Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2538
  -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 {#2385 …}
}

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

App\Twig\Components\ListePanier {#2615
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2618 …}
  -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 {#2617 …}
  -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 {#2385 …}
  -formView: Symfony\Component\Form\FormView {#2654 …}
  -form: Symfony\Component\Form\Form {#2804 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1841
    -id: 266
    -nom: "Blonde on Blonde"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Bob Dylan (guitar, harmonica, piano, vocals), Robbie Robertson (guitar, vocals), Al Kooper (organ, guitar), Bill Aikins (keyboards),  Wayne Butler (trombone), Rick Danko, Henry Strzelecki (bass guitar), Paul Griffin (piano), Jerry Kennedy (guitar ), Charlie McCoy (bass guitar, guitar, harmonica, trumpet), Wayne Moss (guitar, vocals), Hargus “Pig” Robbins (piano, keyboards), Joe South (bass guitar, guitar), Kenneth A. Buttrey, Bobby Gregg (drums). \r\n
      \r\n
      - Bob Dylan "Blonde on Blonde" Hand-Numbered Limited Edition 180 gram  45 RPM (3 LP) Box Set from Mobile Fidelity !\r\n
      - Mastered from the 1/2" / 30 IPS Analog Remix Master to DSD 64 to Analog Console to Lathe !\r\n
      - Pressed at RTI !\r\n
      - Recorded with one of the most ear-awakening lineups ever assembled : Al Kooper, "Pig" Robbins, Joe South, Kenny Buttrey, and The Band's Rick Danko and Robbie Robertson among musicians !\r\n
      - Vaudeville, pop, fiery rock 'n' roll, Memphis blues, folk-derived sagas among enriched palette of styles !\r\n
      - Ranked N° 9 on Rolling Stone's list of the 500 Greatest Albums of All Time !\r\n
      - A Stereophile 2014 Record To Die For !\r\n
      \r\n
      Winner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are musically and sonically outstanding and are also well mastered and pressed. ttp://www.analogplanet.com/content/gruvy-awards\r\n
      \r\n
      Blonde on Blonde : A double album that transcends time, defies space, suspends reality, and looks through the human soul and tells the listener characteristics about themselves they didn't know. Professor Sean Wilentz, historian-in-residence for Bob Dylan's website, comes as close to summing up its brilliance in his superb Bob Dylan In America as any who've tried : "The songs are rich meditations on desire, frailty, promises, boredom, hurt, envy, connections, missed connections, paranoia, and transcendent beauty-in short, the lures and snare of love, stock themes of rock and pop music, but written with a powerful literary imagination and played out in a pop netherworld" No lie.\r\n
      \r\n
      As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45 RPM LPs at RTI. The end result is the very finest, most transparent analog edition of Blonde on Blonde ever produced. Forever renowned for what the Bard deemed "that thin, that wild mercury sound", the album's famed aural character lives and breathes on this superb version, with wider and deeper grooves affording playback of previously buried information and lifelike presentation of the studio sessions.\r\n
      \r\n
      Prized for a unique sound that cultural critic Greil Marcus tagged "the most glamorous record imaginable; listening you [can] see the checkered jester's suit Dylan had worn on stage for the nine previous, furious months", Blonde on Blonde is to music, production, prose, and performance as what hydrogen is to water. The secret to its inimitable aural character partially stems from Dylan's request in Nashville to producer Bob Johnston to remove the baffles from the studio room, allowing the musicians to interact as well as the music to assume a more organic quality that drifts from one microphone to another. Mobile Fidelity's reissue captures this ensemble ambience, with echoes, resonation, and some of the most natural timbres you'll ever hear in plain sight.\r\n
      \r\n
      The story of Blonde on Blonde is almost as compelling as the music within. Dylan, frustrated with how initial attempts fared in New York, relocating to Tennessee and pairing with Nashville's top session players as well as members of what would become the Band, feverishly chasing perfectionism while also arriving at an on-the-fly feel that remains a reference point for recorded music. The Bard sweated over lyrics, demanded his band get the exact sounds he heard in his head, and limited most takes to a handful at most. A majority of songs were recorded long after midnight, the post-A.M. vibe reflected in the nocturnal aura, woozy optimism, inversion of intervals, and spiritual soulfulness of the playing.
      """
    -prixVente: "179.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Bob Dylan (guitar, harmonica, piano, vocals), Robbie Robertson (guitar, vocals), Al Kooper (organ, guitar), Bill Aikins (keyboards),  Wayne Butler (trombone)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 3
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=dRLXZVojdhQ&list=RDdRLXZVojdhQ&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 3 - 45009"
    -titreMorceau: [
      [
        "nom" => "1. Rainy Day Women #12 & 35 "
        "ordre" => 0
      ]
      [
        "nom" => "2. Pledging My Time "
        "ordre" => 1
      ]
      [
        "nom" => "3. Visions Of Johanna "
        "ordre" => 2
      ]
      [
        "nom" => "4. One Of Us Must Know (Sooner or Later) "
        "ordre" => 3
      ]
      [
        "nom" => "5. I Want You "
        "ordre" => 4
      ]
      [
        "nom" => "6. Stuck Inside of Mobile with the Memphis Blues Again "
        "ordre" => 5
      ]
      [
        "nom" => "7. Leopard-skin Pill-box Hat "
        "ordre" => 6
      ]
      [
        "nom" => "8. Just Like A Woman "
        "ordre" => 7
      ]
      [
        "nom" => "9. Most Likely You Go You Way And I'll Go Mine "
        "ordre" => 8
      ]
      [
        "nom" => "10. Temporary Like Achilles "
        "ordre" => 9
      ]
      [
        "nom" => "11. Absolutely Sweet Marie "
        "ordre" => 10
      ]
      [
        "nom" => "12. 4th Time Around "
        "ordre" => 11
      ]
      [
        "nom" => "13. Obviously 5 Believers "
        "ordre" => 12
      ]
      [
        "nom" => "14. Sad Eyed Lady Of The Lowlands"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1461 …}
    -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 @1278690456 {#1896
      date: 2010-07-09 15:47:36.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1760039982 {#1889
      date: 2025-10-09 19:59:42.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-blonde-on-blonde-mobile-fidelity-sound-lab-mfsl-3-45009"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3079
  -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 {#2617 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#1841
    -id: 266
    -nom: "Blonde on Blonde"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Bob Dylan (guitar, harmonica, piano, vocals), Robbie Robertson (guitar, vocals), Al Kooper (organ, guitar), Bill Aikins (keyboards),  Wayne Butler (trombone), Rick Danko, Henry Strzelecki (bass guitar), Paul Griffin (piano), Jerry Kennedy (guitar ), Charlie McCoy (bass guitar, guitar, harmonica, trumpet), Wayne Moss (guitar, vocals), Hargus “Pig” Robbins (piano, keyboards), Joe South (bass guitar, guitar), Kenneth A. Buttrey, Bobby Gregg (drums). \r\n
      \r\n
      - Bob Dylan "Blonde on Blonde" Hand-Numbered Limited Edition 180 gram  45 RPM (3 LP) Box Set from Mobile Fidelity !\r\n
      - Mastered from the 1/2" / 30 IPS Analog Remix Master to DSD 64 to Analog Console to Lathe !\r\n
      - Pressed at RTI !\r\n
      - Recorded with one of the most ear-awakening lineups ever assembled : Al Kooper, "Pig" Robbins, Joe South, Kenny Buttrey, and The Band's Rick Danko and Robbie Robertson among musicians !\r\n
      - Vaudeville, pop, fiery rock 'n' roll, Memphis blues, folk-derived sagas among enriched palette of styles !\r\n
      - Ranked N° 9 on Rolling Stone's list of the 500 Greatest Albums of All Time !\r\n
      - A Stereophile 2014 Record To Die For !\r\n
      \r\n
      Winner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are musically and sonically outstanding and are also well mastered and pressed. ttp://www.analogplanet.com/content/gruvy-awards\r\n
      \r\n
      Blonde on Blonde : A double album that transcends time, defies space, suspends reality, and looks through the human soul and tells the listener characteristics about themselves they didn't know. Professor Sean Wilentz, historian-in-residence for Bob Dylan's website, comes as close to summing up its brilliance in his superb Bob Dylan In America as any who've tried : "The songs are rich meditations on desire, frailty, promises, boredom, hurt, envy, connections, missed connections, paranoia, and transcendent beauty-in short, the lures and snare of love, stock themes of rock and pop music, but written with a powerful literary imagination and played out in a pop netherworld" No lie.\r\n
      \r\n
      As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45 RPM LPs at RTI. The end result is the very finest, most transparent analog edition of Blonde on Blonde ever produced. Forever renowned for what the Bard deemed "that thin, that wild mercury sound", the album's famed aural character lives and breathes on this superb version, with wider and deeper grooves affording playback of previously buried information and lifelike presentation of the studio sessions.\r\n
      \r\n
      Prized for a unique sound that cultural critic Greil Marcus tagged "the most glamorous record imaginable; listening you [can] see the checkered jester's suit Dylan had worn on stage for the nine previous, furious months", Blonde on Blonde is to music, production, prose, and performance as what hydrogen is to water. The secret to its inimitable aural character partially stems from Dylan's request in Nashville to producer Bob Johnston to remove the baffles from the studio room, allowing the musicians to interact as well as the music to assume a more organic quality that drifts from one microphone to another. Mobile Fidelity's reissue captures this ensemble ambience, with echoes, resonation, and some of the most natural timbres you'll ever hear in plain sight.\r\n
      \r\n
      The story of Blonde on Blonde is almost as compelling as the music within. Dylan, frustrated with how initial attempts fared in New York, relocating to Tennessee and pairing with Nashville's top session players as well as members of what would become the Band, feverishly chasing perfectionism while also arriving at an on-the-fly feel that remains a reference point for recorded music. The Bard sweated over lyrics, demanded his band get the exact sounds he heard in his head, and limited most takes to a handful at most. A majority of songs were recorded long after midnight, the post-A.M. vibe reflected in the nocturnal aura, woozy optimism, inversion of intervals, and spiritual soulfulness of the playing.
