflict, and experimental drugs. \r\n
      \r\n
      Amazingly, the Temptations top themselves on the similarly revealing “Run Away Child, Running Wild.” Nearly 10 minutes in length, the song explodes R&B parameters and harbors a cinematic scope. Urgent pianos, distorted guitars, stripped-down percussion, steamy Hammond organs, minimal bass motifs, five distinct voices narrating the tale of a boy who fled home and now finds himself amid the scary, unforgiving external world: They combine to give the urgent tune a walls-closing-in atmosphere where fear and desperation reign. Bolstered by an extended instrumental section that precedes a climactic return of the singers’ voices, “Run Away Child, Running Wild” equaled the success of the record’s title track, with both reaching No. 6 on the pop charts. \r\n
      \r\n
      As for the Temptations and Whitfield? More than five decades after it streeted, Cloud Nine proves they went even higher.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Dennis Edwards (lead vocals), Eddie Kendricks (tenor vocals), Paul Williams, Otis Williams (baritone vocals), Melvin Franklin (bass vocals)"
    -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=SkLq8qKpk6g&list=RDSkLq8qKpk6g&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-621"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Cloud Nine"
      ]
      [
        "ordre" => 2
        "nom" => "2. I Heard It Through the Grapevine"
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
      ]
      [
        "ordre" => 4
        "nom" => "1. Run Away Child, Running Wild"
      ]
      [
        "ordre" => 5
        "nom" => "Side C :"
      ]
      [
        "ordre" => 6
        "nom" => "1. Love Is a Hurtin’ Thing"
      ]
      [
        "ordre" => 7
        "nom" => "2. Hey Girl"
      ]
      [
        "ordre" => 8
        "nom" => "3. Why Did She Have to Leave Me (Why Did She Have to Go)"
      ]
      [
        "ordre" => 9
        "nom" => "4. I Need Your Lovin’"
      ]
      [
        "ordre" => 10
        "nom" => "Side D : "
      ]
      [
        "ordre" => 11
        "nom" => "1. Don’t Let Him Take Your Love from Me"
      ]
      [
        "ordre" => 12
        "nom" => "2. I Gotta Find a Way (To Get You Back)"
      ]
      [
        "ordre" => 13
        "nom" => "3. Gonna Keep on Tryin’ till I Win Your Love"
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2135 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1474 …}
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    -enregistreLe: DateTime @1766484194 {#2130
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    -modifierLe: DateTime @1775141327 {#2131
      date: 2026-04-02 14:48:47.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -slug: "vinyles-cloud-nine-2-lp-45-rpm-mobile-fidelity-sound-lab-mfsl-2-621"
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  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2628 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2133
    -id: 2916
    -nom: "Cloud Nine (2 LP) 45 RPM"
    -informationComplementaire: "Plongez dans "Cloud Nine", l’album qui a bouleversé la soul. Entre rythmes psychédéliques et messages percutants, les Temptations réinventent leur son et capturent l’esprit d’une époque en pleine mutation."
    -description: """
      Sorti en 1969, "Cloud Nine" marque un tournant décisif dans la carrière des Temptations. Sous l’impulsion du producteur visionnaire Norman Whitfield, le groupe abandonne progressivement la soul romantique qui a fait son succès pour explorer un son plus audacieux : le psychedelic soul.\r\n
      \r\n
      Porté par des orchestrations innovantes, des grooves hypnotiques et des textes plus engagés, l’album aborde des thématiques sociales fortes comme la pression urbaine, l’aliénation et l’évasion. Le titre éponyme "Cloud Nine" devient un immense succès et vaut au groupe son premier Grammy Award.\r\n
      \r\n
      Avec cet album, les Temptations redéfinissent leur identité artistique et participent à l’évolution de la musique soul vers des territoires plus expérimentaux, ouvrant la voie à une nouvelle ère sonore chez Motown.\r\n
      \r\n
      - The Temptations Get High on Psychedelic Soul: Cloud Nine Soars with Ambitious Arrangements and Production, Features Standout Vocal Performances and Instrumentation by the Funk Brothers !\r\n
      - Experience Motown’s First Grammy-Winning Album in Audiophile Sound: Strictly Limited to 3000 Numbered Copies, Mobile Fidelity’s 180 gram 45 RPM (2 LP) Reissue of 1969 Effort Plays with Remarkable Clarity, Separation, and Openness !\r\n
      - ¼” / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      The Temptations’ Cloud Nine announced that Motown and “The Sound of Young America” would never be the same. Influenced by the emergence of cutting-edge rock and pop currents, as well as increasing sociopolitical turmoil, the album broke down barriers between rock, psychedelia, and soul while heralding the arrival of visionary arrangements and production techniques. Bookended by traditional R&B numbers, the 1969 record sent the Temptations in bold new directions and signaled the advent of psychedelic soul.\r\n
      \r\n
      Sourced from the original master tapes, strictly limited to 3000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180 gram 45 PM (2 LP) set presents Cloud Nine in audiophile sound for the first time on a domestic pressing. This collectible reissue bestows Norman Whitfield’s extraordinary production with the grand-scale dynamics, natural tonality, expansive openness, and low-end weight it deserves. The timbre of each of the five members’ voices is readily identifiable even within the group harmonies bestowing a realism never experienced outside the recording studio. \r\n
      \r\n
      Making its debut on 45 RPM, the album further benefits from the wide groove space by playing with greater separation and more realistic presence than prior editions. Everything from the brassiness of the horns to the dry snap of the snare comes across with reference-grade clarity and positioning. And since Motown’s renowned Funk Brothers backing band plays on many of the cuts, you’ll want to savor every note. The imaging, soundstaging, and organic bloom-and-decay of the notes make that possible. \r\n
      \r\n
      Amid Cloud Nine, the instrumentation and architecture stand out as much as any element. Never before had a Motown album contained such ambitious patterns and complex passages. Seemingly conscientious of the departure from their past methods, the Temptations and Whitfield bunched together the tracks that mark a deep dive into psychedelic territory and counterbalance them with seven sterling soul cuts that dovetail with Motown tradition drenched with heartfelt vocals, swelling strings, and finger-snapping beats. \r\n
      \r\n
      On the original 33 RPM release, traditional Motown soul laden with heartfelt vocals, swelling strings, and finger-snapping beats occupies Side Two. These songs reveal an ensemble still very much on top of delivering pristine pop-soul material graced with romantic sweetness, persuasive insistent, and soaring highs. Re-energized after the departure of lead singer David Ruffin, who was fired for a variety of reasons in June 1968, the Temptations seamlessly meld with his replacement, Dennis Edwards, on one melodic gem after another. \r\n
      \r\n
      The collective tackles five songs co-written by the legendary Motown team of Barrett Strong and Whitfield. Not the least of which are the smooth, shuffling “Why Did She Have to Leave Me (Why Did She Have to Go)” and deceptively simple, horn-spiked “Gonna Keep on Tryin’ till I Win Your Love.” On these tracks, as well as on a lush rendition of the ballad “Love Is a Hurtin’ Thing” and pleading, tender send-up of the Gerry Goffin-Carole King classic “Hey Girl,” Edwards and Paul Williams take turns on the lead with the estimable Eddie Kendricks, Melvin Franklin, and Otis Williams providing backing support. \r\n
      \r\n
      All five vocalists trade-off leads on the simmering title track, a groundbreaking composition shot through with wah-wah-pedal effects, liquid funk, deep bass lines, Cuban percussion, saturated reverb, and gang choruses. Whitfield mines each member’s natural vocal range with spectacular results, keeps time with cymbals, and channels both the heated temperatures and escapist desires of a society embroiled in war, conflict, and experimental drugs. \r\n
      \r\n
