Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2535
  -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 {#2382 …}
}

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

App\Twig\Components\ListePanier {#2612
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2615 …}
  -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 {#2614 …}
  -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 {#2382 …}
  -formView: Symfony\Component\Form\FormView {#2651 …}
  -form: Symfony\Component\Form\Form {#2801 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1841
    -id: 2183
    -nom: "1984 - (Box Set 2 LP) UltraDisc One-Step 45 RPM"
    -informationComplementaire: "AVAILABILITY : 2026 (subject Mobile Fidelity Sound Lab)"
    -description: """
      MASTERED FROM THE ORIGINAL MASTER TAPES AND PRESSED ON MOFI SUPERVINYL !\r\n
      \r\n
      Less than six years after changing the music landscape with its self-titled debut, Van Halen repeated the enormous feat. Certified 10 times-platinum by RIAA, graced by three immensely popular singles, and adorned with iconic artwork, 1984 witnesses the band expanding the synthesizer elements introduced on several prior albums and seamlessly bridging pop and metal sensibilities into a cohesive melodic whole. Punchy and catchy, glamorous and glitzy, blustery and heavy, wild and pyrotechnic, fast and fun, 1984 is David Lee Roth, Eddie Van Halen, Michael Anthony, and Alex Van Halen hitting on all cylinders. Do not wait to get this landmark on Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) box set, mastered from the original master tapes and pressed on MoFi SuperVinyl.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Alex Van Halen (drums, percussion, vocals), Edward Van Halen (guitar, keyboards, vocals), Michael Anthony (bass, vocals), David Lee Roth (vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=SwYN7mTi6HM"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-037"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. 1984"
      ]
      [
        "ordre" => 1
        "nom" => "2. Jump"
      ]
      [
        "ordre" => 2
        "nom" => "3. Panama"
      ]
      [
        "ordre" => 3
        "nom" => "4. Top Jimmy"
      ]
      [
        "ordre" => 4
        "nom" => "5. Drop Dead Legs"
      ]
      [
        "ordre" => 5
        "nom" => "6. Hot for Teacher"
      ]
      [
        "ordre" => 6
        "nom" => "7. I'll Wait"
      ]
      [
        "ordre" => 7
        "nom" => "8. Girl Gone Bad"
      ]
      [
        "ordre" => 8
        "nom" => "9. House of Pain"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …}
    -enregistreLe: DateTime @1640853612 {#1896
      date: 2021-12-30 08:40:12.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1770013236 {#1889
      date: 2026-02-02 06:20:36.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-1984-box-set-2-lp-ultradisc-one-step-45-rpm-mobile-fidelity-sound-lab-ud1s-037"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3076
  -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 {#2614 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#1841
    -id: 2183
    -nom: "1984 - (Box Set 2 LP) UltraDisc One-Step 45 RPM"
    -informationComplementaire: "AVAILABILITY : 2026 (subject Mobile Fidelity Sound Lab)"
    -description: """
      MASTERED FROM THE ORIGINAL MASTER TAPES AND PRESSED ON MOFI SUPERVINYL !\r\n
      \r\n
      Less than six years after changing the music landscape with its self-titled debut, Van Halen repeated the enormous feat. Certified 10 times-platinum by RIAA, graced by three immensely popular singles, and adorned with iconic artwork, 1984 witnesses the band expanding the synthesizer elements introduced on several prior albums and seamlessly bridging pop and metal sensibilities into a cohesive melodic whole. Punchy and catchy, glamorous and glitzy, blustery and heavy, wild and pyrotechnic, fast and fun, 1984 is David Lee Roth, Eddie Van Halen, Michael Anthony, and Alex Van Halen hitting on all cylinders. Do not wait to get this landmark on Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) box set, mastered from the original master tapes and pressed on MoFi SuperVinyl.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Alex Van Halen (drums, percussion, vocals), Edward Van Halen (guitar, keyboards, vocals), Michael Anthony (bass, vocals), David Lee Roth (vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=SwYN7mTi6HM"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-037"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. 1984"
      ]
      [
        "ordre" => 1
        "nom" => "2. Jump"
      ]
      [
        "ordre" => 2
        "nom" => "3. Panama"
      ]
      [
        "ordre" => 3
        "nom" => "4. Top Jimmy"
      ]
      [
        "ordre" => 4
        "nom" => "5. Drop Dead Legs"
      ]
      [
        "ordre" => 5
        "nom" => "6. Hot for Teacher"
      ]
      [
        "ordre" => 6
        "nom" => "7. I'll Wait"
      ]
      [