      """
    -prixVente: "179.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Bob Dylan (guitar, harmonica, piano, vocals), Robbie Robertson (guitar, vocals), Al Kooper (organ, guitar), Bill Aikins (keyboards),  Wayne Butler (trombone)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 3
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=dRLXZVojdhQ&list=RDdRLXZVojdhQ&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 3 - 45009"
    -titreMorceau: [
      [
        "nom" => "1. Rainy Day Women #12 & 35 "
        "ordre" => 0
      ]
      [
        "nom" => "2. Pledging My Time "
        "ordre" => 1
      ]
      [
        "nom" => "3. Visions Of Johanna "
        "ordre" => 2
      ]
      [
        "nom" => "4. One Of Us Must Know (Sooner or Later) "
        "ordre" => 3
      ]
      [
        "nom" => "5. I Want You "
        "ordre" => 4
      ]
      [
        "nom" => "6. Stuck Inside of Mobile with the Memphis Blues Again "
        "ordre" => 5
      ]
      [
        "nom" => "7. Leopard-skin Pill-box Hat "
        "ordre" => 6
      ]
      [
        "nom" => "8. Just Like A Woman "
        "ordre" => 7
      ]
      [
        "nom" => "9. Most Likely You Go You Way And I'll Go Mine "
        "ordre" => 8
      ]
      [
        "nom" => "10. Temporary Like Achilles "
        "ordre" => 9
      ]
      [
        "nom" => "11. Absolutely Sweet Marie "
        "ordre" => 10
      ]
      [
        "nom" => "12. 4th Time Around "
        "ordre" => 11
      ]
      [
        "nom" => "13. Obviously 5 Believers "
        "ordre" => 12
      ]
      [
        "nom" => "14. Sad Eyed Lady Of The Lowlands"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1461 …}
    -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 @1278690456 {#1896
      date: 2010-07-09 15:47:36.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1760039982 {#1889
      date: 2025-10-09 19:59:42.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-blonde-on-blonde-mobile-fidelity-sound-lab-mfsl-3-45009"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2385 …}
}

[
  "produit" => App\Entity\Produit {#2035
    -id: 1718
    -nom: "First and Last and Always - Re-release"
    -informationComplementaire: "Re-edition 2023"
    -description: """
      - Paint It Black: 1985 Debut Is Penultimate Goth-Rock Album !\r\n
      - Andrew Eldritch's Ghostly Vocals, Static Beats, Melodic Guitar Jangle Create Hauntingly Atmospheric Soundscapes !\r\n
      - Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI : First Time Any Sisters of Mercy Record Given Audiophile Treatment on LP !\r\n
      - 1/2" / 30 IPS analog master to analog console to lathe !\r\n
      \r\n
      The template for all goth-rock records that followed, Sisters of Mercy's First And Last And Always stands as one of the if not the most influential albums of its kind ever released. Distinguished by Andrew Eldritch's ghostly singing, which gives the impression of hearing a forlorn ghoul croon from a foggy English graveyard, the 1985 set is drenched in gloom, claustrophobia, black humor, and dance-ready beats that provide exhilarating contrasts. Fans of the Cure, Depeche Mode, Love and Rockets, Peter Murphy, mid-period Nick Cave, and Joy Division will find it to be a new favorite record.\r\n
      \r\n
      Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, Silver Label numbered-edition LP presents First And Last And Always with a fuller, richer sound that positively obliterates the thin, feeble sonic perspectives that have limited the music until now. Every aspect from Eldritch's haunting singing to the group's jangling guitars and prancing bass lines finally gain genuine definition. Yet what's most improved is the sense of atmosphere: Sisters of Mercy revel in painting tone poems, where the feel and effect are as essential as the notes that are played. This is now an atmospheric tour de force.\r\n
      \r\n
      Ever since it's release, First And Last And Always has been aptly shrouded in mythology. Eldritch pushed the envelope during the recording sessions, literally walking into walls and repeatedly unable to maintain his focus. Strung out on amphetamines, dazed by days of no sleep, upset by a recent breakup, and eating little, the vocalist channeled his discord into somber lyrics and brooding singing. He's framed by pulsing albeit lean, spare rhythms, patient tempos, and the clatter of a programmed drum machine that, in spite of its mechanical operation, sounds strangely organic. The songs evoke wet dungeons, walls-closing-in paranoia, and late-night strolls amidst the U.K.'s mysterious underground.\r\n
      \r\n
      Despite its overall dark character, the record's arrangements value spaciousness, putting a premium on room and minimalism that makes each note count. As a result, twinkling pianos and keyboards parallel steel-cutting guitars and low-tuned bass lines that, in combination with Eldrtich's baritone, suggest glimmers of hope among the decay. Songs such as the shaking "Possession", dramatic "Some Kind of Stranger", and desperate "Marian" remain models of the gothic and post-punk disciplines more than 25 years after their debut. It's no surprise that, given all of the tension and personality that infuse the album, Sisters of Mercy disbanded just months after its release.\r\n
      \r\n
      It's unlikely that any goth-rock album has ever sounded this good. This MoFi Silver Label LP will turn your room into rainy, dreary England, circa 1985, and expose you to one of the most harrowing vocal performances on record.\r\n
      \r\n
      "The lead track, "Black Planet", showcases the new remastering to full effect. The song features an all-encompassing bass rhythm that, with every strike, infects the tune like mustard gas unleashed in a trench. On a poor master, the bass would threaten to suffocate the rest of the arrangement. But Mobile Fidelity keeps it in check with a distinct, sparkling, upper-mid sensitive guitar; the bass merrily sits on the edge of the soundstage". – Paul Rigby, TONE Audio, Issue 38, June 2011
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Andrew Eldritch (vocals), Wayne Hussey (guitar, vocals), Craig Adams (bass guitar), Gary Marx (guitar), Doktor Avalanche (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=Lq-i6d86leg"
    -referenceProduit: "Mobile Fidelity Sound Lab MOFI 1-006"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Black Planet"
        "ordre" => 1
      ]
      [
        "nom" => "2. Walk Away"
        "ordre" => 2
      ]
      [
        "nom" => "3. No Time to Cry"
        "ordre" => 3
      ]
      [
        "nom" => "4. A Rock And A Hard Place"
        "ordre" => 4
      ]
      [
        "nom" => "5. Marian (Version)"
        "ordre" => 5
      ]
      [
        "nom" => "Side B : "
        "ordre" => 6
      ]
      [
        "nom" => "1. First And Last And Always"
        "ordre" => 7
      ]
      [
        "nom" => "2. Possession"
        "ordre" => 8
      ]
      [
        "nom" => "3. Nine While Nine"
        "ordre" => 9
      ]
      [
        "nom" => "4. Amphetamine Logic"
        "ordre" => 10
      ]
      [
        "nom" => "5. Some Kind Of Stranger"
        "ordre" => 11
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2037 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2046 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2039 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2041 …}
    -enregistreLe: DateTime @1564932555 {#2032
      date: 2019-08-04 15:29:15.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1759148185 {#2033
      date: 2025-09-29 12:16:25.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2043 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-first-and-last-and-always-re-release-mobile-fidelity-sound-lab-mofi-1-006"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3193
  -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 {#2617 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2035
    -id: 1718
    -nom: "First and Last and Always - Re-release"
    -informationComplementaire: "Re-edition 2023"
    -description: """
      - Paint It Black: 1985 Debut Is Penultimate Goth-Rock Album !\r\n
      - Andrew Eldritch's Ghostly Vocals, Static Beats, Melodic Guitar Jangle Create Hauntingly Atmospheric Soundscapes !\r\n
      - Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI : First Time Any Sisters of Mercy Record Given Audiophile Treatment on LP !\r\n
      - 1/2" / 30 IPS analog master to analog console to lathe !\r\n
      \r\n
      The template for all goth-rock records that followed, Sisters of Mercy's First And Last And Always stands as one of the if not the most influential albums of its kind ever released. Distinguished by Andrew Eldritch's ghostly singing, which gives the impression of hearing a forlorn ghoul croon from a foggy English graveyard, the 1985 set is drenched in gloom, claustrophobia, black humor, and dance-ready beats that provide exhilarating contrasts. Fans of the Cure, Depeche Mode, Love and Rockets, Peter Murphy, mid-period Nick Cave, and Joy Division will find it to be a new favorite record.\r\n
      \r\n
      Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, Silver Label numbered-edition LP presents First And Last And Always with a fuller, richer sound that positively obliterates the thin, feeble sonic perspectives that have limited the music until now. Every aspect from Eldritch's haunting singing to the group's jangling guitars and prancing bass lines finally gain genuine definition. Yet what's most improved is the sense of atmosphere: Sisters of Mercy revel in painting tone poems, where the feel and effect are as essential as the notes that are played. This is now an atmospheric tour de force.\r\n
      \r\n
      Ever since it's release, First And Last And Always has been aptly shrouded in mythology. Eldritch pushed the envelope during the recording sessions, literally walking into walls and repeatedly unable to maintain his focus. Strung out on amphetamines, dazed by days of no sleep, upset by a recent breakup, and eating little, the vocalist channeled his discord into somber lyrics and brooding singing. He's framed by pulsing albeit lean, spare rhythms, patient tempos, and the clatter of a programmed drum machine that, in spite of its mechanical operation, sounds strangely organic. The songs evoke wet dungeons, walls-closing-in paranoia, and late-night strolls amidst the U.K.'s mysterious underground.\r\n
      \r\n
      Despite its overall dark character, the record's arrangements value spaciousness, putting a premium on room and minimalism that makes each note count. As a result, twinkling pianos and keyboards parallel steel-cutting guitars and low-tuned bass lines that, in combination with Eldrtich's baritone, suggest glimmers of hope among the decay. Songs such as the shaking "Possession", dramatic "Some Kind of Stranger", and desperate "Marian" remain models of the gothic and post-punk disciplines more than 25 years after their debut. It's no surprise that, given all of the tension and personality that infuse the album, Sisters of Mercy disbanded just months after its release.\r\n
      \r\n
      It's unlikely that any goth-rock album has ever sounded this good. This MoFi Silver Label LP will turn your room into rainy, dreary England, circa 1985, and expose you to one of the most harrowing vocal performances on record.\r\n
      \r\n
      "The lead track, "Black Planet", showcases the new remastering to full effect. The song features an all-encompassing bass rhythm that, with every strike, infects the tune like mustard gas unleashed in a trench. On a poor master, the bass would threaten to suffocate the rest of the arrangement. But Mobile Fidelity keeps it in check with a distinct, sparkling, upper-mid sensitive guitar; the bass merrily sits on the edge of the soundstage". – Paul Rigby, TONE Audio, Issue 38, June 2011
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Andrew Eldritch (vocals), Wayne Hussey (guitar, vocals), Craig Adams (bass guitar), Gary Marx (guitar), Doktor Avalanche (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=Lq-i6d86leg"
    -referenceProduit: "Mobile Fidelity Sound Lab MOFI 1-006"
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        "nom" => "5. Marian (Version)"
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        "nom" => "4. Amphetamine Logic"
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        "nom" => "5. Some Kind Of Stranger"
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      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2037 …}
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      date: 2025-09-29 12:16:25.0 UTC (+00:00)
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    -slug: "vinyles-first-and-last-and-always-re-release-mobile-fidelity-sound-lab-mofi-1-006"
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[
  "produit" => App\Entity\Produit {#2051
    -id: 786
    -nom: "Spinners"
    -informationComplementaire: "Re-edition 2023"
    -description: """
      Sweeping Strings, Funk Rhythms, Brassy Rejoinders, Immaculate Harmonies, and Satiny Lead Singing Fill Thom Bell's Melodic Arrangements : Few Albums Sound Creamier Than This Watershed Effort !\r\n
      \r\n
      The timeless music and expert arrangements are about the only things smoother than the powder-blue suits sported by the Spinners on the cover of their resplendent self-titled 1972 record. The band's first album for Atlantic after departing Motown, Spinners ranks as an all-time soul classic a filler-free set boasting immaculate harmonies, sweet melodies, and impeccably matched vocals. Thom Bell's flawless production puts it all over the top. Yielding an ideal balance of lushness and grit, the collaboration between the Detroit-based group and studio veteran yielded a record that birthed the celebrated Philadelphia Sound. Now, you can finally experience it in audiophile-grade sonics.\r\n
      \r\n
      While the career-defining performances within the grooves cannot be overlooked, Spinners remains equally notable for its historical importance. At the dawn of the 70s, Motown still held sway as the dominant soul style. Yet the Spinners' decision to move to Atlantic prompted by a suggestion by Aretha Franklin and refashion their approach with Bell signaled a sea change that ushered in a smoother, sweeter variety of R&B punctuated with sweeping strings, jazzy flourishes, brassy replies, and funk rhythms. Few, if any, vocal groups mesh these traits more convincingly, pleasingly, and naturally than the Spinners on this watershed effort.\r\n
      \r\n
      Anchored by Top 5 smashes like "Could It Be I'm Falling In Love", Spinners signaled the beginning of a partnership with Bell that lasted seven years and elevated the band to stardom. Indeed, even in spite of the four hit singles, the record remains defined by an artistic consistency, watertight focus, and collective unity that make everything here deserving of close attention. Flush with catchy hooks and pop accents, each song is treated as a potential anthem. Laden with depth and richness, Bell's savvy, wide-open arrangements frame the Spinners' satiny singing with sensual class and refined delicacy.\r\n