      Amazingly, the Temptations top themselves on the similarly revealing “Run Away Child, Running Wild.” Nearly 10 minutes in length, the song explodes R&B parameters and harbors a cinematic scope. Urgent pianos, distorted guitars, stripped-down percussion, steamy Hammond organs, minimal bass motifs, five distinct voices narrating the tale of a boy who fled home and now finds himself amid the scary, unforgiving external world: They combine to give the urgent tune a walls-closing-in atmosphere where fear and desperation reign. Bolstered by an extended instrumental section that precedes a climactic return of the singers’ voices, “Run Away Child, Running Wild” equaled the success of the record’s title track, with both reaching No. 6 on the pop charts. \r\n
      \r\n
      As for the Temptations and Whitfield? More than five decades after it streeted, Cloud Nine proves they went even higher.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Dennis Edwards (lead vocals), Eddie Kendricks (tenor vocals), Paul Williams, Otis Williams (baritone vocals), Melvin Franklin (bass vocals)"
    -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=SkLq8qKpk6g&list=RDSkLq8qKpk6g&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-621"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Cloud Nine"
      ]
      [
        "ordre" => 2
        "nom" => "2. I Heard It Through the Grapevine"
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
      ]
      [
        "ordre" => 4
        "nom" => "1. Run Away Child, Running Wild"
      ]
      [
        "ordre" => 5
        "nom" => "Side C :"
      ]
      [
        "ordre" => 6
        "nom" => "1. Love Is a Hurtin’ Thing"
      ]
      [
        "ordre" => 7
        "nom" => "2. Hey Girl"
      ]
      [
        "ordre" => 8
        "nom" => "3. Why Did She Have to Leave Me (Why Did She Have to Go)"
      ]
      [
        "ordre" => 9
        "nom" => "4. I Need Your Lovin’"
      ]
      [
        "ordre" => 10
        "nom" => "Side D : "
      ]
      [
        "ordre" => 11
        "nom" => "1. Don’t Let Him Take Your Love from Me"
      ]
      [
        "ordre" => 12
        "nom" => "2. I Gotta Find a Way (To Get You Back)"
      ]
      [
        "ordre" => 13
        "nom" => "3. Gonna Keep on Tryin’ till I Win Your Love"
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2135 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1474 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2144 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2137 …}
    -typeMasterTape: null
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    -caracteristique: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2139 …}
    -enregistreLe: DateTime @1766484194 {#2130
      date: 2025-12-23 10:03:14.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775141327 {#2131
      date: 2026-04-02 14:48:47.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2141 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-cloud-nine-2-lp-45-rpm-mobile-fidelity-sound-lab-mfsl-2-621"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2396 …}
}

[
  "produit" => App\Entity\Produit {#2149
    -id: 2904
    -nom: "No Secrets"
    -informationComplementaire: "Plongez dans l’univers intime de Carly Simon avec "No Secrets", un album culte où se mêlent émotions à vif, élégance musicale et chansons devenues légendaires."
    -description: """
      Sorti en 1972, "No Secrets" marque un tournant majeur dans la carrière de Carly Simon et s’impose comme l’un des albums emblématiques du singer-songwriter américain des années 70. Porté par le succès phénoménal du titre "You're So Vain", l’album mêle introspection, ironie et élégance musicale.\r\n
      \r\n
      À travers des arrangements raffinés et une écriture profondément personnelle, Carly Simon explore les thèmes de l’amour, de la désillusion, de la célébrité et de l’identité. Sa voix, à la fois douce et affirmée, donne vie à des compositions sensibles où chaque mot semble pesé avec justesse.\r\n
      \r\n
      Produit par Richard Perry, "No Secrets" bénéficie d’une production chaleureuse et organique, typique de son époque, tout en conservant une modernité qui le rend toujours pertinent aujourd’hui.\r\n
      \r\n
      Cet album est bien plus qu’un simple succès commercial, c’est une œuvre introspective qui a marqué toute une génération et continue d’influencer les artistes contemporains. Une pièce essentielle pour tous les amateurs de musique authentique et intemporelle.\r\n
      \r\n
      Musicians : \r\n
      Carly Simon (piano, vocals), James Taylor (acoustic guitar, backing vocals), Paul McCartney (vocals), Lowell George (electric guitar), Klaus Voormann, Lee Sklar, Klaus Voormann (bass), Nicky Hopkins (piano, keyboards), Andrew Gold (guitar, backing vocals), Jimmy Ryan, Danny Kortchmar (guitar), Ben Taylor, Jacob Brackman (handclaps), Bobby Keys (saxophone), Jim Price (trumpet, trombone), Mick Jagger (backing vocals), Nicky Hopkins (piano), Jim Gordon, Russ Kunkel, (drums).\r\n
      \r\n
      - Carly Simon Turns Candid : Platinum-Certified No Secrets Features an All-Star Cast and the N° 1 Hit “You’re So Vain”, Ranked by Rolling Stone Among the 500 Greatest Songs of All Time !\r\n
      - 1972 Album Available on 180 graù 45 RPM (2 LP) for the First Time: Strictly Limited to 3000 Numbered Copies, Mobile Fidelity's Reissue Plays with Wide Soundstages and Balanced Tones !\r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Carly Simon’s N° 1 smash “You’re So Vain” lingers as one of the most clever and famous songs ever recorded. The subject of mass speculation ever since its release, soon after which it occupied the top spot on multiple Billboard charts for weeks, the anthem kept a captive public guessing at the identity of its smug subject for decades. The question surrounding the protagonist’s identity remained perhaps the only mystery on the otherwise sexually open and autobiographically daring No Secrets, Simon’s commercial breakthrough and ‘70s singer-songwriter staple. \r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, strictly limited to 3,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180 gram 45 RPM (2 LP) set affords the platinum-certified 1972 effort the finest sonic treatment it’s received on vinyl. Helmed by Richard Perry and recorded at London’s Trident Studios where Beatles, David Bowie, and Elton John captured landmark LPs No Secrets touts exceptional production qualities highlighted by this restorative reissue.\r\n
      \r\n
      Audiophiles and record collectors, take note: This is the first time No Secrets has been available on 45 RPM. The wider grooves and dead-quiet surfaces pay instant dividends. Simple, elegant, and disarming, songs seemingly float amid wide, deep soundstages. Simon’s voice takes on a confident, assertive tenor that emerges with accurate imaging, balanced tonality, and palpable presence. String arrangements and backing vocals come through with similar realism. \r\n
      \r\n
      Enhanced by an all-star cast Simon’s then-husband James Taylor, Paul and Linda McCartney, Mick Jagger, Lowell George, Klaus Voorman, Bobby Keys, Jim Keltner, Nicky Hopkins, and Bonnie Bramlett are among the renowned musicians who lend a hand No Secrets advances Simon’s themes of personal introspectiveness, no-holds-barred reflectiveness, and feminist-inspired boldness. She makes every moment of No Secrets worth savoring. Simon invests her all in the songs, handling beautiful ballads, sassy folk-rock numbers, and bluesy fare with calm, composure, and candor. \r\n
      \r\n
      While acknowledging her own regrets “You’re So Vain” and loss “The Carter Family”, Simon champions the highs “The Right Thing to Do” and pains “His Friends Are More Than Fond of Robin” of love in a sincere manner indicative of her maturity as both an artist and singer. The New York native distinguishes “When You Close Your Eyes” with deep-rooted spirituality, recalls childhood joys via charming sentimentality on “It Was So Easy”, and and takes ownership of her persona on a cover of Taylor’s “Night Owl”.\r\n
      \r\n
      “We have no secrets
We tell each other everything”, Simon sings at the record’s midpoint, encapsulating both the themes and bravura of an effort that was nominated for four Grammy Awards and saw her write or co-write every song but one. Combined with Perry’s savvy instrumental arrangements, her self-assured performances and forthright lyrics grant No Secrets an edginess and relevance immune to the ravages of time.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Carly Simon (piano, vocals), James Taylor (acoustic guitar, backing vocals), Paul McCartney (vocals), Lowell George (electric guitar), Klaus Voormann, Lee Sklar, Klaus Voormann (bass)..."