        "ordre" => 7
        "nom" => "8. Girl Gone Bad"
      ]
      [
        "ordre" => 8
        "nom" => "9. House of Pain"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …}
    -enregistreLe: DateTime @1640853612 {#1896
      date: 2021-12-30 08:40:12.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1770013236 {#1889
      date: 2026-02-02 06:20:36.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-1984-box-set-2-lp-ultradisc-one-step-45-rpm-mobile-fidelity-sound-lab-ud1s-037"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2382 …}
}

[
  "produit" => App\Entity\Produit {#2035
    -id: 2182
    -nom: "Diver Down - (Box Set 2 LP) UltraDisc One-Step 45 RPM"
    -informationComplementaire: "AVAILABILITY : 2025 (subject Mobile Fidelity Sound Lab)"
    -description: """
      PRESSED ON MOFI SUPERVINYL, THIS ULTRADISC ONE-STEP BOX SET SOUNDS INCREDIBLE !\r\n
      \r\n
      Van Halen's winning track record with cover songs can be traced back to its 1978 Diamond-certified debut. Yet the ambitious approach, which showed off the band's diversity, creativity, flair, and fun, took precedence like never before on Diver Down. Featuring five covers, many of which became radio staples, the record sprung from the band's desire to remain relevant while taking a breather after four massively successful records and their respective tours. More than four million copies later, suffice it to say Diver Down achieved its goal. Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and strictly limited and numbered, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) set is the definitive version of the 1982 album.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Alex Van Halen (drums), Eddie Van Halen (guitar), Jan Van Halen (clarinet), David Lee Roth (vocals), Michael Anthony (bass)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ke3ua0kLhYA"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-036"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Where Have All the Good Times Gone!"
      ]
      [
        "ordre" => 1
        "nom" => "2. Hang ‘Em High"
      ]
      [
        "ordre" => 2
        "nom" => "3. Cathedral"
      ]
      [
        "ordre" => 3
        "nom" => "4. Secrets"
      ]
      [
        "ordre" => 4
        "nom" => "5. Intruder"
      ]
      [
        "ordre" => 5
        "nom" => "6. (Oh) Pretty Woman"
      ]
      [
        "ordre" => 6
        "nom" => "7. Dancing in the Street"
      ]
      [
        "ordre" => 7
        "nom" => "8. Little Guitars (Intro)"
      ]
      [
        "ordre" => 8
        "nom" => "9. Little Guitars"
      ]
      [
        "ordre" => 9
        "nom" => "10. Big Bad Bill (Is Sweet William Now)"
      ]
      [
        "ordre" => 10
        "nom" => "11. The Full Bug"
      ]
      [
        "ordre" => 11
        "nom" => "12. Happy Trails"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2043 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2036 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2038 …}
    -enregistreLe: DateTime @1640775887 {#2032
      date: 2021-12-29 11:04:47.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1770012983 {#2033
      date: 2026-02-02 06:16:23.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2040 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-diver-down-box-set-2-lp-ultradisc-one-step-45-rpm-mobile-fidelity-sound-lab-ud1s-036"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3192
  -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 {#2614 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2035
    -id: 2182
    -nom: "Diver Down - (Box Set 2 LP) UltraDisc One-Step 45 RPM"
    -informationComplementaire: "AVAILABILITY : 2025 (subject Mobile Fidelity Sound Lab)"
    -description: """
      PRESSED ON MOFI SUPERVINYL, THIS ULTRADISC ONE-STEP BOX SET SOUNDS INCREDIBLE !\r\n
      \r\n
      Van Halen's winning track record with cover songs can be traced back to its 1978 Diamond-certified debut. Yet the ambitious approach, which showed off the band's diversity, creativity, flair, and fun, took precedence like never before on Diver Down. Featuring five covers, many of which became radio staples, the record sprung from the band's desire to remain relevant while taking a breather after four massively successful records and their respective tours. More than four million copies later, suffice it to say Diver Down achieved its goal. Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and strictly limited and numbered, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) set is the definitive version of the 1982 album.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Alex Van Halen (drums), Eddie Van Halen (guitar), Jan Van Halen (clarinet), David Lee Roth (vocals), Michael Anthony (bass)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ke3ua0kLhYA"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-036"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Where Have All the Good Times Gone!"