      \r\n
      Heaven-sent voices do the rest. Making his first appearance on record as a member, Philippe Wynne treats the carefully honed material as a breakout session for his dulcet tenor on tracks such as "One of a Kind (Love Affair)". Not to be outdone, the equally measured Bobbie Smith mesmerizes with his deft phrasing, reedy timbre, and sparkling clarity, never finer than on the million-selling "I'll Be Around". Solo or paired together, Wynne and Smith's glorious leads run the gamut from upbeat and optimistic to sad and forlorn, forming the backbone of a masterwork that addresses romance "Just You and Me Baby", regret "How Could I Let You Get Away", and social ills "Ghetto Child" with consummate passion.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Billy Henderson, Bobby Smith, Phillipe Winne (vocals), Bobby Hartzell, Rocco Bene (trumpet), Ronnie Baker (bass), Thom Bell (piano), Bobby Eli, Norman Harris, Roland Chambers (guitar), Jack Faith (alto saxophone, flute), Earl Young (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=EU4UTDrSwQc"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-450"
    -titreMorceau: [
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        "nom" => "Side A :"
        "ordre" => 0
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        "nom" => "1. Just Can’t Get You Out of My Mind"
        "ordre" => 1
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      [
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      ]
      [
        "nom" => "Side B : "
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      ]
      [
        "nom" => "1. One of a Kind (Love Affair)"
        "ordre" => 7
      ]
      [
        "nom" => "2. We Belong Together"
        "ordre" => 8
      ]
      [
        "nom" => "3. Ghetto Child"
        "ordre" => 9
      ]
      [
        "nom" => "4. How Could I Let You Get Away"
        "ordre" => 10
      ]
      [
        "nom" => "5. Could It Be I’m Falling In Love"
        "ordre" => 11
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1462 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2057 …}
    -enregistreLe: DateTime @1434692186 {#2048
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    }
    -modifierLe: DateTime @1759147411 {#2049
      date: 2025-09-29 12:03:31.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2059 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-spinners-mobile-fidelity-sound-lab-mfsl-1-450"
  }
  "detaillePage" => false
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App\Twig\Components\GestionPanierFavoriComponents {#3244
  -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 {#2617 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2051
    -id: 786
    -nom: "Spinners"
    -informationComplementaire: "Re-edition 2023"
    -description: """
      Sweeping Strings, Funk Rhythms, Brassy Rejoinders, Immaculate Harmonies, and Satiny Lead Singing Fill Thom Bell's Melodic Arrangements : Few Albums Sound Creamier Than This Watershed Effort !\r\n
      \r\n
      The timeless music and expert arrangements are about the only things smoother than the powder-blue suits sported by the Spinners on the cover of their resplendent self-titled 1972 record. The band's first album for Atlantic after departing Motown, Spinners ranks as an all-time soul classic a filler-free set boasting immaculate harmonies, sweet melodies, and impeccably matched vocals. Thom Bell's flawless production puts it all over the top. Yielding an ideal balance of lushness and grit, the collaboration between the Detroit-based group and studio veteran yielded a record that birthed the celebrated Philadelphia Sound. Now, you can finally experience it in audiophile-grade sonics.\r\n
      \r\n
      While the career-defining performances within the grooves cannot be overlooked, Spinners remains equally notable for its historical importance. At the dawn of the 70s, Motown still held sway as the dominant soul style. Yet the Spinners' decision to move to Atlantic prompted by a suggestion by Aretha Franklin and refashion their approach with Bell signaled a sea change that ushered in a smoother, sweeter variety of R&B punctuated with sweeping strings, jazzy flourishes, brassy replies, and funk rhythms. Few, if any, vocal groups mesh these traits more convincingly, pleasingly, and naturally than the Spinners on this watershed effort.\r\n
      \r\n
      Anchored by Top 5 smashes like "Could It Be I'm Falling In Love", Spinners signaled the beginning of a partnership with Bell that lasted seven years and elevated the band to stardom. Indeed, even in spite of the four hit singles, the record remains defined by an artistic consistency, watertight focus, and collective unity that make everything here deserving of close attention. Flush with catchy hooks and pop accents, each song is treated as a potential anthem. Laden with depth and richness, Bell's savvy, wide-open arrangements frame the Spinners' satiny singing with sensual class and refined delicacy.\r\n
      \r\n
      Heaven-sent voices do the rest. Making his first appearance on record as a member, Philippe Wynne treats the carefully honed material as a breakout session for his dulcet tenor on tracks such as "One of a Kind (Love Affair)". Not to be outdone, the equally measured Bobbie Smith mesmerizes with his deft phrasing, reedy timbre, and sparkling clarity, never finer than on the million-selling "I'll Be Around". Solo or paired together, Wynne and Smith's glorious leads run the gamut from upbeat and optimistic to sad and forlorn, forming the backbone of a masterwork that addresses romance "Just You and Me Baby", regret "How Could I Let You Get Away", and social ills "Ghetto Child" with consummate passion.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Billy Henderson, Bobby Smith, Phillipe Winne (vocals), Bobby Hartzell, Rocco Bene (trumpet), Ronnie Baker (bass), Thom Bell (piano), Bobby Eli, Norman Harris, Roland Chambers (guitar), Jack Faith (alto saxophone, flute), Earl Young (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=EU4UTDrSwQc"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-450"
    -titreMorceau: [
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        "nom" => "Side A :"
        "ordre" => 0
      ]
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        "nom" => "1. Just Can’t Get You Out of My Mind"
        "ordre" => 1
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        "nom" => "3. Don’t Let the Green Grass Fool You"
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      [
        "nom" => "4. I Could Never (Repay Your Love)"
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      [
        "nom" => "Side B : "
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      [
        "nom" => "1. One of a Kind (Love Affair)"
        "ordre" => 7
      ]
      [
        "nom" => "2. We Belong Together"
        "ordre" => 8
      ]
      [
        "nom" => "3. Ghetto Child"
        "ordre" => 9
      ]
      [
        "nom" => "4. How Could I Let You Get Away"
        "ordre" => 10
      ]
      [
        "nom" => "5. Could It Be I’m Falling In Love"
        "ordre" => 11
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1462 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2062 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2055 …}
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      date: 2025-09-29 12:03:31.0 UTC (+00:00)
    }
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[
  "produit" => App\Entity\Produit {#2067
    -id: 2831
    -nom: "Prisoner In Disguise  (Limited Numbered Edition)"
    -informationComplementaire: "AVAILABILITY : 31/10/2025 (subject Mobile Fidelity Sound Lab)"
    -description: """
      Musicians : \r\n
      Linda Ronstadt (lead vocals), Andrew Gold (acoustic guitar, electric guitar, piano, electric piano, synthesizers, tambourine, drums, congas, organ, backing vocals, handclaps, bagpipes), Kenny Edwards (bass guitar, backing vocals), Herb Pedersen (banjo, backing vocals), Dan Dugmore (steel guitar), Lowell George (slide guitar), Danny Kortchmar (electric guitar), J.D. Souther, Emmylou Harris (acoustic guitar, harmony vocals), David Grisman (mandolin), James Taylor (acoustic guitar), Ed Black (electric guitar), Glen Hardin (piano), Jim Conner (harmonica), David Lindley (fiddle), Maria Muldaur (backing & harmony vocals), Pat Henderson, Julia Tillman Waters, Maxine Willard Waters, Don Francisco (backing vocals), Russ Kunkel, Nigel Olsson, David Kemper (drums). \r\n
      \r\n
      - Linda Ronstadt (Prisoner In Disguise) !\r\n
      - Ronstadt secures her position as the 1970's premier female vocalist with 1975 album !\r\n
      - Includes covers of "Love Is A Rose" and "I Will Always Love You" !\r\n
      - 1/4" 15 ips Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      - Pressed at Fidelity Record Pressing !\r\n
      - Stoughton Printing gatefold jacket !\r\n
      - Reissued at 45 RPM for the first time for its 50th anniversary and Elektra Record's 75th anniversary !\r\n
      - Mobile Fidelity's 180 gram 45 RPM (2 LP) set of platinum-selling certified album plays with superb purity, detail, tonality, and definition !\r\n
      \r\n
      If there was any doubt whether Linda Ronstadt would emerge as the premier female vocalist of the 1970s, the question became moot when she dropped Prisoner in Disguise in 1975. Picking up exactly where she left off on Heart Like a Wheel, the singer pairs with the same perfectionist-oriented producer and many of the same session pros on a follow-up in every way the equal of her 1974 breakthrough. The platinum-certified set not only established Ronstadt as an all-time great. It confirmed her as the voice of the decade, a performer the press soon deemed "The First Lady of Rock".\r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton Printing gatefold jacket, and reissued to celebrate Elektra Records' 75th anniversary, Mobile Fidelity's numbered-edition 180 gram 45 RPM (2 LP) set presents the Top 5 album with extra groove space via 45 RPM speed for the first time. This special 50th anniversary version plays with reference-caliber definition, depth, and dimensionality. The definitive vinyl edition of Prisoner in Disguise, it lifts prior veils that impeded the gorgeous singing and spectacular craftsmanship gracing the 11 songs.\r\n
      \r\n
      The elevated degrees of clarity, presence, and separation exceed those of even Mobile Fidelity's long-out-of-print 33 1/3 RPM reissue. Vocals often the most difficult instrument to faithfully portray resonate with superb tonality, openness, and naturalism. Here, there's practically nothing between you and Ronstadt's whippoorwill deliveries. Her wide-spanning range and varied subtleties vibrato, hiccups, shivers, falsetto fades come across with rich, transparent detail. They affirm why Prisoner in Disguise is one of the four consecutive albums she made that sold a million or more copies, making her the first female artist to achieve that feat.\r\n
      \r\n
      Each aspect of the record reveals how and why Ronstadt crashed through the glass ceiling not only with commercial and critical success, but by attaining then-unprecedented recognition in the form of national stories in the likes of Rolling Stone and Newsweek. Collaborating for the third time with producer Peter Asher, Ronstadt turns to her career-long strengths interpretative covers, roots-based music, aching balladry and seamlessly jibes with a Hall of Fame-worthy cast. James Taylor, Kenny Edwards, Herb Pedersen, JD Souther, David Grisman, and Russ Kunkel are some of the elite musicians along for the ride. David Campbell handles string arrangement and conducting duties.\r\n
      \r\n
      Everyone works toward a common and sensible goal: Spotlighting, shading, and complementing Ronstadt's singing. Playing with an all-for-one mindset so the meanings and emotions she pulls from every song get top billing and with a selfless restraint that helps expose the kernels of truth and beautiful melodies in indelible tunes by the likes of Neil Young, Lowell George, Jimmy Cliff, and Taylor. Few, if any, pop-rock singers ever exhibited adaptive skills on a par with that of the Arizona native. Her contemporaries ensure she has the ideal settings in which to maneuver.\r\n
      \r\n
      It all begins with the swirling rustic charm on Young's "Love Is a Rose", a banjo-picked rendition that went to the Top 5 of the Billboard Country chart and establishes the vocal control, command, and smoothness Ronstadt demonstrates throughout the album. As further confirmation of her crossover appeal and boundless diversity, the B-side a catchy, soulful, strum-and-jangle take on the Motown smash "Heat Wave" garnered more attention and landed in the Top 5 of the Hot 100 chart. Adorned with organ swells and contemplative drama, Ronstadt's memorable reading of another Motown staple, "Tracks of My Tears", served as the third single and landed another Top 5 position, this one on the Adult Contemporary chart.\r\n
      \r\n
      Successful hits aside, the timelessness of Prisoner in Disguise owes to its deeper cuts and Ronstadt's all-in investment on material that sounds expressly written for her. Consider the mellow yet greasy and slightly sassy run through Little Feat's "Roll Um Easy". Or the forlorn version of Taylor's "Hey Mister, That's Me Up on the Jukebox", its longing pedal-steel passages and tucked-and-pointed piano notes framing Ronstadt's from-the-diaphragm phrasing with flawless precision. And delve into her startling version of Dolly Parton's "I Will Always Love You," Ronstadt using the full capacity of her range but never overdoing it and finishing with a transition into a higher register that doubles as a template for all country- and Americana-leaning pop singers who follow.\r\n
      \r\n
      That poignant performance, and a tender duet with Emmylou Harris on "The Sweetest Gift" arguably the album's finest moment hints at the future Trio album she'd record with her celebrated peers in the late '80s. Ronstadt's knack for harmony, melody, and contrast explode into view, as does her wondrous blend with acoustic instrumentation (key in on the violins) and gospel-flecked nuance.\r\n
      \r\n
      A songbird with a singular voice, Ronstadt time and again achieves "sweet harmony in unison" on Prisoner in Disguise, a record on which she's at her peak.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Linda Ronstadt (lead vocals), Andrew Gold (acoustic guitar, electric guitar, piano, electric piano, synthesizers, tambourine, drums, congas, organ, backing vocals, handclaps, bagpipes)..."