    -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=4aMGK19UlmA&list=RD4aMGK19UlmA&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-607"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. The Right Thing To Do"
      ]
      [
        "ordre" => 2
        "nom" => "2. The Carter Family"
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
      ]
      [
        "ordre" => 4
        "nom" => "1. You're So Vain"
      ]
      [
        "ordre" => 5
        "nom" => "2. His Friends Are More Than Fond Of Robin"
      ]
      [
        "ordre" => 6
        "nom" => "3. We Have No Secrets "
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Embrace Me, You Child"
      ]
      [
        "ordre" => 9
        "nom" => "2. Waited So Long"
      ]
      [
        "ordre" => 10
        "nom" => "Side D : "
      ]
      [
        "ordre" => 11
        "nom" => "1. It Was So Easy"
      ]
      [
        "ordre" => 12
        "nom" => "2. Night Owl"
      ]
      [
        "ordre" => 13
        "nom" => "3. When You Close Your Eyes"
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
      [
        "ordre" => 16
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2157 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2150 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2152 …}
    -enregistreLe: DateTime @1763406434 {#2146
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    }
    -modifierLe: DateTime @1775121522 {#2147
      date: 2026-04-02 09:18:42.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2154 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-no-secrets-mobile-fidelity-sound-lab-mfsl-2-607"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3563
  -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 {#2628 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2149
    -id: 2904
    -nom: "No Secrets"
    -informationComplementaire: "Plongez dans l’univers intime de Carly Simon avec "No Secrets", un album culte où se mêlent émotions à vif, élégance musicale et chansons devenues légendaires."
    -description: """
      Sorti en 1972, "No Secrets" marque un tournant majeur dans la carrière de Carly Simon et s’impose comme l’un des albums emblématiques du singer-songwriter américain des années 70. Porté par le succès phénoménal du titre "You're So Vain", l’album mêle introspection, ironie et élégance musicale.\r\n
      \r\n
      À travers des arrangements raffinés et une écriture profondément personnelle, Carly Simon explore les thèmes de l’amour, de la désillusion, de la célébrité et de l’identité. Sa voix, à la fois douce et affirmée, donne vie à des compositions sensibles où chaque mot semble pesé avec justesse.\r\n
      \r\n
      Produit par Richard Perry, "No Secrets" bénéficie d’une production chaleureuse et organique, typique de son époque, tout en conservant une modernité qui le rend toujours pertinent aujourd’hui.\r\n
      \r\n
      Cet album est bien plus qu’un simple succès commercial, c’est une œuvre introspective qui a marqué toute une génération et continue d’influencer les artistes contemporains. Une pièce essentielle pour tous les amateurs de musique authentique et intemporelle.\r\n
      \r\n
      Musicians : \r\n
      Carly Simon (piano, vocals), James Taylor (acoustic guitar, backing vocals), Paul McCartney (vocals), Lowell George (electric guitar), Klaus Voormann, Lee Sklar, Klaus Voormann (bass), Nicky Hopkins (piano, keyboards), Andrew Gold (guitar, backing vocals), Jimmy Ryan, Danny Kortchmar (guitar), Ben Taylor, Jacob Brackman (handclaps), Bobby Keys (saxophone), Jim Price (trumpet, trombone), Mick Jagger (backing vocals), Nicky Hopkins (piano), Jim Gordon, Russ Kunkel, (drums).\r\n
      \r\n
      - Carly Simon Turns Candid : Platinum-Certified No Secrets Features an All-Star Cast and the N° 1 Hit “You’re So Vain”, Ranked by Rolling Stone Among the 500 Greatest Songs of All Time !\r\n
      - 1972 Album Available on 180 graù 45 RPM (2 LP) for the First Time: Strictly Limited to 3000 Numbered Copies, Mobile Fidelity's Reissue Plays with Wide Soundstages and Balanced Tones !\r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Carly Simon’s N° 1 smash “You’re So Vain” lingers as one of the most clever and famous songs ever recorded. The subject of mass speculation ever since its release, soon after which it occupied the top spot on multiple Billboard charts for weeks, the anthem kept a captive public guessing at the identity of its smug subject for decades. The question surrounding the protagonist’s identity remained perhaps the only mystery on the otherwise sexually open and autobiographically daring No Secrets, Simon’s commercial breakthrough and ‘70s singer-songwriter staple. \r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, strictly limited to 3,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180 gram 45 RPM (2 LP) set affords the platinum-certified 1972 effort the finest sonic treatment it’s received on vinyl. Helmed by Richard Perry and recorded at London’s Trident Studios where Beatles, David Bowie, and Elton John captured landmark LPs No Secrets touts exceptional production qualities highlighted by this restorative reissue.\r\n
      \r\n
      Audiophiles and record collectors, take note: This is the first time No Secrets has been available on 45 RPM. The wider grooves and dead-quiet surfaces pay instant dividends. Simple, elegant, and disarming, songs seemingly float amid wide, deep soundstages. Simon’s voice takes on a confident, assertive tenor that emerges with accurate imaging, balanced tonality, and palpable presence. String arrangements and backing vocals come through with similar realism. \r\n
      \r\n
      Enhanced by an all-star cast Simon’s then-husband James Taylor, Paul and Linda McCartney, Mick Jagger, Lowell George, Klaus Voorman, Bobby Keys, Jim Keltner, Nicky Hopkins, and Bonnie Bramlett are among the renowned musicians who lend a hand No Secrets advances Simon’s themes of personal introspectiveness, no-holds-barred reflectiveness, and feminist-inspired boldness. She makes every moment of No Secrets worth savoring. Simon invests her all in the songs, handling beautiful ballads, sassy folk-rock numbers, and bluesy fare with calm, composure, and candor. \r\n
      \r\n
      While acknowledging her own regrets “You’re So Vain” and loss “The Carter Family”, Simon champions the highs “The Right Thing to Do” and pains “His Friends Are More Than Fond of Robin” of love in a sincere manner indicative of her maturity as both an artist and singer. The New York native distinguishes “When You Close Your Eyes” with deep-rooted spirituality, recalls childhood joys via charming sentimentality on “It Was So Easy”, and and takes ownership of her persona on a cover of Taylor’s “Night Owl”.\r\n
      \r\n
      “We have no secrets
We tell each other everything”, Simon sings at the record’s midpoint, encapsulating both the themes and bravura of an effort that was nominated for four Grammy Awards and saw her write or co-write every song but one. Combined with Perry’s savvy instrumental arrangements, her self-assured performances and forthright lyrics grant No Secrets an edginess and relevance immune to the ravages of time.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Carly Simon (piano, vocals), James Taylor (acoustic guitar, backing vocals), Paul McCartney (vocals), Lowell George (electric guitar), Klaus Voormann, Lee Sklar, Klaus Voormann (bass)..."