      ]
      [
        "ordre" => 1
        "nom" => "2. Hang ‘Em High"
      ]
      [
        "ordre" => 2
        "nom" => "3. Cathedral"
      ]
      [
        "ordre" => 3
        "nom" => "4. Secrets"
      ]
      [
        "ordre" => 4
        "nom" => "5. Intruder"
      ]
      [
        "ordre" => 5
        "nom" => "6. (Oh) Pretty Woman"
      ]
      [
        "ordre" => 6
        "nom" => "7. Dancing in the Street"
      ]
      [
        "ordre" => 7
        "nom" => "8. Little Guitars (Intro)"
      ]
      [
        "ordre" => 8
        "nom" => "9. Little Guitars"
      ]
      [
        "ordre" => 9
        "nom" => "10. Big Bad Bill (Is Sweet William Now)"
      ]
      [
        "ordre" => 10
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[
  "produit" => App\Entity\Produit {#2048
    -id: 2180
    -nom: "Van Halen II - (Box Set 2 LP) UltraDisc One-Step 45 RPM"
    -informationComplementaire: null
    -description: """
      DANCE THE NIGHT AWAY WITH MOBILE FIDELITY'S FULLY RESTORED ULTRADISC ONE-STEP BOX SET !\r\n
      \r\n
      How do you follow up one of the most groundbreaking albums ever made ? For Van Halen, the answer was obvious. Treading the same path the band took to stardom on its debut, and upping the fun factor and musicianship, Van Halen II extinguished any possibilities of a sophomore slump. Leveraging its years of experience as a tight-knit live band, and drawing on material initially recorded for its professional demos with Kiss leader Gene Simmons, the quartet completed the 1979 set in under a month while inviting fans to "dance the night away". Did they ever. Van Halen II's brilliance continues to resonate today. Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and strictly limited and numbered, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) set of Van Halen II lets it all hang out.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Alex Van Halen (drums), Edward Van Halen (guitar), Michael Anthony (bass), David Lee Roth (vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=vl0TqgbVRaI"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-033"
    -titreMorceau: [
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        "nom" => "3. Somebody Get Me a Doctor"
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        "nom" => "5. Outta Love Again"
      ]
      [
        "ordre" => 5
        "nom" => "6. Light Up the Sky"
      ]
      [
        "ordre" => 6
        "nom" => "7. Spanish Fly"
      ]
      [
        "ordre" => 7
        "nom" => "8. D.O.A."
      ]
      [
        "ordre" => 8
        "nom" => "9. Women in Love..."
      ]
      [
        "ordre" => 9
        "nom" => "10. Beautiful Girls"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3240
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2614 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2048
    -id: 2180
    -nom: "Van Halen II - (Box Set 2 LP) UltraDisc One-Step 45 RPM"
    -informationComplementaire: null
    -description: """
      DANCE THE NIGHT AWAY WITH MOBILE FIDELITY'S FULLY RESTORED ULTRADISC ONE-STEP BOX SET !\r\n
      \r\n
      How do you follow up one of the most groundbreaking albums ever made ? For Van Halen, the answer was obvious. Treading the same path the band took to stardom on its debut, and upping the fun factor and musicianship, Van Halen II extinguished any possibilities of a sophomore slump. Leveraging its years of experience as a tight-knit live band, and drawing on material initially recorded for its professional demos with Kiss leader Gene Simmons, the quartet completed the 1979 set in under a month while inviting fans to "dance the night away". Did they ever. Van Halen II's brilliance continues to resonate today. Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and strictly limited and numbered, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) set of Van Halen II lets it all hang out.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Alex Van Halen (drums), Edward Van Halen (guitar), Michael Anthony (bass), David Lee Roth (vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=vl0TqgbVRaI"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-033"
    -titreMorceau: [
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      [
        "ordre" => 5
        "nom" => "6. Light Up the Sky"
      ]
      [
        "ordre" => 6
        "nom" => "7. Spanish Fly"
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      [
        "ordre" => 7
        "nom" => "8. D.O.A."
      ]
      [
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        "nom" => "9. Women in Love..."