    -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=pNXTo7QZrC4&list=RDpNXTo7QZrC4&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab 2-608"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "1. Love Is a Rose"
        "ordre" => 1
      ]
      [
        "nom" => "2. Hey Mister, That’s Me Up on the Jukebox"
        "ordre" => 2
      ]
      [
        "nom" => "3. Roll Um Easy"
        "ordre" => 3
      ]
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    -informationComplementaire: "AVAILABILITY : 31/10/2025 (subject Mobile Fidelity Sound Lab)"
    -description: """
      Musicians : \r\n
      Linda Ronstadt (lead vocals), Andrew Gold (acoustic guitar, electric guitar, piano, electric piano, synthesizers, tambourine, drums, congas, organ, backing vocals, handclaps, bagpipes), Kenny Edwards (bass guitar, backing vocals), Herb Pedersen (banjo, backing vocals), Dan Dugmore (steel guitar), Lowell George (slide guitar), Danny Kortchmar (electric guitar), J.D. Souther, Emmylou Harris (acoustic guitar, harmony vocals), David Grisman (mandolin), James Taylor (acoustic guitar), Ed Black (electric guitar), Glen Hardin (piano), Jim Conner (harmonica), David Lindley (fiddle), Maria Muldaur (backing & harmony vocals), Pat Henderson, Julia Tillman Waters, Maxine Willard Waters, Don Francisco (backing vocals), Russ Kunkel, Nigel Olsson, David Kemper (drums). \r\n
      \r\n
      - Linda Ronstadt (Prisoner In Disguise) !\r\n
      - Ronstadt secures her position as the 1970's premier female vocalist with 1975 album !\r\n
      - Includes covers of "Love Is A Rose" and "I Will Always Love You" !\r\n
      - 1/4" 15 ips Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      - Pressed at Fidelity Record Pressing !\r\n
      - Stoughton Printing gatefold jacket !\r\n
      - Reissued at 45 RPM for the first time for its 50th anniversary and Elektra Record's 75th anniversary !\r\n
      - Mobile Fidelity's 180 gram 45 RPM (2 LP) set of platinum-selling certified album plays with superb purity, detail, tonality, and definition !\r\n
      \r\n
      If there was any doubt whether Linda Ronstadt would emerge as the premier female vocalist of the 1970s, the question became moot when she dropped Prisoner in Disguise in 1975. Picking up exactly where she left off on Heart Like a Wheel, the singer pairs with the same perfectionist-oriented producer and many of the same session pros on a follow-up in every way the equal of her 1974 breakthrough. The platinum-certified set not only established Ronstadt as an all-time great. It confirmed her as the voice of the decade, a performer the press soon deemed "The First Lady of Rock".\r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton Printing gatefold jacket, and reissued to celebrate Elektra Records' 75th anniversary, Mobile Fidelity's numbered-edition 180 gram 45 RPM (2 LP) set presents the Top 5 album with extra groove space via 45 RPM speed for the first time. This special 50th anniversary version plays with reference-caliber definition, depth, and dimensionality. The definitive vinyl edition of Prisoner in Disguise, it lifts prior veils that impeded the gorgeous singing and spectacular craftsmanship gracing the 11 songs.\r\n
      \r\n
      The elevated degrees of clarity, presence, and separation exceed those of even Mobile Fidelity's long-out-of-print 33 1/3 RPM reissue. Vocals often the most difficult instrument to faithfully portray resonate with superb tonality, openness, and naturalism. Here, there's practically nothing between you and Ronstadt's whippoorwill deliveries. Her wide-spanning range and varied subtleties vibrato, hiccups, shivers, falsetto fades come across with rich, transparent detail. They affirm why Prisoner in Disguise is one of the four consecutive albums she made that sold a million or more copies, making her the first female artist to achieve that feat.\r\n
      \r\n
      Each aspect of the record reveals how and why Ronstadt crashed through the glass ceiling not only with commercial and critical success, but by attaining then-unprecedented recognition in the form of national stories in the likes of Rolling Stone and Newsweek. Collaborating for the third time with producer Peter Asher, Ronstadt turns to her career-long strengths interpretative covers, roots-based music, aching balladry and seamlessly jibes with a Hall of Fame-worthy cast. James Taylor, Kenny Edwards, Herb Pedersen, JD Souther, David Grisman, and Russ Kunkel are some of the elite musicians along for the ride. David Campbell handles string arrangement and conducting duties.\r\n
      \r\n
      Everyone works toward a common and sensible goal: Spotlighting, shading, and complementing Ronstadt's singing. Playing with an all-for-one mindset so the meanings and emotions she pulls from every song get top billing and with a selfless restraint that helps expose the kernels of truth and beautiful melodies in indelible tunes by the likes of Neil Young, Lowell George, Jimmy Cliff, and Taylor. Few, if any, pop-rock singers ever exhibited adaptive skills on a par with that of the Arizona native. Her contemporaries ensure she has the ideal settings in which to maneuver.\r\n
      \r\n
      It all begins with the swirling rustic charm on Young's "Love Is a Rose", a banjo-picked rendition that went to the Top 5 of the Billboard Country chart and establishes the vocal control, command, and smoothness Ronstadt demonstrates throughout the album. As further confirmation of her crossover appeal and boundless diversity, the B-side a catchy, soulful, strum-and-jangle take on the Motown smash "Heat Wave" garnered more attention and landed in the Top 5 of the Hot 100 chart. Adorned with organ swells and contemplative drama, Ronstadt's memorable reading of another Motown staple, "Tracks of My Tears", served as the third single and landed another Top 5 position, this one on the Adult Contemporary chart.\r\n
      \r\n
      Successful hits aside, the timelessness of Prisoner in Disguise owes to its deeper cuts and Ronstadt's all-in investment on material that sounds expressly written for her. Consider the mellow yet greasy and slightly sassy run through Little Feat's "Roll Um Easy". Or the forlorn version of Taylor's "Hey Mister, That's Me Up on the Jukebox", its longing pedal-steel passages and tucked-and-pointed piano notes framing Ronstadt's from-the-diaphragm phrasing with flawless precision. And delve into her startling version of Dolly Parton's "I Will Always Love You," Ronstadt using the full capacity of her range but never overdoing it and finishing with a transition into a higher register that doubles as a template for all country- and Americana-leaning pop singers who follow.\r\n
      \r\n
      That poignant performance, and a tender duet with Emmylou Harris on "The Sweetest Gift" arguably the album's finest moment hints at the future Trio album she'd record with her celebrated peers in the late '80s. Ronstadt's knack for harmony, melody, and contrast explode into view, as does her wondrous blend with acoustic instrumentation (key in on the violins) and gospel-flecked nuance.\r\n
      \r\n
      A songbird with a singular voice, Ronstadt time and again achieves "sweet harmony in unison" on Prisoner in Disguise, a record on which she's at her peak.
      """
    -prixVente: "99.50"
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[
  "produit" => App\Entity\Produit {#2083
    -id: 2829
    -nom: "Jagged Little Pill - Box Set (2 LP) 45 RPM (UltraDisc One-Step)"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Alanis Morissette (vocals, harmonica), Glen Ballard (keyboards, programming, guitar, bass), Dave Navarro, Michael Landau, Rob Cavallo, Basil Fung, Guy Mann-Dude (guitar), Flea (bass), Benmont Tench (organ), Jill Morissette (background vocals), Matt Laug (drums, percussion).\r\n
      \r\n
      - Alanis Morissette "Jagged Little Pill" \r\n
      - 1995 album presented in audiophile sound for the first time for its 30th Anniversary !\r\n
      - 180 gram 45 RPM (2 LP) UltraDisc One-Step Pressing !\r\n
      - 1/2" 30 ips analog master to DSD 256 to analog console to lathe !\r\n
      - Limited to 4000 numbered copies !\r\n
      - Pressed at Fidelity Record Pressing !\r\n
      - Rolling Stone 500 Greatest Albums of All Time N° 69/500 !\r\n
      - Blockbuster 17-million selling Jagged Little Pill features five hit singles including "Ironic" and "You Oughta Know".\r\n
      \r\n
      When Alanis Morissette took direct aim at an ex who wronged her on the eviscerating "You Oughta Know" in 1995, everything about the Top 10 song communicated it wasn't the usual narrative about love gone south. Or the typical wounded singer wallowing in self pity. Morissette, and both the lead single from and her entire American major-label debut  the profoundly personal Jagged Little Pill represented a sea change. They kickstarted a movement, one whose impact continues to echo throughout the mainstream three decades later.\r\n
      \r\n
      Ranked the 69th Greatest Album of All Time by Rolling Stone, included on the Rock and Roll Hall of Fame's list of 200 Definitive Albums, and featured in several books about essential albums, Jagged Little Pill remains more than a blockbuster that has sold more than 17 million copies in the U.S. and 33 million units worldwide. It's a statement, an attitude, a soundtrack for anyone seeking inspiration, an outlet, or permission to be themselves.\r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 4000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) box set of Jagged Little Pill presents the landmark effort in audiophile-grade sound for the first time. A key part of the record's appeal and accessibility Glen Ballard's smooth production, touches that help Morissette's exposed-nerve fare seem more accessible and melodic comes through on this special 30th anniversary edition with an openness, presence, and dynamic explosiveness that make the vocalist's songs that much more real and visceral.\r\n
      \r\n
      The singer's distinctive mezzo-soprano deliveries the octave-rippling highs, dark-hued lows, dramatic crescendos, belted choruses, wispy reflections, occasional yodels resonate with full-range ardor and depth. As crucial as anything on the record, Morissette's confessional words take center stage like never before. Ditto the instrumentation and atmospherics that form the magnetic backgrounds of the songs. Key in on the contributions from Red Hot Chili Peppers Dave Navarro and Flea on "You Oughta Know" to Tom Petty & the Heartbreakers' co-founder Benmont Tench's organ playing on six tracks.\r\n
      \r\n
      The deluxe packaging of Mobile Fidelity's Jagged Little Pill UD1S set underscores the work's distinguished status. Housed in a slipcase, the LPs come in special foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. Benefitting from an ultra-low noise floor, superior groove definition, and dead-quiet surfaces, this UD1S reissue is for listeners who prize sound quality and desire to engage themselves in everything involved with the album, including the now-iconic cover art that juxtaposes two portraits of the then-21-year-old singer-songwriter and features typewriter font.\r\n
      \r\n
      That script which suggests a raw, blood-on-the-floor document created without modern aids like spell check or language correction hints at the heightened level of unvarnished intimacy, honesty, and catharsis Morissette offers throughout Jagged Little Pill. Named after a phrase uttered on the astute "You Learn", the album explores the frank emotions, inherent contradictions, and wishful desires people feel everyday but are often too afraid to express. Morissette displays no such fear or shyness.\r\n
      \r\n
      Akin to a woman reading from a diary, Morissette leaves nothing to the imagination as she skewers hypocrisy during the poignant "Forgiven", seeks recompense on the vengeful "You Oughta Know", and spills her guts on the soul-purging "All I Really Want". For all the anger and bile ascribed to the singer and record, Jagged Little Pill is incredibly healthy and upbeat. Morissette uses the catchy pop-rock frameworks and moody ambience to suss out situations, to learn, to give hope. There's the clever yearning of "Hand in My Pocket", wry contrarianism of "Ironic", kind-heartedness of "Hand over Feet", the live-and-let-live spirit of "You Learn" all positive and amiable.\r\n
      \r\n
      Throughout Jagged Little Pill, the ever-approachable Morissette connects with listeners who recognize themselves in her and has an intelligent conversation with anyone who wants to participate. It seemed almost everyone did. In addition to the mammoth sales that make the effort the 17th-best-selling album in American history, Jagged Little Pill collected four Grammy Awards, two American Music Awards, three Billboard Music Awards, and eight Juno Awards. In 2018, the record became the basis for a musical that netted 15 Tony nominations on Broadway.\r\n
      \r\n
      Ironic ? Anything but. Jagged Little Pill transcends generations, gender, and trends. As Morissette sings on the opening "All I Really Want", the album represents "deliverance", "a place to find common ground".