    -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=4aMGK19UlmA&list=RD4aMGK19UlmA&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-607"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. The Right Thing To Do"
      ]
      [
        "ordre" => 2
        "nom" => "2. The Carter Family"
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
      ]
      [
        "ordre" => 4
        "nom" => "1. You're So Vain"
      ]
      [
        "ordre" => 5
        "nom" => "2. His Friends Are More Than Fond Of Robin"
      ]
      [
        "ordre" => 6
        "nom" => "3. We Have No Secrets "
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Embrace Me, You Child"
      ]
      [
        "ordre" => 9
        "nom" => "2. Waited So Long"
      ]
      [
        "ordre" => 10
        "nom" => "Side D : "
      ]
      [
        "ordre" => 11
        "nom" => "1. It Was So Easy"
      ]
      [
        "ordre" => 12
        "nom" => "2. Night Owl"
      ]
      [
        "ordre" => 13
        "nom" => "3. When You Close Your Eyes"
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
      [
        "ordre" => 16
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2157 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2150 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2152 …}
    -enregistreLe: DateTime @1763406434 {#2146
      date: 2025-11-17 19:07:14.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775121522 {#2147
      date: 2026-04-02 09:18:42.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2154 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-no-secrets-mobile-fidelity-sound-lab-mfsl-2-607"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2396 …}
}

[
  "produit" => App\Entity\Produit {#2162
    -id: 3037
    -nom: "Marquee Moon - Box Set (2 LP) 45 RPM UltraDisc One-Step"
    -informationComplementaire: "Plongez dans "Marquee Moon", le chef-d’œuvre de Television : une explosion de guitares entrelacées, d’énergie brute et d’élégance sonore. Un album culte qui redéfinit le rock et continue d’inspirer, près de 50 ans après sa sortie."
    -description: """
      Sorti en 1977, Marquee Moon de Television s’impose comme l’un des albums les plus influents de la scène rock new-yorkaise. À contre-courant du punk brut de l’époque, le groupe propose une musique sophistiquée, mêlant énergie nerveuse et finesse instrumentale.\r\n
      \r\n
      Porté par la voix singulière et le jeu de guitare tranchant de Tom Verlaine, l’album se distingue surtout par le dialogue fascinant entre deux guitares. Avec Richard Lloyd, Television développe un style unique fait de lignes mélodiques entrelacées, créant une tension constante et hypnotique. La section rythmique, assurée par Fred Smith à la basse et Billy Ficca à la batterie, apporte une précision presque jazz qui renforce la profondeur sonore de l’ensemble.\r\n
      \r\n
      Le morceau-titre, long de plus de dix minutes, est devenu emblématique pour ses envolées guitaristiques et son atmosphère envoûtante. Marquee Moon est aujourd’hui considéré comme un pilier de l’art rock et une référence incontournable pour des générations de musiciens.\r\n
      \r\n
      - Television Reimagines Guitar Rock on Marquee Moon: Band’s 1977 Debut Is Ranked the 107th Greatest Album of All Time by Rolling Stone and Cited on Virtually Every Major “Best” List\r\n
      \r\n
      - Experience the Pioneering Record in Definitive Sound : Mobile Fidelity’s UltraDisc One-Step 180 gram 45 RPM (2 LP) Box Set Is Strictly Limited to 3000 Numbered Copies and Reveals Brilliant Dynamics, Textures, and Tones\r\n
      \r\n
      - 1/4” / 15 IPS analog master to DSD 256 to analog console to lathe\r\n
      \r\n
      Television’s Marquee Moon reimagines guitar rock in such original, pioneering ways that critics and fans still struggle to describe its essence five decades after its original release. Made after the band cut its teeth for four years amid New York’s thriving arts scene, the 1977 album blends the inimitable interplay of guitarists Tom Verlaine and Richard Lloyd; spontaneous and precise approaches; and winding arrangements that draw as much from classical, jazz, and psychedelia as the punk ethos to which the album is often linked. \r\n
      \r\n
      Available as a 45 RPM edition for the first time, Marquee Moon reaches a new sonic pinnacle on Mobile Fidelity’s UltraDisc One-Step 180 gram (2 LP) box set. Strictly limited to 3000 numbered copies and pressed at Fidelity Record Pressing in California, this deluxe reissue of the effort Pitchfork named the third greatest of the entire 1970s plays with incredible detail, dynamics, and definition. The presence, emotionalism, warmth, and dimensionality of the textures alone make this premium reissue a treat for both listeners who know the record inside-out and for audiophiles embarking on Television’s incomparable journeys for perhaps the first time. \r\n
      \r\n
      Mobile Fidelity Sound Lab’s deluxe, industry-leading packaging adds to the set’s desirability and collectibility. Housed in a gorgeous slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. This keepsake is for those who want to immerse themselves in everything involved with the Marquee Moon from the now-iconic front cover depicting a Xeroxed color print of a Robert Mapplethorpe photo of the quartet to the rear image showcasing what Verlaine described as a “weird spirally shape” that visually captures the inertia, vibe, and patterns of the songs.\r\n
      \r\n
      So distinctive are Television’s styles, arrangements, and chemistry that producer Andy Johns repeatedly had to ask Verlaine and company about their aesthetic. Recording in a small room at A & R Studios, a space selected due to its resemblance to what the band used to rehearse, Johns initially recoiled from the retro setup complete with an all-tube board. Johns also misread Television’s desire for a dry sound at odds with the big, meaty acoustic that carried the day. He spent a day working on the drum kit to engineer effects in line with those he’d achieved with Led Zeppelin and the Rolling Stones. Only to tear it apart once Television expressed a desire for a basic, reverb-free perspective. \r\n
      \r\n
      You can hear that direct, focused, straight-line sound like never before here, and how it illustrates the clean contours, tones, and shapes of every note committed to tape. And how it relates to the relatively minimal overdubs (piano, vocals) the band laid down after barely a week of main sessions with Johns, whose fanciest implementation involved swinging a vintage microphone like a lasso over his head as Lloyd double-tracked the solo to “Elevation”.\r\n
      \r\n
      Johns returned a few months later to mix. By that point, his take on Marquee Moon had shifted from arms-length curiosity to wholesale adoration. His change of heart is easy to understand. It would dovetail with the opinions of nearly everyone who spent time with the strange, beautiful, seemingly contradictory record shortly after it hit in early 1977. Few albums of that era as well as any before or since combine such high-wire technical prowess, back-to-basics architecture, jam-band improvisation, narrative mysticism, delicate finesse, hook-laden catchiness, and excess-free exploration. \r\n
      \r\n
      Another principal reason Marquee Moon remains distinctive ? Verlaine’s playing and lyrics, sure, but also his interests and background. Unlike archetypal guitar heroes, let alone first-wave punk practitioners, he first fell in love with classical music before gravitating to jazz and the saxophone. Having changed his last name to honor that of the 19th century French poet, Verlaine prized responsiveness and intricacy over density, speed, and volume. He recognized that fills, harmonics, and accents allowed for as many if not more opportunities for communicative colors and commentaries as solos do.  \r\n
      \r\n
      Verlaine’s incisive ingenuity, discipline, and feel emerge throughout Marquee Moon, and are part and parcel of the impressionistic six-string dialogues with Lloyd. Their push-and-pull subverts expectations and creates new, hard-to-decipher languages strung together with vocabularies comprised of wondrous melodies, modes, bridges, scales, vamps, and tunings. Lloyd would aptly describe the duo’s results as analogous to putting together pieces in a jigsaw puzzle. The pair’s exploratory vision and economical nature further accounts for why Marquee Moon defies age and trends. \r\n
      \r\n
      As do the hands-off, syncopated rhythms generated by bassist Fred Smith and jazz-based drummer Billy Ficca. Akin to their mates, each are dialed-in from the extended period of woodshedding Television enjoyed before hitting the studio. Together, the four members achieve blends of virtuosic tightness, chromatism, expressionism, and moodiness that exist in gray areas between garage rock, punk, prog, and free-jazz disciplines. No wonder Marquee Moon proved a major influence on the new wave, experimental rock, art pop, and so-called “alt rock” subgenres that followed.\r\n
      \r\n
      Allergic to bombast, repetition, and convention, all eight songs function as individual highlight reels that simultaneously feed an inter-related, organic whole. And yet everything revolves around the epic title track, Ranked by Rolling Stone as the 173rd Greatest Song of All Time, it’s distinguished by a a double-stop guitar intro, dramatic jam section, and a climactic coda that encapsulates what makes Television unique — and Marquee Moon a landmark of conception, composition, and execution.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Tom Verlaine (lead guitar, vocals), Richard Lloyd (lead guitar, backing vocals), Fred Smith (bass guitar, backing vocals), Billy Ficca (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=g4myghLPLZc&list=RDg4myghLPLZc&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S 2-064"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
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        "ordre" => 1
        "nom" => "1. See No Evil"
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        "ordre" => 2
        "nom" => "2. Venus"
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      [
        "ordre" => 3
        "nom" => "3. Friction "
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        "nom" => "Side B : "
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        "ordre" => 5
        "nom" => "1. Marquee Moon "
      ]
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        "nom" => "Side C : "
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        "nom" => "1. Elevation"
      ]
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        "nom" => "2. Guiding Light "
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
      [
        "ordre" => 10
        "nom" => "1. Prove It"
      ]
      [
        "ordre" => 11
        "nom" => "2. Torn Curtain"
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        "nom" => ""
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2164 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2173 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2166 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2168 …}
    -enregistreLe: DateTime @1775112158 {#2159
      date: 2026-04-02 06:42:38.0 UTC (+00:00)
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    -modifierLe: DateTime @1775112582 {#2160
      date: 2026-04-02 06:49:42.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2170 …}
    -disponible: null
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    -slug: "vinyles-marquee-moon-box-set-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-mfsl-45ud1s-2-064"
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App\Twig\Components\GestionPanierFavoriComponents {#3609
  -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 {#2628 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2162
    -id: 3037
    -nom: "Marquee Moon - Box Set (2 LP) 45 RPM UltraDisc One-Step"
    -informationComplementaire: "Plongez dans "Marquee Moon", le chef-d’œuvre de Television : une explosion de guitares entrelacées, d’énergie brute et d’élégance sonore. Un album culte qui redéfinit le rock et continue d’inspirer, près de 50 ans après sa sortie."