      ]
      [
        "ordre" => 9
        "nom" => "10. Beautiful Girls"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
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    }
    -modifierLe: DateTime @1770012783 {#2046
      date: 2026-02-02 06:13:03.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2382 …}
}

[
  "produit" => App\Entity\Produit {#2061
    -id: 2336
    -nom: "Excitable Boy (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - SOURCED FROM THE ORIGINAL ANALOG TAPES FOR DEFINITIVE SOUND !\r\n
      - 1/4" / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Excitable Boy established Warren Zevon as rock's gonzo figurehead or, as Jackson Browne aptly called him, "the first and foremost proponent of song noir". A supreme collision of over-caffeinated energy, acerbic wit, dark humor, irreverent reporting, bittersweet romance, swept-under-the-rug truth, and illicit desire sent up with booze, pills, and therapist confessions, the breakthrough album zeroes in on frightening aspects of American culture with an incisiveness that's even sharper today than upon the effort's release in 1978. And the music has never sounded so excitable.\r\n
      \r\n
      Sourced from the original analog master tapes and pressed on dead-quiet vinyl, Mobile Fidelity's numbered-edition 180 gram 45 RPM (2 LP) set elevates the best-selling album of Zevon's distinguished career to audiophile status. Co-produced by Browne and Waddy Wachtel and featuring contributions by members of Fleetwood Mac plus Linda Rondstadt, J.D. Souther, Leland Sklar, and Browne the platinum-certified record now plays with a verve and explosivity that match its subject matter. Listeners will experience wide separation between the instruments; full-range dynamics that underscore the depth of the arrangements; sterling transparency that draws a through-line to the original sessions at the Sound Factory; warmth on a par with the finest analog recordings; presence that elevates the body and tenor of Zevon's vocals; and an openness and balance resulting from the freedom that Browne and Wachtel afforded recording engineer Greg Ladanyi.\r\n
      \r\n
      That lenience coincides with the record's primary themes and speaks to the freewheeling spirit in which it was made. Excitable Boy delightfully teeters on the verge of chaos and, often, causes us to question what the zany singer-songwriter has gotten into (and what he is going on about). Not yet two years removed from his critically acclaimed self-titled major-label debut, Zevon had already established a fabled reputation for debauchery and grown more perceptive about the twisted underbelly and self-destructive nature of U.S. politics and society.\r\n
      \r\n
      The singer's astuteness and lethal combination of the personal and public – proves intoxicating. Excitable Boy comes on as a seamless collection of nine hard-boiled stories owing to a tradition established by Raymond Chandler, continued by Hunter S. Thompson, and carried into the 21st century by "Breaking Bad" and "Better Call Saul" creator Vince Gilligan. We may want to close our eyes and turn away from his reports, but Zevon makes doing so impossible. The protagonists' actions, behaviors, appetites, and decisions are too intriguing and forthright; their impact hits too close to home. We mingle, stare, draw closer. In a perverse way, Excitable Boy is our shared carnage a wickedly funny and ever-germane pile of wreckage.\r\n
      \r\n
      Nowhere is that more evident than in Zevon's tales involving America's domestic and foreign enterprise. In "Roland the Headless Thompson Gunner", co-written with former mercenary David Lindell, Zevon crafts a story of bloodshed, vengeance, and profiteering starring a mercenary who fights in the Congo Crisis only to get exterminated by the CIA because of his killing skills. Yet the soldier of fortune gets the last laugh : Resurrected as a ghost, he slays his assassin, and, like a zombie, roams the landscape for eternity. "Veracruz" is similarly sobering and historically rooted. Based on the U.S. occupation of the port city during the Mexican Revolution, Zevon's account – hitched to a gorgeous arrangement simultaneously offers a sympathetic view of those crushed by U.S. transgressions and functions as a smart take on the past.\r\n
      \r\n
      Ghosts of the present haunt the title track, a berserk affair sent up with a lively doo-wop chorus and lilting barroom piano. Titled after a nickname friends gave Zevon, "Excitable Boy" foreshadowed the government's decision to slash mental health-care budgets and involves the same concepts of privilege explored throughout the record. Speaking of privilege : The cascading "Lawyers, Guns, and Money" written after Zevon and a colleague joked about being bailed out of a precarious situation by Warner Bros. president Joe Smith addresses personal entitlement and U.S. diplomacy in no uncertain terms.\r\n
      \r\n
      Ironically, and likely intentionally, Zevon sets up everything by opening the record with its most upbeat and innocuous track, "Johnny Strikes Up the Band". The mid-tempo adrenaline shot turns sadness to joy while suggesting that the material that will follow will adhere to the same vibe. Consider the song Zevon's way of displaying his shrewdness via the sequencing of a long-playing record. Though he gives listeners a breather with "Nighttime in the Switching Yard" and hints at calm on "Tenderness on the Block", the serenity of the latter gets shattered by what he says in between the lines of the verses.\r\n