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=_DBP9OWIyB0&list=RD_DBP9OWIyB0&start_radio=1"
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App\Twig\Components\GestionPanierFavoriComponents {#3346
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  +produit: App\Entity\Produit {#2083
    -id: 2829
    -nom: "Jagged Little Pill - Box Set (2 LP) 45 RPM (UltraDisc One-Step)"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Alanis Morissette (vocals, harmonica), Glen Ballard (keyboards, programming, guitar, bass), Dave Navarro, Michael Landau, Rob Cavallo, Basil Fung, Guy Mann-Dude (guitar), Flea (bass), Benmont Tench (organ), Jill Morissette (background vocals), Matt Laug (drums, percussion).\r\n
      \r\n
      - Alanis Morissette "Jagged Little Pill" \r\n
      - 1995 album presented in audiophile sound for the first time for its 30th Anniversary !\r\n
      - 180 gram 45 RPM (2 LP) UltraDisc One-Step Pressing !\r\n
      - 1/2" 30 ips analog master to DSD 256 to analog console to lathe !\r\n
      - Limited to 4000 numbered copies !\r\n
      - Pressed at Fidelity Record Pressing !\r\n
      - Rolling Stone 500 Greatest Albums of All Time N° 69/500 !\r\n
      - Blockbuster 17-million selling Jagged Little Pill features five hit singles including "Ironic" and "You Oughta Know".\r\n
      \r\n
      When Alanis Morissette took direct aim at an ex who wronged her on the eviscerating "You Oughta Know" in 1995, everything about the Top 10 song communicated it wasn't the usual narrative about love gone south. Or the typical wounded singer wallowing in self pity. Morissette, and both the lead single from and her entire American major-label debut  the profoundly personal Jagged Little Pill represented a sea change. They kickstarted a movement, one whose impact continues to echo throughout the mainstream three decades later.\r\n
      \r\n
      Ranked the 69th Greatest Album of All Time by Rolling Stone, included on the Rock and Roll Hall of Fame's list of 200 Definitive Albums, and featured in several books about essential albums, Jagged Little Pill remains more than a blockbuster that has sold more than 17 million copies in the U.S. and 33 million units worldwide. It's a statement, an attitude, a soundtrack for anyone seeking inspiration, an outlet, or permission to be themselves.\r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 4000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) box set of Jagged Little Pill presents the landmark effort in audiophile-grade sound for the first time. A key part of the record's appeal and accessibility Glen Ballard's smooth production, touches that help Morissette's exposed-nerve fare seem more accessible and melodic comes through on this special 30th anniversary edition with an openness, presence, and dynamic explosiveness that make the vocalist's songs that much more real and visceral.\r\n
      \r\n
      The singer's distinctive mezzo-soprano deliveries the octave-rippling highs, dark-hued lows, dramatic crescendos, belted choruses, wispy reflections, occasional yodels resonate with full-range ardor and depth. As crucial as anything on the record, Morissette's confessional words take center stage like never before. Ditto the instrumentation and atmospherics that form the magnetic backgrounds of the songs. Key in on the contributions from Red Hot Chili Peppers Dave Navarro and Flea on "You Oughta Know" to Tom Petty & the Heartbreakers' co-founder Benmont Tench's organ playing on six tracks.\r\n
      \r\n
      The deluxe packaging of Mobile Fidelity's Jagged Little Pill UD1S set underscores the work's distinguished status. Housed in a slipcase, the LPs come in special foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. Benefitting from an ultra-low noise floor, superior groove definition, and dead-quiet surfaces, this UD1S reissue is for listeners who prize sound quality and desire to engage themselves in everything involved with the album, including the now-iconic cover art that juxtaposes two portraits of the then-21-year-old singer-songwriter and features typewriter font.\r\n
      \r\n
      That script which suggests a raw, blood-on-the-floor document created without modern aids like spell check or language correction hints at the heightened level of unvarnished intimacy, honesty, and catharsis Morissette offers throughout Jagged Little Pill. Named after a phrase uttered on the astute "You Learn", the album explores the frank emotions, inherent contradictions, and wishful desires people feel everyday but are often too afraid to express. Morissette displays no such fear or shyness.\r\n
      \r\n
      Akin to a woman reading from a diary, Morissette leaves nothing to the imagination as she skewers hypocrisy during the poignant "Forgiven", seeks recompense on the vengeful "You Oughta Know", and spills her guts on the soul-purging "All I Really Want". For all the anger and bile ascribed to the singer and record, Jagged Little Pill is incredibly healthy and upbeat. Morissette uses the catchy pop-rock frameworks and moody ambience to suss out situations, to learn, to give hope. There's the clever yearning of "Hand in My Pocket", wry contrarianism of "Ironic", kind-heartedness of "Hand over Feet", the live-and-let-live spirit of "You Learn" all positive and amiable.\r\n
      \r\n
      Throughout Jagged Little Pill, the ever-approachable Morissette connects with listeners who recognize themselves in her and has an intelligent conversation with anyone who wants to participate. It seemed almost everyone did. In addition to the mammoth sales that make the effort the 17th-best-selling album in American history, Jagged Little Pill collected four Grammy Awards, two American Music Awards, three Billboard Music Awards, and eight Juno Awards. In 2018, the record became the basis for a musical that netted 15 Tony nominations on Broadway.\r\n
      \r\n
      Ironic ? Anything but. Jagged Little Pill transcends generations, gender, and trends. As Morissette sings on the opening "All I Really Want", the album represents "deliverance", "a place to find common ground".
      """
    -prixVente: "229.50"
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[
  "produit" => App\Entity\Produit {#2099
    -id: 573
    -nom: "Kind of Blue - (Box Set 2 LP) - Ultra Analog 180 gram 45 RPM"
    -informationComplementaire: "Reissue 2023"
    -description: """
      - IF THERE'S A STAIRWAY TO HEAVEN, THIS IS THE SOUNDTRACK : THE MT. RUSHMORE OF JAZZ SESSIONS !\r\n
      - Best-Selling Album in Jazz History Receives the Mobile Fidelity Treatment: Sourced from the Original Master Tapes, This Numbered-Edition 180 gram 45 RPM (2 LP) Box Set Sounds Sublime !\r\n
      - 1/4" / 15 IPS / Dolby SR analog remix master to DSD 64 to analog console to lathe !\r\n
      \r\n
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      \r\n
      In its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis' key recordings. It's why the our engineers took every available measure to transport listeners to the March and April 1959 sessions that parlayed modal jazz into mainstream language. The blueprint for melodic improvisation and vamping, Kind of Blue simplifies tonal organization and chordal progression into an eminently beautiful, introspective tapestry stitched with swinging poetry, mellifluous soloing, compositional lyricism, transcendental harmonies, and group interplay of the highest caliber.\r\n
      \r\n
      While no one has ever completely identified the magic behind the record's allure the otherworldly nature is part of its inherent charm much of the success lies with the band members. Davis intentionally handpicked these musicians to comprise this particular cast, with everyone from former foil Evans to blues maestro Kelly to percussive genius Cobb interacting and reacting with peerless skill.\r\n
      \r\n
      An audiophile favorite from the day it was issued, Kind of Blue takes on nirvanic sonic proportions via Mobile Fidelity's reissue. The expressive warmth, imaging clarity, frequency extension, and window-on-the-world breadth afforded by this new edition places music lovers right in the studio with the sextet. Close your eyes and, no matter how many times you may have heard it before, your experience will parallel that of the players that recorded these gems. Everyone shares in the excitement of not knowing what will happen and, as the music begins to lie out in front of you, you'll feel as if you've been whisked away to a jazz holy land. Quintessential.
      """
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    -nom: "Kind of Blue - (Box Set 2 LP) - Ultra Analog 180 gram 45 RPM"
    -informationComplementaire: "Reissue 2023"
    -description: """
      - IF THERE'S A STAIRWAY TO HEAVEN, THIS IS THE SOUNDTRACK : THE MT. RUSHMORE OF JAZZ SESSIONS !\r\n
      - Best-Selling Album in Jazz History Receives the Mobile Fidelity Treatment: Sourced from the Original Master Tapes, This Numbered-Edition 180 gram 45 RPM (2 LP) Box Set Sounds Sublime !\r\n
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[
  "produit" => App\Entity\Produit {#2115
    -id: 2677
    -nom: "My Funny Valentine - SuperVinyl"
    -informationComplementaire: "Mastered at MoFi’s Studio in Honor of Album's 60th Anniversary, Limited to 3000 Numbered Copies, Mobile Fidelity’s 180 gram 33 RPM SuperVinyl LP Plays with Lifelike Clarity"
    -description: """
      - Miles Davis Gets Balladic on My Funny Valentine: Live Set Is Distinguished with Deep Emotions, Poetic Elegance, and Sensitive Beauty !\r\n
      \r\n
      - Mastered at MoFi’s Studio in Honor of Album's 60th Anniversary Limited to 3000 Numbered Copies, Mobile Fidelity’s 180 gram 33 RPM SuperVinyl LP Plays with Lifelike Clarity !\r\n
      \r\n
      - 1/4" / 15 IPS analog copy to DSD 64 to analog console to lathe !\r\n
      \r\n
      My Funny Valentine: Miles Davis in Concert marks several historic turning points. For Davis, the live album represents the final time on record he'd perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps to Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis’ oft-controversial avant-garde leanings. \r\n
      \r\n
      Most significantly, the richly textured set the bookend to the fast-paced Four & More captures the warm ballads and delicate pieces performed at a February 12, 1964 benefit concert at New York’s then-new Philharmonic Hall that occurred just months after President Kennedy’s assassination. Seemingly channeling divine inspiration, Davis never sounded more elegant or poetic, particularly given the uniqueness of this 60th Anniversary Edition pressing. \r\n
      \r\n
      Mastered at MoFi’s California studio, housed in a Stoughton jacket, pressed at Fideltiy Record Pressing on MoFi SuperVinyl, and strictly limited to 3000 numbered copies, Mobile Fidelity’s 180 gram 33 RPM SuperVinyl LP plays with stunning depth, presence, dynamics, clarity, and ambience. Benefitting from SuperVinyl’s low-as-possible noise floor and superb groove definition, this audiophile LP boasts balances, tonalities, and airiness that duplicate the experience of witnessing live jazz in an acoustically ideal hall. The images of each individual instrument, the decay of the notes, the inner reaches of the piano, and symmetry of the horns are rendered with palpable detail. \r\n
      \r\n
      Held as a benefit to support voter registration in the South and a fundraiser for NAACP, the Congress of Racial Equality, and SNCC the concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. The unforeseen circumstances surrounding Kennedy’s death further raised the stakes. Having professed admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (in particular, the title track) as an homage to the fallen leader.\r\n
      \r\n
      Nearing their one-year anniversary together, he and his band turned half the event into a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate these performances; Davis and his Harmon mute paint with intricate brushstrokes. \r\n
      \r\n
      Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader’s equal. They would continue with Davis until later in the decade, helping form his Second Great Quintet. But the secret weapon on My Funny Valentine arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem “one of the unsung heroes of modern jazz”. His lines are subtle and sophisticated, straight-ahead but capable of unanticipated direction. Here, Coleman comes into his own.\r\n
      \r\n
      The combination of introspective chemistry, lyrical reach, and telepathic communication demonstrated by the group on My Funny Valentine exceeds that of any of Davis' live 1960s efforts. One listen confirms something special transpiring. And on this breathtaking reissue, those properties are rendered in a manner that’s as transparent to the source. Here’s your chance to experience them again and again.\r\n
      \r\n
      MoFi SuperVinyl :\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound devised. Expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a carbonless dye (hold the disc up to the light and see) and produces ultra-quiet surfaces. This high-definition formula also allows for the creation of clean grooves that are virtually indistinguishable from the original lacquer.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -id: 2677
    -nom: "My Funny Valentine - SuperVinyl"
    -informationComplementaire: "Mastered at MoFi’s Studio in Honor of Album's 60th Anniversary, Limited to 3000 Numbered Copies, Mobile Fidelity’s 180 gram 33 RPM SuperVinyl LP Plays with Lifelike Clarity"
    -description: """
      - Miles Davis Gets Balladic on My Funny Valentine: Live Set Is Distinguished with Deep Emotions, Poetic Elegance, and Sensitive Beauty !\r\n
      \r\n
      - Mastered at MoFi’s Studio in Honor of Album's 60th Anniversary Limited to 3000 Numbered Copies, Mobile Fidelity’s 180 gram 33 RPM SuperVinyl LP Plays with Lifelike Clarity !\r\n
      \r\n
      - 1/4" / 15 IPS analog copy to DSD 64 to analog console to lathe !\r\n
      \r\n
      My Funny Valentine: Miles Davis in Concert marks several historic turning points. For Davis, the live album represents the final time on record he'd perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps to Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis’ oft-controversial avant-garde leanings. \r\n
      \r\n
      Most significantly, the richly textured set the bookend to the fast-paced Four & More captures the warm ballads and delicate pieces performed at a February 12, 1964 benefit concert at New York’s then-new Philharmonic Hall that occurred just months after President Kennedy’s assassination. Seemingly channeling divine inspiration, Davis never sounded more elegant or poetic, particularly given the uniqueness of this 60th Anniversary Edition pressing. \r\n
      \r\n