    -description: """
      Sorti en 1977, Marquee Moon de Television s’impose comme l’un des albums les plus influents de la scène rock new-yorkaise. À contre-courant du punk brut de l’époque, le groupe propose une musique sophistiquée, mêlant énergie nerveuse et finesse instrumentale.\r\n
      \r\n
      Porté par la voix singulière et le jeu de guitare tranchant de Tom Verlaine, l’album se distingue surtout par le dialogue fascinant entre deux guitares. Avec Richard Lloyd, Television développe un style unique fait de lignes mélodiques entrelacées, créant une tension constante et hypnotique. La section rythmique, assurée par Fred Smith à la basse et Billy Ficca à la batterie, apporte une précision presque jazz qui renforce la profondeur sonore de l’ensemble.\r\n
      \r\n
      Le morceau-titre, long de plus de dix minutes, est devenu emblématique pour ses envolées guitaristiques et son atmosphère envoûtante. Marquee Moon est aujourd’hui considéré comme un pilier de l’art rock et une référence incontournable pour des générations de musiciens.\r\n
      \r\n
      - Television Reimagines Guitar Rock on Marquee Moon: Band’s 1977 Debut Is Ranked the 107th Greatest Album of All Time by Rolling Stone and Cited on Virtually Every Major “Best” List\r\n
      \r\n
      - Experience the Pioneering Record in Definitive Sound : Mobile Fidelity’s UltraDisc One-Step 180 gram 45 RPM (2 LP) Box Set Is Strictly Limited to 3000 Numbered Copies and Reveals Brilliant Dynamics, Textures, and Tones\r\n
      \r\n
      - 1/4” / 15 IPS analog master to DSD 256 to analog console to lathe\r\n
      \r\n
      Television’s Marquee Moon reimagines guitar rock in such original, pioneering ways that critics and fans still struggle to describe its essence five decades after its original release. Made after the band cut its teeth for four years amid New York’s thriving arts scene, the 1977 album blends the inimitable interplay of guitarists Tom Verlaine and Richard Lloyd; spontaneous and precise approaches; and winding arrangements that draw as much from classical, jazz, and psychedelia as the punk ethos to which the album is often linked. \r\n
      \r\n
      Available as a 45 RPM edition for the first time, Marquee Moon reaches a new sonic pinnacle on Mobile Fidelity’s UltraDisc One-Step 180 gram (2 LP) box set. Strictly limited to 3000 numbered copies and pressed at Fidelity Record Pressing in California, this deluxe reissue of the effort Pitchfork named the third greatest of the entire 1970s plays with incredible detail, dynamics, and definition. The presence, emotionalism, warmth, and dimensionality of the textures alone make this premium reissue a treat for both listeners who know the record inside-out and for audiophiles embarking on Television’s incomparable journeys for perhaps the first time. \r\n
      \r\n
      Mobile Fidelity Sound Lab’s deluxe, industry-leading packaging adds to the set’s desirability and collectibility. Housed in a gorgeous slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. This keepsake is for those who want to immerse themselves in everything involved with the Marquee Moon from the now-iconic front cover depicting a Xeroxed color print of a Robert Mapplethorpe photo of the quartet to the rear image showcasing what Verlaine described as a “weird spirally shape” that visually captures the inertia, vibe, and patterns of the songs.\r\n
      \r\n
      So distinctive are Television’s styles, arrangements, and chemistry that producer Andy Johns repeatedly had to ask Verlaine and company about their aesthetic. Recording in a small room at A & R Studios, a space selected due to its resemblance to what the band used to rehearse, Johns initially recoiled from the retro setup complete with an all-tube board. Johns also misread Television’s desire for a dry sound at odds with the big, meaty acoustic that carried the day. He spent a day working on the drum kit to engineer effects in line with those he’d achieved with Led Zeppelin and the Rolling Stones. Only to tear it apart once Television expressed a desire for a basic, reverb-free perspective. \r\n
      \r\n
      You can hear that direct, focused, straight-line sound like never before here, and how it illustrates the clean contours, tones, and shapes of every note committed to tape. And how it relates to the relatively minimal overdubs (piano, vocals) the band laid down after barely a week of main sessions with Johns, whose fanciest implementation involved swinging a vintage microphone like a lasso over his head as Lloyd double-tracked the solo to “Elevation”.\r\n
      \r\n
      Johns returned a few months later to mix. By that point, his take on Marquee Moon had shifted from arms-length curiosity to wholesale adoration. His change of heart is easy to understand. It would dovetail with the opinions of nearly everyone who spent time with the strange, beautiful, seemingly contradictory record shortly after it hit in early 1977. Few albums of that era as well as any before or since combine such high-wire technical prowess, back-to-basics architecture, jam-band improvisation, narrative mysticism, delicate finesse, hook-laden catchiness, and excess-free exploration. \r\n
      \r\n
      Another principal reason Marquee Moon remains distinctive ? Verlaine’s playing and lyrics, sure, but also his interests and background. Unlike archetypal guitar heroes, let alone first-wave punk practitioners, he first fell in love with classical music before gravitating to jazz and the saxophone. Having changed his last name to honor that of the 19th century French poet, Verlaine prized responsiveness and intricacy over density, speed, and volume. He recognized that fills, harmonics, and accents allowed for as many if not more opportunities for communicative colors and commentaries as solos do.  \r\n
      \r\n
      Verlaine’s incisive ingenuity, discipline, and feel emerge throughout Marquee Moon, and are part and parcel of the impressionistic six-string dialogues with Lloyd. Their push-and-pull subverts expectations and creates new, hard-to-decipher languages strung together with vocabularies comprised of wondrous melodies, modes, bridges, scales, vamps, and tunings. Lloyd would aptly describe the duo’s results as analogous to putting together pieces in a jigsaw puzzle. The pair’s exploratory vision and economical nature further accounts for why Marquee Moon defies age and trends. \r\n
      \r\n
      As do the hands-off, syncopated rhythms generated by bassist Fred Smith and jazz-based drummer Billy Ficca. Akin to their mates, each are dialed-in from the extended period of woodshedding Television enjoyed before hitting the studio. Together, the four members achieve blends of virtuosic tightness, chromatism, expressionism, and moodiness that exist in gray areas between garage rock, punk, prog, and free-jazz disciplines. No wonder Marquee Moon proved a major influence on the new wave, experimental rock, art pop, and so-called “alt rock” subgenres that followed.\r\n
      \r\n
      Allergic to bombast, repetition, and convention, all eight songs function as individual highlight reels that simultaneously feed an inter-related, organic whole. And yet everything revolves around the epic title track, Ranked by Rolling Stone as the 173rd Greatest Song of All Time, it’s distinguished by a a double-stop guitar intro, dramatic jam section, and a climactic coda that encapsulates what makes Television unique — and Marquee Moon a landmark of conception, composition, and execution.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Tom Verlaine (lead guitar, vocals), Richard Lloyd (lead guitar, backing vocals), Fred Smith (bass guitar, backing vocals), Billy Ficca (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=g4myghLPLZc&list=RDg4myghLPLZc&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S 2-064"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
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      [
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        "nom" => "1. See No Evil"
      ]
      [
        "ordre" => 2
        "nom" => "2. Venus"
      ]
      [
        "ordre" => 3
        "nom" => "3. Friction "
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Marquee Moon "
      ]
      [
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        "nom" => "Side C : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Elevation"
      ]
      [
        "ordre" => 8
        "nom" => "2. Guiding Light "
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
      [
        "ordre" => 10
        "nom" => "1. Prove It"
      ]
      [
        "ordre" => 11
        "nom" => "2. Torn Curtain"
      ]
      [
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        "nom" => ""
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2164 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2173 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2166 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2168 …}
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      date: 2026-04-02 06:42:38.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775112582 {#2160
      date: 2026-04-02 06:49:42.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2170 …}
    -disponible: null
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    -slug: "vinyles-marquee-moon-box-set-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-mfsl-45ud1s-2-064"
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[
  "produit" => App\Entity\Produit {#2178
    -id: 3034
    -nom: "Keep on Moving"
    -informationComplementaire: "Avec Keep On Moving, The Butterfield Blues Band élargit son horizon, entre tradition et modernité : "un son plus chaud, des cuivres éclatants et une énergie contagieuse". Un blues en mouvement, entre racines et groove."
    -description: """
      Sorti en 1969, "Keep On Moving" marque un tournant décisif dans la carrière de The Butterfield Blues Band. Loin du blues électrique brut de leurs débuts, le groupe adopte ici une approche plus riche et sophistiquée, mêlant blues, soul et R&B, avec une section de cuivres qui devient centrale dans leur son.\r\n
      \r\n
      Porté par la voix et l’harmonica toujours expressifs de Paul Butterfield, l’album déploie une énergie collective plus orchestrée. Les arrangements sont plus amples, les grooves plus souples, et l’ensemble respire une influence soul clairement assumée, dans l’esprit des grandes productions de la fin des années 60.\r\n
      \r\n
      Des titres comme “Keep On Moving” ou “Love March” illustrent parfaitement cette évolution, un blues qui s’ouvre, se colore, et gagne en puissance grâce aux cuivres et aux rythmiques plus dansantes. Cet album témoigne d’un groupe en pleine mutation, prêt à élargir son langage musical sans renier ses racines.\r\n
      \r\n
      - The Butterfield Blues Band Leans into R&B Fervor on the Brassy Keep on Moving : Album Features a Horn Section with David Sanborn and Prioritizes the Art of the Groove !\r\n
      \r\n
      - Hear the 1969 Record in Audiophile Sound for the First Time: Strictly Limited to 3000 Numbered Copies, Mobile Fidelity’s 180 gram Vinyl LP Plays with Dynamic Liveliness and Involving Presence !\r\n
      \r\n
      - 1/4” / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      And then there was one. Paul Butterfield stands as the last remaining original member of his namesake collective on Keep on Moving. It’s hard to imagine it being any other way. Picking up where it left off on In My Own Dream, the Butterfield Blues Band wholly embraces R&B fervor and indirectly dares any horn-accompanied ensemble of the era to match its energy, pulse, tightness, and flair. While going all-in on soul with a crack support cast on this 1969 set, Butterfield would pull the plug on the band just two years later.\r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton jacket, and strictly limited to 3000 numbered copies, Mobile Fidelity’s 180 gram LP makes Keep on Moving available in audiophile quality for the first time. Open, clear, and balanced, it underlines the dynamic liveliness and organic feel of Jerry Ragovoy’s production. As well as the palpable chemistry of the sessions recorded at his then-brand-new Hit Factory studio in New York. This reissue’s quiet surfaces and black backgrounds also expose key details, accents, and textures germane to the music. Not to mention Butterfield and company’s pervasive interplay.\r\n
      \r\n
      The prominence and positioning of the formidable horn section comprised of a young David Sanborn, Gene Dinwiddie, Trevor Lawrence, Keith Johnson, and Steve Madaio particularly benefit from the newfound transparency and presence. Separation between the instrumentalists is such that you can distinguish tenor, baritone, and alto parts. You can sense the air between brassy shades, pauses, and swells. Butterfield and Howard “Buzz” Feiten’s guitars register with a similar sense of realism and directness, with everything from the in-the-room tones to the wiry snap of their strings emerging with dimensional body. The imaging, pacing, and naturalism further help frame Keep on Moving as a far better album than many critics of the time believed. \r\n
      \r\n
      Anyone expecting the Butterfield Blues Band to repeat the moves of its first two albums might be inclined to close their mind to what the guitarist-vocalist spearheads on this album, which climbed into the Billboard Top 200 and marked the leader’s final collaboration with Art Ensemble of Chicago co-founder and drummer Phillip Wilson. The direction the group takes is obvious from the first bars of the aptly named opening “Love March.” Distinguished with fanfare complete with horn taps and hup-two cadences, the zig-zagging and psychedelic-leaning piece places the group amid the Age of Aquarius. It even finds Butterfield briefly trading his six-string for a flute.\r\n
      \r\n
      The remainder of the record pursues funky, bluesy paths carved by rolling bass lines, stacked horns, buttoned-up rhythms, and signature harmonica blasts. Walls of brass border “Morning Sunrise”, a slippery rave-up with Butterfield’s unhinged vocals contrasting with the measured playing of his horn section. Akin to most of the tracks on the Keep on Moving if you’re not tempted to get out of your chair and dance by the time this feel-good cut wraps up, check your pulse it leans into catchy R&B disciplines and prioritizes grooves over riffs.  \r\n
      \r\n
      That approach and momentum carry over to the swaggering “All in a Day”, marked by Feiten stepping up to the microphone for his lone lead vocal and a quivering Butterfield harmonica solo that Chicago legend Junior Wells would surely appreciate. “Love Disease” shouts with punchy brass shots, stammers with wet snare drums, and threatens to go into the red via infatuated, emotional singing. For the standout “Buddy’s Advice”, the group places a piano front and center, summons hand-clapped beats, and welcomes the saxophones to stroll downtown as Latin-tinged percussion rattles in the background. \r\n
      \r\n
      Butterfield doesn’t completely abandon his blues roots. When he wants, he commands his guitar to scream with the kind of raw electricity and no-frills purpose it did during the mid-60s in his hometown’s rough-and-tumble clubs. Check the down-and-out lament “Losing Hand”, as soulful and deep as anything in the band’s catalog and sent up with a shivering harmonica spot and sparking guitar lines that interlace with the horns. See, too, the ramble-tamble “Walking by Myself”, which gets down with smoky country-blues flavors, welcoming hooks, and hip-swiveling vibes that, to quote the great Buddy Guy, are “so funky you can smell” ‘em.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Paul Butterfield (harmonica, vocals), Elvin Bishop (guitar), Gene Dinwiddie (saxophone, keyboards), Trevor Lawrence (saxophone),  Keith Johnson (trumpet), Rod Hicks (bass), Buzzy Feiten (guitar), Phil Wilson (drums)"
    -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=_oeLJmh6YA0&list=RD_oeLJmh6YA0&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-611"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Love March"
      ]
      [
        "ordre" => 2
        "nom" => "2. No Amount of Loving"
      ]
      [
        "ordre" => 3
        "nom" => "3. Morning Sunrise"
      ]
      [
        "ordre" => 4
        "nom" => "4. Losing Hand"
      ]
      [
        "ordre" => 5
        "nom" => "5. Walking by Myself"
      ]
      [
        "ordre" => 6
        "nom" => "6. Except You"
      ]
      [
        "ordre" => 7
        "nom" => "Side B : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Love Disease"
      ]
      [
        "ordre" => 9
        "nom" => "2. Where Did My Baby Go"
      ]
      [
        "ordre" => 10
        "nom" => "3. All in a Day"
      ]
      [
        "ordre" => 11
        "nom" => "4. So Far So Good"
      ]
      [
        "ordre" => 12
        "nom" => "5. Buddy's Advice"
      ]
      [
        "ordre" => 13
        "nom" => "6. Keep on Moving"
      ]
      [
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      ]
      [
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2180 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3660
  -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 {#2628 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2178
    -id: 3034
    -nom: "Keep on Moving"
    -informationComplementaire: "Avec Keep On Moving, The Butterfield Blues Band élargit son horizon, entre tradition et modernité : "un son plus chaud, des cuivres éclatants et une énergie contagieuse". Un blues en mouvement, entre racines et groove."