      Mastered at MoFi’s California studio, housed in a Stoughton jacket, pressed at Fideltiy Record Pressing on MoFi SuperVinyl, and strictly limited to 3000 numbered copies, Mobile Fidelity’s 180 gram 33 RPM SuperVinyl LP plays with stunning depth, presence, dynamics, clarity, and ambience. Benefitting from SuperVinyl’s low-as-possible noise floor and superb groove definition, this audiophile LP boasts balances, tonalities, and airiness that duplicate the experience of witnessing live jazz in an acoustically ideal hall. The images of each individual instrument, the decay of the notes, the inner reaches of the piano, and symmetry of the horns are rendered with palpable detail. \r\n
      \r\n
      Held as a benefit to support voter registration in the South and a fundraiser for NAACP, the Congress of Racial Equality, and SNCC the concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. The unforeseen circumstances surrounding Kennedy’s death further raised the stakes. Having professed admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (in particular, the title track) as an homage to the fallen leader.\r\n
      \r\n
      Nearing their one-year anniversary together, he and his band turned half the event into a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate these performances; Davis and his Harmon mute paint with intricate brushstrokes. \r\n
      \r\n
      Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader’s equal. They would continue with Davis until later in the decade, helping form his Second Great Quintet. But the secret weapon on My Funny Valentine arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem “one of the unsung heroes of modern jazz”. His lines are subtle and sophisticated, straight-ahead but capable of unanticipated direction. Here, Coleman comes into his own.\r\n
      \r\n
      The combination of introspective chemistry, lyrical reach, and telepathic communication demonstrated by the group on My Funny Valentine exceeds that of any of Davis' live 1960s efforts. One listen confirms something special transpiring. And on this breathtaking reissue, those properties are rendered in a manner that’s as transparent to the source. Here’s your chance to experience them again and again.\r\n
      \r\n
      MoFi SuperVinyl :\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound devised. Expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a carbonless dye (hold the disc up to the light and see) and produces ultra-quiet surfaces. This high-definition formula also allows for the creation of clean grooves that are virtually indistinguishable from the original lacquer.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), Ron Carter (bass), George Coleman (tenor saxophone), Herbie Hancock (piano), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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[
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    -id: 889
    -nom: "Cheap Thrills  (45 RPM - Limited Edition)"
    -informationComplementaire: ""
    -description: """
      #338 on Rolling Stone's 500 Greatest Albums of All Time : Big Brother and Joplin Convey Fearlessness, Toughness, and Synergy on Every Note !\n
      \n
      In many facets, Big Brother and the Holding Company's Cheap Thrills is the quintessential album to spring from the outcome of the Summer of Love. Best known as Janis Joplin's major-label debut, the 1968 set arrived when the countercultural movement was in full swing and before co-optation, drugs, and violence signaled the fall of the era. Ranked #338 on Rolling Stone's 500 Greatest Albums of All Time, it puts a female singer in the prominent position traditionally given to a male and showcases a band pouring a potent cocktail of fiery psychedelic, blues, and folk sounds that informed the unfettered creativity of the San Francisco scene. Produced by John Simon, Cheap Thrills also features one of the most iconic and elaborate album covers in history.\n
      \n
      Cut at 45 RPM and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's analog reissue intensifies the quintet's storied sophomore effort. Due to the wider grooves, this pressing benefits from increased spaciousness, punchiness, energy, pacing, and dynamics. Joplin's hurricane-force singing reverberates with texture, grittiness, and volume. An arresting array of instrumental colors and tones comes on with clearer separation and depth. While previous pressings find the band and Joplin's voice in competition with one another for room, both emerge as distinct entities. Always noted for its rawness, Cheap Thrills sounds as close to live as it gets, an unadulterated portrait of nervy rock n' roll delivered with exuberant enthusiasm and all-out determination. This is music at is most visceral.\n
      \n
      Having drawn national attention for their legendary performance at the Monterey International Pop Festival in 1967, Big Brother and Joplin faced huge expectations to deliver a studio set that would convey their onstage vibrancy and potency. Cheap Thrills does this and more, becoming one of 1968's most commercially successful releases that remained on the charts the week Joplin announced her separation from the ensemble. Contrary to popular belief, only one of the album's songs, "Ball and Chain", was recorded live. Everything else owes to the unhinged, spirit-elevating performances and true collaboration between vocalist and band that manifests itself throughout the record's 37 minute-plus running time. Merging biker-babe ruggedness with wounded-bird poignancy, Joplin's expressive belting, mega-watt moaning, and sensitive crooning take center stage. Yet her bandmates match every step with explosive rhythms, heavy guitar-driven blues, and assertive solos that take inspiration from free-form jazz.\n
      \n
      Indeed, Cheap Thrills still exhilarates not only due to Joplin's almighty singing but because of boundary-shredding arrangements that reflect the period's anything-is-possible mindset. More so than any other musicians Joplin encountered, the members of Big Brother pushed limits on convention via soirees into acid-dipped psychedelia and its orbiting sonic galaxies. Together, they aim and achieve an aural mythos that makes a permanent connection between artist and audience by way of eliminating traditional divisions. Such communal power is evident on the mind-bending version of Big Mama Thornton's "Ball and Chain" and insistent, sinewy "I Need a Man to Love". It's also obvious during quieter moments, whether the tripped-out, twisted, and curvaceous contours of George and Ira Gershwin's "Summertime" or restrained, throwback acoustic blues of "Turtle Blues".\n
      \n
      Yes, Joplin presents and rallies against loneliness and desperation in a cathartic language few had heard before or since. What's even more significant is the fearlessness, toughness, synergy, and sexual danger pulsing through every song, including the take-on-all-comers challenge "Piece of My Heart", which the collective attacks with career-making ferocity. Like Robert Crumb's daring pop-art illustrations that grace the cover, they simultaneously lure and dare the listener to enter a space where outsiders run free and where outlaws are heard above the mainstream din.\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Janis Joplin (vocals), James Gurley (guitar), Peter S. Albin, Sam Houston Andrew III (guitar, bass), John Simon (piano), Dave Getz (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=qA78eLqHLkM"
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      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2130 …}
    -label: App\Entity\Label {#1063 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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App\Twig\Components\GestionPanierFavoriComponents {#3496
  -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 {#2617 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
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    -id: 889
    -nom: "Cheap Thrills  (45 RPM - Limited Edition)"
    -informationComplementaire: ""
    -description: """
      #338 on Rolling Stone's 500 Greatest Albums of All Time : Big Brother and Joplin Convey Fearlessness, Toughness, and Synergy on Every Note !\n
      \n
      In many facets, Big Brother and the Holding Company's Cheap Thrills is the quintessential album to spring from the outcome of the Summer of Love. Best known as Janis Joplin's major-label debut, the 1968 set arrived when the countercultural movement was in full swing and before co-optation, drugs, and violence signaled the fall of the era. Ranked #338 on Rolling Stone's 500 Greatest Albums of All Time, it puts a female singer in the prominent position traditionally given to a male and showcases a band pouring a potent cocktail of fiery psychedelic, blues, and folk sounds that informed the unfettered creativity of the San Francisco scene. Produced by John Simon, Cheap Thrills also features one of the most iconic and elaborate album covers in history.\n
      \n
      Cut at 45 RPM and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's analog reissue intensifies the quintet's storied sophomore effort. Due to the wider grooves, this pressing benefits from increased spaciousness, punchiness, energy, pacing, and dynamics. Joplin's hurricane-force singing reverberates with texture, grittiness, and volume. An arresting array of instrumental colors and tones comes on with clearer separation and depth. While previous pressings find the band and Joplin's voice in competition with one another for room, both emerge as distinct entities. Always noted for its rawness, Cheap Thrills sounds as close to live as it gets, an unadulterated portrait of nervy rock n' roll delivered with exuberant enthusiasm and all-out determination. This is music at is most visceral.\n
      \n
      Having drawn national attention for their legendary performance at the Monterey International Pop Festival in 1967, Big Brother and Joplin faced huge expectations to deliver a studio set that would convey their onstage vibrancy and potency. Cheap Thrills does this and more, becoming one of 1968's most commercially successful releases that remained on the charts the week Joplin announced her separation from the ensemble. Contrary to popular belief, only one of the album's songs, "Ball and Chain", was recorded live. Everything else owes to the unhinged, spirit-elevating performances and true collaboration between vocalist and band that manifests itself throughout the record's 37 minute-plus running time. Merging biker-babe ruggedness with wounded-bird poignancy, Joplin's expressive belting, mega-watt moaning, and sensitive crooning take center stage. Yet her bandmates match every step with explosive rhythms, heavy guitar-driven blues, and assertive solos that take inspiration from free-form jazz.\n
      \n
      Indeed, Cheap Thrills still exhilarates not only due to Joplin's almighty singing but because of boundary-shredding arrangements that reflect the period's anything-is-possible mindset. More so than any other musicians Joplin encountered, the members of Big Brother pushed limits on convention via soirees into acid-dipped psychedelia and its orbiting sonic galaxies. Together, they aim and achieve an aural mythos that makes a permanent connection between artist and audience by way of eliminating traditional divisions. Such communal power is evident on the mind-bending version of Big Mama Thornton's "Ball and Chain" and insistent, sinewy "I Need a Man to Love". It's also obvious during quieter moments, whether the tripped-out, twisted, and curvaceous contours of George and Ira Gershwin's "Summertime" or restrained, throwback acoustic blues of "Turtle Blues".\n
      \n
      Yes, Joplin presents and rallies against loneliness and desperation in a cathartic language few had heard before or since. What's even more significant is the fearlessness, toughness, synergy, and sexual danger pulsing through every song, including the take-on-all-comers challenge "Piece of My Heart", which the collective attacks with career-making ferocity. Like Robert Crumb's daring pop-art illustrations that grace the cover, they simultaneously lure and dare the listener to enter a space where outsiders run free and where outlaws are heard above the mainstream din.\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Janis Joplin (vocals), James Gurley (guitar), Peter S. Albin, Sam Houston Andrew III (guitar, bass), John Simon (piano), Dave Getz (drums)"
    -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=qA78eLqHLkM"
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      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2130 …}
    -label: App\Entity\Label {#1063 …}
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    -modifierLe: DateTime @1748072116 {#2126
      date: 2025-05-24 07:35:16.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2136 …}
    -disponible: null
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    -slug: "vinyles-cheap-thrills-45-rpm-limited-edition-mfsl-2-453"
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[
  "produit" => App\Entity\Produit {#2144
    -id: 790
    -nom: "Cargo"
    -informationComplementaire: "Contains Top 10 Hits “It’s A Mistake” and “Overkill”"
    -description: """
      Men at Work already had an album in the Top Ten when the Australian ensemble released Cargo, which continued the momentum gained by its record-setting debut. As ambitious and even more diversified than its initial salvo, the 1983 effort firmly established the band as new-wave pioneers - a group whose goofy playfulness, sharp hooks, brass accents, and memorable choruses helped define the decade’s landscape. Any doubts about Men At Work’s quirky sensibility were promptly answered by the iconic cover art gracing this multi-platinum set.\n
      \n
      Mastered on our world-renowned mastering system and pressed at RTI, this LP not only brings the artwork back into full-scale glory but also takes the enjoyably melodic pop-rock to new sonic heights courtesy of improved imaging, separation, and balance. Previously obscured details jump to the surface, and leader Colin Hay’s unique voice takes on life like dimensions that hover between the speakers.\n
      \n
      While remaining true to the approach that garnered them a Grammy Award for Best New Artist, Men at Work expands the creative palette on Cargo by giving guitars a more prominent role and increasing the rhythmic textures. With the sweeping ballad “Overkill” and politically savvy cynicism of “It’s a Mistake”, the band furthered their radio domination and extended their run of Top 10 singles. A third hit, “Dr. Heckyll and Mr. Jive”, cracked the Top 30. Well tailored melodies and whimsical imagination definitely had a place in the public’s consciousness, and no group understood this more.\n