    -description: """
      Sorti en 1969, "Keep On Moving" marque un tournant décisif dans la carrière de The Butterfield Blues Band. Loin du blues électrique brut de leurs débuts, le groupe adopte ici une approche plus riche et sophistiquée, mêlant blues, soul et R&B, avec une section de cuivres qui devient centrale dans leur son.\r\n
      \r\n
      Porté par la voix et l’harmonica toujours expressifs de Paul Butterfield, l’album déploie une énergie collective plus orchestrée. Les arrangements sont plus amples, les grooves plus souples, et l’ensemble respire une influence soul clairement assumée, dans l’esprit des grandes productions de la fin des années 60.\r\n
      \r\n
      Des titres comme “Keep On Moving” ou “Love March” illustrent parfaitement cette évolution, un blues qui s’ouvre, se colore, et gagne en puissance grâce aux cuivres et aux rythmiques plus dansantes. Cet album témoigne d’un groupe en pleine mutation, prêt à élargir son langage musical sans renier ses racines.\r\n
      \r\n
      - The Butterfield Blues Band Leans into R&B Fervor on the Brassy Keep on Moving : Album Features a Horn Section with David Sanborn and Prioritizes the Art of the Groove !\r\n
      \r\n
      - Hear the 1969 Record in Audiophile Sound for the First Time: Strictly Limited to 3000 Numbered Copies, Mobile Fidelity’s 180 gram Vinyl LP Plays with Dynamic Liveliness and Involving Presence !\r\n
      \r\n
      - 1/4” / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      And then there was one. Paul Butterfield stands as the last remaining original member of his namesake collective on Keep on Moving. It’s hard to imagine it being any other way. Picking up where it left off on In My Own Dream, the Butterfield Blues Band wholly embraces R&B fervor and indirectly dares any horn-accompanied ensemble of the era to match its energy, pulse, tightness, and flair. While going all-in on soul with a crack support cast on this 1969 set, Butterfield would pull the plug on the band just two years later.\r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton jacket, and strictly limited to 3000 numbered copies, Mobile Fidelity’s 180 gram LP makes Keep on Moving available in audiophile quality for the first time. Open, clear, and balanced, it underlines the dynamic liveliness and organic feel of Jerry Ragovoy’s production. As well as the palpable chemistry of the sessions recorded at his then-brand-new Hit Factory studio in New York. This reissue’s quiet surfaces and black backgrounds also expose key details, accents, and textures germane to the music. Not to mention Butterfield and company’s pervasive interplay.\r\n
      \r\n
      The prominence and positioning of the formidable horn section comprised of a young David Sanborn, Gene Dinwiddie, Trevor Lawrence, Keith Johnson, and Steve Madaio particularly benefit from the newfound transparency and presence. Separation between the instrumentalists is such that you can distinguish tenor, baritone, and alto parts. You can sense the air between brassy shades, pauses, and swells. Butterfield and Howard “Buzz” Feiten’s guitars register with a similar sense of realism and directness, with everything from the in-the-room tones to the wiry snap of their strings emerging with dimensional body. The imaging, pacing, and naturalism further help frame Keep on Moving as a far better album than many critics of the time believed. \r\n
      \r\n
      Anyone expecting the Butterfield Blues Band to repeat the moves of its first two albums might be inclined to close their mind to what the guitarist-vocalist spearheads on this album, which climbed into the Billboard Top 200 and marked the leader’s final collaboration with Art Ensemble of Chicago co-founder and drummer Phillip Wilson. The direction the group takes is obvious from the first bars of the aptly named opening “Love March.” Distinguished with fanfare complete with horn taps and hup-two cadences, the zig-zagging and psychedelic-leaning piece places the group amid the Age of Aquarius. It even finds Butterfield briefly trading his six-string for a flute.\r\n
      \r\n
      The remainder of the record pursues funky, bluesy paths carved by rolling bass lines, stacked horns, buttoned-up rhythms, and signature harmonica blasts. Walls of brass border “Morning Sunrise”, a slippery rave-up with Butterfield’s unhinged vocals contrasting with the measured playing of his horn section. Akin to most of the tracks on the Keep on Moving if you’re not tempted to get out of your chair and dance by the time this feel-good cut wraps up, check your pulse it leans into catchy R&B disciplines and prioritizes grooves over riffs.  \r\n
      \r\n
      That approach and momentum carry over to the swaggering “All in a Day”, marked by Feiten stepping up to the microphone for his lone lead vocal and a quivering Butterfield harmonica solo that Chicago legend Junior Wells would surely appreciate. “Love Disease” shouts with punchy brass shots, stammers with wet snare drums, and threatens to go into the red via infatuated, emotional singing. For the standout “Buddy’s Advice”, the group places a piano front and center, summons hand-clapped beats, and welcomes the saxophones to stroll downtown as Latin-tinged percussion rattles in the background. \r\n
      \r\n
      Butterfield doesn’t completely abandon his blues roots. When he wants, he commands his guitar to scream with the kind of raw electricity and no-frills purpose it did during the mid-60s in his hometown’s rough-and-tumble clubs. Check the down-and-out lament “Losing Hand”, as soulful and deep as anything in the band’s catalog and sent up with a shivering harmonica spot and sparking guitar lines that interlace with the horns. See, too, the ramble-tamble “Walking by Myself”, which gets down with smoky country-blues flavors, welcoming hooks, and hip-swiveling vibes that, to quote the great Buddy Guy, are “so funky you can smell” ‘em.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Paul Butterfield (harmonica, vocals), Elvin Bishop (guitar), Gene Dinwiddie (saxophone, keyboards), Trevor Lawrence (saxophone),  Keith Johnson (trumpet), Rod Hicks (bass), Buzzy Feiten (guitar), Phil Wilson (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
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    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=_oeLJmh6YA0&list=RD_oeLJmh6YA0&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-611"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
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        "ordre" => 1
        "nom" => "1. Love March"
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        "ordre" => 2
        "nom" => "2. No Amount of Loving"
      ]
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        "ordre" => 3
        "nom" => "3. Morning Sunrise"
      ]
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        "ordre" => 4
        "nom" => "4. Losing Hand"
      ]
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        "ordre" => 5
        "nom" => "5. Walking by Myself"
      ]
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        "ordre" => 6
        "nom" => "6. Except You"
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        "nom" => "Side B : "
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        "nom" => "1. Love Disease"
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}

[
  "produit" => App\Entity\Produit {#2194
    -id: 3023
    -nom: "Trilogy  (Limited Numbered Edition)"
    -informationComplementaire: "Plongez dans "Trilogy", chef-d’œuvre du rock progressif signé Emerson, Lake & Palmer. Entre virtuosité éblouissante, envolées symphoniques et moments de pure émotion, cet album culte de 1972 repousse les frontières du rock."