      \n
      As the final album captured by the original lineup, Cargo remains an indelible piece of the 1980s audio terrain and a reminder of the era’s endless fun. Bolstered by lively saxophone solos, self-effacing humor, and instantly catchy refrains, the album is as good as excuse as any to turn on the stereo, sit down, forget your worries, and dance to leisurely pursuits so perfectly captured by this beloved group.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Colin Hay (guitar, vocals), Greg Ham (saxophone, flute, keyboards, vocals), Ron Strykert (guitar, vocals), John Rees (bass, vocals), Jerry Speiser (drums, vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=FoqlJsV6Bsc"
    -referenceProduit: "MOFI 1-025"
    -titreMorceau: [
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        "nom" => "1. Dr. Heckyll and Mr. Jive"
        "ordre" => 1
      ]
      [
        "nom" => "1. It’s a Mistake"
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      [
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      [
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      ]
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      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2146 …}
    -label: App\Entity\Label {#1063 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3547
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2617 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2144
    -id: 790
    -nom: "Cargo"
    -informationComplementaire: "Contains Top 10 Hits “It’s A Mistake” and “Overkill”"
    -description: """
      Men at Work already had an album in the Top Ten when the Australian ensemble released Cargo, which continued the momentum gained by its record-setting debut. As ambitious and even more diversified than its initial salvo, the 1983 effort firmly established the band as new-wave pioneers - a group whose goofy playfulness, sharp hooks, brass accents, and memorable choruses helped define the decade’s landscape. Any doubts about Men At Work’s quirky sensibility were promptly answered by the iconic cover art gracing this multi-platinum set.\n
      \n
      Mastered on our world-renowned mastering system and pressed at RTI, this LP not only brings the artwork back into full-scale glory but also takes the enjoyably melodic pop-rock to new sonic heights courtesy of improved imaging, separation, and balance. Previously obscured details jump to the surface, and leader Colin Hay’s unique voice takes on life like dimensions that hover between the speakers.\n
      \n
      While remaining true to the approach that garnered them a Grammy Award for Best New Artist, Men at Work expands the creative palette on Cargo by giving guitars a more prominent role and increasing the rhythmic textures. With the sweeping ballad “Overkill” and politically savvy cynicism of “It’s a Mistake”, the band furthered their radio domination and extended their run of Top 10 singles. A third hit, “Dr. Heckyll and Mr. Jive”, cracked the Top 30. Well tailored melodies and whimsical imagination definitely had a place in the public’s consciousness, and no group understood this more.\n
      \n
      As the final album captured by the original lineup, Cargo remains an indelible piece of the 1980s audio terrain and a reminder of the era’s endless fun. Bolstered by lively saxophone solos, self-effacing humor, and instantly catchy refrains, the album is as good as excuse as any to turn on the stereo, sit down, forget your worries, and dance to leisurely pursuits so perfectly captured by this beloved group.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Colin Hay (guitar, vocals), Greg Ham (saxophone, flute, keyboards, vocals), Ron Strykert (guitar, vocals), John Rees (bass, vocals), Jerry Speiser (drums, vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=FoqlJsV6Bsc"
    -referenceProduit: "MOFI 1-025"
    -titreMorceau: [
      [
        "nom" => "1. Dr. Heckyll and Mr. Jive"
        "ordre" => 1
      ]
      [
        "nom" => "1. It’s a Mistake"
        "ordre" => 7
      ]
      [
        "nom" => "2. High Wire"
        "ordre" => 8
      ]
      [
        "nom" => "2. Overkill"
        "ordre" => 2
      ]
      [
        "nom" => "3. Blue for You"
        "ordre" => 9
      ]
      [
        "nom" => "3. Settle Down My Boy"
        "ordre" => 3
      ]
      [
        "nom" => "4. I Like To"
        "ordre" => 10
      ]
      [
        "nom" => "4. Upstairs In My House"
        "ordre" => 4
      ]
      [
        "nom" => "5. No Restrictions"
        "ordre" => 11
      ]
      [
        "nom" => "5. No Sign of Yesterday"
        "ordre" => 5
      ]
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 6
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2146 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
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      date: 2025-05-24 07:34:22.0 UTC (+00:00)
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    -id: 2636
    -nom: "Black Beauty - Miles Davis At Fillmore West"
    -informationComplementaire: ""
    -description: """
      Recorded When Miles Davis Opened for the Grateful Dead in San Francisco at Fillmore West : Black Beauty Surges Ahead into a Future Jazz World, Features Superb Performances and Rich Colors\n
      \n
      First-Ever Domestic Vinyl Release of 1973 Live Album : Mobile Fidelity’s 180g 33RPM 2LP Set Plays with Captivating Energy, Presence, and Clarity\n
      \n
      1/4" / 15 IPS analog copy to DSD 256 to analog console to lathe\n
      \n
      Dateline : April 10, 1970. Setting: The storied Fillmore West in San Francisco, CA. Context : Miles Davis, three days removed from his first session for Jack Johnson and, with newly recruited soprano saxophonist Steve Grossman in tow, opening shows for countercultural heroes the Grateful Dead on the latter’s home turf. Result: The initial rumblings of a thrilling era in which Davis and his cohorts would again upend jazz and popular conceptions of the genre with music steeped in groove, improvisation, and hang-on-for-your-life adventurousness. All captured on Black Beauty: Miles Davis at Fillmore West.\n
      \n
      Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity's numbered-edition 180 gram 33 RPM (2 LP) set helps bring what went down that spring evening in Bill Graham’s venue to your listening room with exceptional clarity, balance, and presence. Originally only released in Japan in 1973 and unavailable in the United States until the late ‘90s on compact disc, this marks the first time Black Beauty has been issued on domestic vinyl. The wait is worth it.\n
      \n
      Benefitting from quiet surfaces and excellent definition, these LPs present the band’s livewire energy and torrential storm of notes with captivating dynamics, pacing, and fullness. At its core, this audiophile reissue takes you into the walls of sound erected by a band learning on-the-fly the sheer power, will, and breadth of the electric jazz Davis was orchestrating and realizing, on the spot, would reach rock audiences that until that point had only a faint awareness of his mad-scientist experimentation. The sense of release and reach conveyed by these carefully restored records make it clear the veteran bandleader was in the process of a permanent shift that he’d chase for the next five years.\n
      \n
      Given Davis was only a few months away from releasing the pioneering double album Bitches Brew, it shouldn’t come as a surprise that much of the fare here adheres to similar explorative approaches. Turbulent rhythms, provocative trumpet passages, and rich, saturated tonal colors that seemingly splash against a blank canvas take precedence over any traditional attempts at organization and melody. Davis and Co. intentionally play everything on a line with the bandleader signaling changes with his horn via coded phrases. The group speaks a common language with each member having gone to achieve iconic status for their career contributions and technical prowess.\n
      \n
      In the company of Grossman, Chick Corea (piano), Dave Holland (bass), Jack DeJohnette (drums), and Airto Moreira (percussion), Davis constructs themes around “Directions”, “Miles Runs the Voodoo Down”, “It’s About That Time”, the title track to Bitches Brew, and more from his then most-recent studio works and the in-progress Jack Johnson. His farewell to the popular standards that for nearly two decades remained a part of his repertoire arrive via a brief dalliance with “I Fall in Love Too Easily”, a shortened albeit aggressive “Masqualero”, and the “Theme” finale of “Spanish Key”. Initially, Black Beauty lacked specific track listings due to Davis’ increasing frustration with listeners over-analyzing his music.\n
      \n
      In retrospect, it’s difficult to blame anyone for wanting to view what’s on display here with the aural equivalent of a magnifying glass. Leaning in rock directions, yet maintaining an ear for spaciousness and solos, Black Beauty survives as a snapshot of a thrilling moment amid a transitory period in which evolution came fast and furious. Just two months later, Davis would add another instrumentalist to the lineup in the form of organist Keith Jarrett, and the perpetually restless visionary would blast off to a more atmospheric and arguably more chaotic universe.\n
      \n
      Consider, then, this live document a bridge to that galaxy and a breathtaking example of the possibilities of jazz itself.\n
      \n
      Track List :\n
      - 1. Directions\n
      - 2. Miles Runs the Voodoo Down\n
      - 3. Willie Nelson\n
      - 4. I Fall in Love Too Easily\n
      - 5. Sanctuary\n
      - 6. It’s About That Time\n
      - 7. Bitches Brew\n
      - 8. Masqualero\n
      - 9. Spanish Key/The Theme
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), Steve Grossman (saxophone), Chick Corea (electric piano), Dave Holland (electric bass), Airto Moreira (percussion), Jack DeJohnette (drums) "
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=keORyP0Gfcw"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-568"
    -titreMorceau: [
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        "nom" => "1. Black Beauty Part I"
        "ordre" => 1
      ]
      [
        "nom" => "2. Black Beauty Part II"
        "ordre" => 3
      ]
      [
        "nom" => "3. Black Beauty Part III"
        "ordre" => 5
      ]
      [
        "nom" => "4. Black Beauty Part IV"
        "ordre" => 7
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 2
      ]
      [
        "nom" => "Side C : "
        "ordre" => 4
      ]
      [
        "nom" => "Side D : "
        "ordre" => 6
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2101 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2168 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2161 …}
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    }
    -modifierLe: DateTime @1748071007 {#2158
      date: 2025-05-24 07:16:47.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2165 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-black-beauty-miles-davis-at-fillmore-west-mobile-fidelity-sound-lab-mfsl-2-568"
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  "detaillePage" => false
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App\Twig\Components\GestionPanierFavoriComponents {#3600
  -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 {#2617 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2160
    -id: 2636
    -nom: "Black Beauty - Miles Davis At Fillmore West"
    -informationComplementaire: ""
    -description: """
      Recorded When Miles Davis Opened for the Grateful Dead in San Francisco at Fillmore West : Black Beauty Surges Ahead into a Future Jazz World, Features Superb Performances and Rich Colors\n
      \n
      First-Ever Domestic Vinyl Release of 1973 Live Album : Mobile Fidelity’s 180g 33RPM 2LP Set Plays with Captivating Energy, Presence, and Clarity\n
      \n
      1/4" / 15 IPS analog copy to DSD 256 to analog console to lathe\n
      \n
      Dateline : April 10, 1970. Setting: The storied Fillmore West in San Francisco, CA. Context : Miles Davis, three days removed from his first session for Jack Johnson and, with newly recruited soprano saxophonist Steve Grossman in tow, opening shows for countercultural heroes the Grateful Dead on the latter’s home turf. Result: The initial rumblings of a thrilling era in which Davis and his cohorts would again upend jazz and popular conceptions of the genre with music steeped in groove, improvisation, and hang-on-for-your-life adventurousness. All captured on Black Beauty: Miles Davis at Fillmore West.\n
      \n
      Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity's numbered-edition 180 gram 33 RPM (2 LP) set helps bring what went down that spring evening in Bill Graham’s venue to your listening room with exceptional clarity, balance, and presence. Originally only released in Japan in 1973 and unavailable in the United States until the late ‘90s on compact disc, this marks the first time Black Beauty has been issued on domestic vinyl. The wait is worth it.\n
      \n
      Benefitting from quiet surfaces and excellent definition, these LPs present the band’s livewire energy and torrential storm of notes with captivating dynamics, pacing, and fullness. At its core, this audiophile reissue takes you into the walls of sound erected by a band learning on-the-fly the sheer power, will, and breadth of the electric jazz Davis was orchestrating and realizing, on the spot, would reach rock audiences that until that point had only a faint awareness of his mad-scientist experimentation. The sense of release and reach conveyed by these carefully restored records make it clear the veteran bandleader was in the process of a permanent shift that he’d chase for the next five years.\n
      \n
      Given Davis was only a few months away from releasing the pioneering double album Bitches Brew, it shouldn’t come as a surprise that much of the fare here adheres to similar explorative approaches. Turbulent rhythms, provocative trumpet passages, and rich, saturated tonal colors that seemingly splash against a blank canvas take precedence over any traditional attempts at organization and melody. Davis and Co. intentionally play everything on a line with the bandleader signaling changes with his horn via coded phrases. The group speaks a common language with each member having gone to achieve iconic status for their career contributions and technical prowess.\n
      \n
      In the company of Grossman, Chick Corea (piano), Dave Holland (bass), Jack DeJohnette (drums), and Airto Moreira (percussion), Davis constructs themes around “Directions”, “Miles Runs the Voodoo Down”, “It’s About That Time”, the title track to Bitches Brew, and more from his then most-recent studio works and the in-progress Jack Johnson. His farewell to the popular standards that for nearly two decades remained a part of his repertoire arrive via a brief dalliance with “I Fall in Love Too Easily”, a shortened albeit aggressive “Masqualero”, and the “Theme” finale of “Spanish Key”. Initially, Black Beauty lacked specific track listings due to Davis’ increasing frustration with listeners over-analyzing his music.\n
      \n
      In retrospect, it’s difficult to blame anyone for wanting to view what’s on display here with the aural equivalent of a magnifying glass. Leaning in rock directions, yet maintaining an ear for spaciousness and solos, Black Beauty survives as a snapshot of a thrilling moment amid a transitory period in which evolution came fast and furious. Just two months later, Davis would add another instrumentalist to the lineup in the form of organist Keith Jarrett, and the perpetually restless visionary would blast off to a more atmospheric and arguably more chaotic universe.\n
      \n
      Consider, then, this live document a bridge to that galaxy and a breathtaking example of the possibilities of jazz itself.\n
      \n
      Track List :\n
      - 1. Directions\n
      - 2. Miles Runs the Voodoo Down\n
      - 3. Willie Nelson\n
      - 4. I Fall in Love Too Easily\n
      - 5. Sanctuary\n
      - 6. It’s About That Time\n
      - 7. Bitches Brew\n
      - 8. Masqualero\n
      - 9. Spanish Key/The Theme
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), Steve Grossman (saxophone), Chick Corea (electric piano), Dave Holland (electric bass), Airto Moreira (percussion), Jack DeJohnette (drums) "
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=keORyP0Gfcw"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-568"
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        "ordre" => 1
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      [
        "nom" => "3. Black Beauty Part III"
        "ordre" => 5
      ]
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        "nom" => "4. Black Beauty Part IV"
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        "nom" => "Side A : "
        "ordre" => 0
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        "nom" => "Side B : "
        "ordre" => 2
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      ]
      [
        "nom" => "Side D : "
        "ordre" => 6
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2101 …}
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    -modifierLe: DateTime @1748071007 {#2158
      date: 2025-05-24 07:16:47.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2165 …}
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[
  "produit" => App\Entity\Produit {#2173
    -id: 2583
    -nom: "Dark Magus - Live At Carnegie Hall"
    -informationComplementaire: ""
    -description: """
      Musicians : \r\n
      Miles Davis (electric trumpet, Yamaha organ), Dave Liebman (flute, soprano & tenor saxophone), Azar Lawrence (tenor saxophone), Reggie Lucas, Pete Cosey, Dominique Gaumont (electric guitar), Michael Henderson (electric bass), James Mtume (percussion), Al Foster (drums).\r\n
      \r\n
      - DARK MAGUS ANTICIPATES DEVELOPMENTS IN JUNGLE, NOISE, AND DRUM ‘N’ BASS MUSIC : FUNKY, FREE-FORM MILES DAVIS ALBUM IS AN EXHILARATING JAZZ-ROCK TRIP\r\n
      \r\n
      - On Domestic Vinyl for the First Time: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM (2 LP) Set Presents Performances with Absorbing Detail\r\n
      and Color !\r\n
      \r\n
      - 1/4” / 15 IPS analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      It’s safe to assume no one in the audience at Carnegie Hall on March 30, 1974 anticipated what Miles Davis would play at the concert documented on Dark Magus: Live at Carnegie Hall. Recorded near the tail end of his electric period, the double album remains the darkest, most ferocious statement of Davis’ career a visionary effort that foresaw developments in jungle, noise-rock, funk, and drum ‘n’ bass.\r\n
      \r\n
      Initially issued in Japan in 1977, Dark Magus waited two decades for U.S. release. Now, more than 50 years after Davis and his ensemble blew minds at the famous New York venue, it gets its first-ever domestic issue on vinyl and on a definitive-sounding pressing at that.\r\n
      \r\n
      Mastered at Mobile Fidelity's California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, this numbered-edition 180g 33RPM 2LP set of Dark Magus invites you to pull up a seat and wrap your head around an exhilarating performance that simultaneously functions as an audition, experiment, release, and magnificent explosion of jazz-rock fusion. We hope your turntable and speakers are up to the challenge.\r\n
      \r\n
      This collectible reissue presents the improvisational magic that unfolded onstage the skronking tonalities, wah-wah-pedal bluster, acid-washed effects, furious drumming, run-the-voodoo-down grooves, menacing riffs, crashing cymbals with incredible detail, color, and pace. It also captures the band’s unbelievable energy, rendering both instruments and on-the-fly changes with revealing depth, definition, and dynamics. At its core, MoFi’s audiophile set takes you deep into the boundless mystery, promise, and uncertainty of Davis and company’s efforts like never before.\r\n
      \r\n
      The story behind Dark Magus is nearly as unbelievable as the spur-of-the-moment compositions that resulted when Davis brought drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, horn virtuoso Dave Liebman, and guitarists Pete Cosey and Reggie Lucas together, and, in a new twist for the concert’s second half, added guitarist Dominique Gaumont and tenor saxophonist Azar Lawrence to mix. That the latter two instrumentalists had never seen each other until that night adds to Davis’ legend and penchant for bold, unorthodox moves.\r\n
      \r\n
      Ditto Davis’ own actions that spring evening, which reportedly included showing up to the show an hour late and taking the stage with his back facing the crowd. The strategy worked. Davis inspired the group to play in a bold manner that few, if any, had heard before. Dark Magus is a rhythmic bonanza. Rooted in Afro-centrist techniques, avante-garde sensibilities, and exploratory moods, the songs eschew set arrangements and solos, and, for the most part, melodic devices.\r\n
      \r\n
      For Davis, Dark Magus represented a personal triumph amid a period marked by health issues, addictions, and critical decline. The latter slight would be corrected, but not until decades later when Dark Magus saw Stateside release in 1997 via a CD reissue. Of course, the free-form patterns, unpredictable passages, dense structures, and distorted blues that course through the songs titled after Swahili numerals are not for everyone. And certainly not for the fainthearted. Though Dark Magus contains majestic moments marked by quiet restraint and something on the level of balladry, its rich and radical concoction of tormented thwacks, thumps, cracks, clatters, wails, bleeps, burbles, stomps, and enigmatic beats remains its adventurous heart and soul.\r\n
      \r\n
      Primal and enigmatic, fierce and jagged, forceful and revolutionary, jolting and terrifying, Dark Magus seemingly attacks from any and all directions. Turn it up loud and let the prophetic brilliance of this inimitable and relentlessly funky album wash over you.\r\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (electric trumpet, Yamaha organ), Dave Liebman (flute, soprano & tenor saxophone), Azar Lawrence (tenor saxophone), Reggie Lucas, Pete Cosey, Dominique Gaumont (electric guitar), Michael Henderson (electric bass), James Mtume (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=DK_fvDfSHtk"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-566"
    -titreMorceau: [
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        "nom" => "1. Dark Magus - Moja"
        "ordre" => 1
      ]
      [
        "nom" => "2. Dark Magus - Wili "
        "ordre" => 3
      ]
      [
        "nom" => "3. Dark Magus - Tatu "
        "ordre" => 5
      ]
      [
        "nom" => "4. Dark Magus - Nne"
        "ordre" => 7
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 2
      ]
      [
        "nom" => "Side C : "
        "ordre" => 4
      ]
      [
        "nom" => "Side D : "
        "ordre" => 6
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2101 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2181 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2174 …}
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    -id: 2583
    -nom: "Dark Magus - Live At Carnegie Hall"
    -informationComplementaire: ""
    -description: """
      Musicians : \r\n
      Miles Davis (electric trumpet, Yamaha organ), Dave Liebman (flute, soprano & tenor saxophone), Azar Lawrence (tenor saxophone), Reggie Lucas, Pete Cosey, Dominique Gaumont (electric guitar), Michael Henderson (electric bass), James Mtume (percussion), Al Foster (drums).\r\n
      \r\n
      - DARK MAGUS ANTICIPATES DEVELOPMENTS IN JUNGLE, NOISE, AND DRUM ‘N’ BASS MUSIC : FUNKY, FREE-FORM MILES DAVIS ALBUM IS AN EXHILARATING JAZZ-ROCK TRIP\r\n
      \r\n
      - On Domestic Vinyl for the First Time: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM (2 LP) Set Presents Performances with Absorbing Detail\r\n
      and Color !\r\n
      \r\n
      - 1/4” / 15 IPS analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      It’s safe to assume no one in the audience at Carnegie Hall on March 30, 1974 anticipated what Miles Davis would play at the concert documented on Dark Magus: Live at Carnegie Hall. Recorded near the tail end of his electric period, the double album remains the darkest, most ferocious statement of Davis’ career a visionary effort that foresaw developments in jungle, noise-rock, funk, and drum ‘n’ bass.\r\n
      \r\n
      Initially issued in Japan in 1977, Dark Magus waited two decades for U.S. release. Now, more than 50 years after Davis and his ensemble blew minds at the famous New York venue, it gets its first-ever domestic issue on vinyl and on a definitive-sounding pressing at that.\r\n
      \r\n
      Mastered at Mobile Fidelity's California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, this numbered-edition 180g 33RPM 2LP set of Dark Magus invites you to pull up a seat and wrap your head around an exhilarating performance that simultaneously functions as an audition, experiment, release, and magnificent explosion of jazz-rock fusion. We hope your turntable and speakers are up to the challenge.\r\n
      \r\n
      This collectible reissue presents the improvisational magic that unfolded onstage the skronking tonalities, wah-wah-pedal bluster, acid-washed effects, furious drumming, run-the-voodoo-down grooves, menacing riffs, crashing cymbals with incredible detail, color, and pace. It also captures the band’s unbelievable energy, rendering both instruments and on-the-fly changes with revealing depth, definition, and dynamics. At its core, MoFi’s audiophile set takes you deep into the boundless mystery, promise, and uncertainty of Davis and company’s efforts like never before.\r\n
      \r\n
      The story behind Dark Magus is nearly as unbelievable as the spur-of-the-moment compositions that resulted when Davis brought drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, horn virtuoso Dave Liebman, and guitarists Pete Cosey and Reggie Lucas together, and, in a new twist for the concert’s second half, added guitarist Dominique Gaumont and tenor saxophonist Azar Lawrence to mix. That the latter two instrumentalists had never seen each other until that night adds to Davis’ legend and penchant for bold, unorthodox moves.\r\n
      \r\n
      Ditto Davis’ own actions that spring evening, which reportedly included showing up to the show an hour late and taking the stage with his back facing the crowd. The strategy worked. Davis inspired the group to play in a bold manner that few, if any, had heard before. Dark Magus is a rhythmic bonanza. Rooted in Afro-centrist techniques, avante-garde sensibilities, and exploratory moods, the songs eschew set arrangements and solos, and, for the most part, melodic devices.\r\n
      \r\n
      For Davis, Dark Magus represented a personal triumph amid a period marked by health issues, addictions, and critical decline. The latter slight would be corrected, but not until decades later when Dark Magus saw Stateside release in 1997 via a CD reissue. Of course, the free-form patterns, unpredictable passages, dense structures, and distorted blues that course through the songs titled after Swahili numerals are not for everyone. And certainly not for the fainthearted. Though Dark Magus contains majestic moments marked by quiet restraint and something on the level of balladry, its rich and radical concoction of tormented thwacks, thumps, cracks, clatters, wails, bleeps, burbles, stomps, and enigmatic beats remains its adventurous heart and soul.\r\n
      \r\n
      Primal and enigmatic, fierce and jagged, forceful and revolutionary, jolting and terrifying, Dark Magus seemingly attacks from any and all directions. Turn it up loud and let the prophetic brilliance of this inimitable and relentlessly funky album wash over you.\r\n
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      \r\n
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      \r\n
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      Then there's "Straight, No Chaser", the absolutely definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's lobed borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and eye towards the future. A milestone if there ever was. And now, in resplendent mono.\r\n
      """
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      If anything, Milestones is as famous for its title track as the players that produced it. The launching pad for many of Davis' (and later, his contemporaries') improvisational flights, the singular piece invites the tessellated explorations Coltrane would forever chase as well as the headliner's argyle solo work, who broaches territories that far exceed what he had done with his bop-rooted past. Every song is a highlight, whether it's the bravado "No Jackle", featuring a hot-foot pace and bebop strains, or "Sid's Ahead", which continues the album's blues theme while tossing around edgy harmonics and inside-out structures.\r\n
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App\Twig\Components\AjoutMailNewsletterComponent {#3892
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  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3893 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3941 …}
  +isValidated: false
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}