    -description: """
      Sorti en 1972, "Trilogy" est le troisième album studio du groupe Emerson, Lake & Palmer, et souvent considéré comme l’un des sommets du rock progressif des années 70. À ce stade de leur carrière, le trio atteint un équilibre remarquable entre virtuosité instrumentale, ambition symphonique et accessibilité mélodique.\r\n
      \r\n
      L’album alterne entre compositions épiques et morceaux plus intimistes. Des titres comme “The Endless Enigma” ou “Trilogy” illustrent la dimension progressive du groupe, mêlant structures complexes, changements de rythmes et influences classiques, notamment portées par les claviers flamboyants de Keith Emerson.\r\n
      \r\n
      À l’inverse, “From the Beginning”, chanté et composé par Greg Lake, offre un moment de douceur acoustique devenu l’un des plus grands succès du groupe. La section rythmique, menée par Carl Palmer, apporte une précision et une puissance qui soutiennent les envolées techniques sans jamais perdre en cohérence.\r\n
      \r\n
      Trilogy se distingue aussi par son utilisation pionnière du synthétiseur Moog, contribuant à définir le son du rock progressif. L’album oscille ainsi entre expérimentation audacieuse et sens du morceau, ce qui en fait une œuvre accessible autant qu’exigeante.\r\n
      \r\n
      - Emerson, Lake & Palmer Expand Their Fusion of Rock, Classical, and Jazz Themes on Trilogy : Includes the Hit Ballad “From the Beginning” and Interpretation of Copland’s “Hoedown” !\r\n
      \r\n
      - Mastered at Mobile Fidelity Sound Lab’s Studio and Housed in a Stoughton Gatefold Jacket: Numbered-Edition 180 gram 33 RPM LP of 1972 Album Plays with Spectacular Dynamics and Clarity !\r\n
      \r\n
      - 1/4” / 15 IPS / Dolby A analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      There’s a reason Greg Lake deemed Trilogy “such an accurate record” when looking back at it decades later. Emerson, Lake & Palmer’s third studio album teems with exacting arrangements, copious overdubs, and multi-hued colors that showcase the band’s willingness to experiment and desire to put everything in its proper place without becoming too self-serious. Expanding by distilling the ferocious power of its debut and epic leanings of the preceding Tarkus into a more accessible whole, Trilogy stands as the most representative example of the ensemble’s trademark styles. \r\n
      \r\n
      Mastered at MoFi’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP of Trilogy presents the gold-certified effort in audiophile quality marked by clear, direct, dynamic, and balanced sound.  With black backgrounds, quiet surfaces, and exceptional definition, the collectible reissue brings to fore the visionary depth and virtuosic musicianship on display. \r\n
      \r\n
      Prized characteristics textures, tones, nuances, effects, open spaces that go hand-in-hand with the trio’s songs and interplay are conveyed amid broad soundstages and in specific detail. Newly unveiled degrees of separation, imaging, and timing help make the compositions come across with involving presence and realism. Such sonic signposts extend to the subtle shifts in Lake’s voice on the opening cut, the mistake that prompts Carl Palmer to audibly curse at the beginning of “The Sheriff”, and the thrilling cosmic properties of the Moog synthesizers Keith Emerson employs throughout the record.\r\n
      \r\n
      Abandoning the conceptual nature of its two immediate predecessors, the 1972 work contains familiar threads that distinguish it as an album only ELP could make. The most obvious examples are the compositions. No other band at the time wove classical, rock, jazz, and even proto-metal themes in the manner of ELP. And no collective possessed the equivalent to Emerson, Lake, and Palmer’s individual technique and symmetrical chemistry. \r\n
      \r\n
      Trilogy is a canvas for these features and more, as well as the talents of engineer Eddy Offord, who ended his studio relationship with ELP after this project. All the better to savor this final collaboration between Offord and his English mates. Particularly given the scale-tipping production. It’s no wonder the group stopped performing several cuts live due to its frustration of being unable to replicate many parts onstage. The graduated level of complexity and layering even prompted ELP on the subsequent Brain Salad Surgery to craft songs it could faithfully recreate live. \r\n
      \r\n
      Challenging themselves as players and writers, the members of ELP use Trilogy as a springboard for excursions into adventurous landscapes that require the expert navigation of knotty twists and turns, and the ability to change directions at a moment’s notice. The album-opening trilogy based around “The Endless Enigma” scampers, romps, and swirls as it pushes the boundaries on sophisticated time signatures all the while remaining approachable and melodic. ELP incorporates the sound of everything from church bells to beating hearts and eerie Moog synthesizers into the Trilogy scenery, with “Fugue” functioning as both an elegant breather and transition.\r\n
      \r\n
      The band further taps classical devices for its now-iconic interpretation of Aaron Copland’s “Hoedown”. Spirited and spry, the round-we-go instrumental presents Emerson, Lake, and Palmer at their collective finest via on-point rhythms, balanced attack, and palpable energy. That the group leads into the adaptation with Western-themed storytelling on “The Sheriff” adds to the fun and coherency. And who can resist the band’s brief nod to cartoon music and Emerson’s honky-tonk piano lines during the coda ?\r\n
      \r\n
      As Lake later realized when he declared it his favorite of the group’s albums, Trilogy has it all. Fanfare flourishes and gorgeous minimalism. A Top 40 acoustic ballad “From the Beginning”, three-section title track bolstered by fanciful grooves, and grandiose bolero “Abaddon’s Bolero” appointed with clever modulations and marching structures. And, for the first time, art that depicts the physical likeness of the group itself. \r\n
      \r\n
      Designed by Storm Thorgerson and Aubrey Powell at Hipgnosis after Salvador Dali allegedly demanded a king’s ransom for the job, the portrayal conveys the philosophical and pensive qualities that emerge amid the music and narratives. Or, the visual representation of what Keith Emerson summarized in a period interview as “progressive rock with a lot of regard for the past”.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, piano, Moog synthesizer), Greg Lake (bass guitar, acoustic & electric guitars, lead vocals), Carl Palmer (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#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=ZHWjtWtMLtg&list=RDZHWjtWtMLtg&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-618"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. The Endless Enigma (Part 1)"
      ]
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        "ordre" => 2
        "nom" => "2. Fugue"
      ]
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        "nom" => "5. The Sheriff 6. Hoedown "
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        "nom" => "Side B : "
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        "nom" => "1. Trilogy"
      ]
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        "nom" => "2. Living Sin"
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