      \r\n
      There's nothing subtle about "Werewolves of London", a cult-favorite hit that stemmed from Zevon's association with Phil Everly. Akin to those in Bob Dylan's "Desolation Row", the deceptively comedic lyrics blend pop culture with classically grotesque imagery en route to establishing a riotous storyline. Dubbed a "dumb song for smart people" by Zevon, the cut zoomed into the Billboard Top 30 and remains beloved for its fun-spirited "ah-hoo" choral bits. Its appeal is fitting. Like the hairy creatures in the song and the ghosts wandering the corridors of Excitable Boy, Zevon's legacy still runs amok via the grooves of his finest studio work. Draw blood, indeed.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Warren Zevon (piano, organ, synthesizer, vocals), Jorge Calderón backing vocals, Spanish vocals), Danny Kortchmar (guitar, percussion), Russ Kunkel (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=69lcRB1qco8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-513"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Johnny Strikes Up the Band "
      ]
      [
        "ordre" => 2
        "nom" => "2. Roland the Headless Thompson Gunner "
      ]
      [
        "ordre" => 3
        "nom" => "3. Excitable Boy "
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Werewolves of London "
      ]
      [
        "ordre" => 6
        "nom" => "2. Accidentally Like a Martyr "
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Nighttime in the Switching Yard "
      ]
      [
        "ordre" => 9
        "nom" => "2. Veracruz "
      ]
      [
        "ordre" => 10
        "nom" => "Side D : "
      ]
      [
        "ordre" => 11
        "nom" => "1. Tenderness on the Block "
      ]
      [
        "ordre" => 12
        "nom" => "2. Lawyers, Guns, and Money"
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2063 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2072 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2065 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2067 …}
    -enregistreLe: DateTime @1671179661 {#2058
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    }
    -modifierLe: DateTime @1769964815 {#2059
      date: 2026-02-01 16:53:35.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2069 …}
    -disponible: null
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    -slug: "vinyles-excitable-boy-2-lp-45-rpm-mobile-fidelity-sound-lab-mfsl-2-513"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3286
  -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 {#2614 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2061
    -id: 2336
    -nom: "Excitable Boy (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - SOURCED FROM THE ORIGINAL ANALOG TAPES FOR DEFINITIVE SOUND !\r\n
      - 1/4" / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Excitable Boy established Warren Zevon as rock's gonzo figurehead or, as Jackson Browne aptly called him, "the first and foremost proponent of song noir". A supreme collision of over-caffeinated energy, acerbic wit, dark humor, irreverent reporting, bittersweet romance, swept-under-the-rug truth, and illicit desire sent up with booze, pills, and therapist confessions, the breakthrough album zeroes in on frightening aspects of American culture with an incisiveness that's even sharper today than upon the effort's release in 1978. And the music has never sounded so excitable.\r\n
      \r\n
      Sourced from the original analog master tapes and pressed on dead-quiet vinyl, Mobile Fidelity's numbered-edition 180 gram 45 RPM (2 LP) set elevates the best-selling album of Zevon's distinguished career to audiophile status. Co-produced by Browne and Waddy Wachtel and featuring contributions by members of Fleetwood Mac plus Linda Rondstadt, J.D. Souther, Leland Sklar, and Browne the platinum-certified record now plays with a verve and explosivity that match its subject matter. Listeners will experience wide separation between the instruments; full-range dynamics that underscore the depth of the arrangements; sterling transparency that draws a through-line to the original sessions at the Sound Factory; warmth on a par with the finest analog recordings; presence that elevates the body and tenor of Zevon's vocals; and an openness and balance resulting from the freedom that Browne and Wachtel afforded recording engineer Greg Ladanyi.\r\n
      \r\n
      That lenience coincides with the record's primary themes and speaks to the freewheeling spirit in which it was made. Excitable Boy delightfully teeters on the verge of chaos and, often, causes us to question what the zany singer-songwriter has gotten into (and what he is going on about). Not yet two years removed from his critically acclaimed self-titled major-label debut, Zevon had already established a fabled reputation for debauchery and grown more perceptive about the twisted underbelly and self-destructive nature of U.S. politics and society.\r\n
      \r\n
      The singer's astuteness and lethal combination of the personal and public – proves intoxicating. Excitable Boy comes on as a seamless collection of nine hard-boiled stories owing to a tradition established by Raymond Chandler, continued by Hunter S. Thompson, and carried into the 21st century by "Breaking Bad" and "Better Call Saul" creator Vince Gilligan. We may want to close our eyes and turn away from his reports, but Zevon makes doing so impossible. The protagonists' actions, behaviors, appetites, and decisions are too intriguing and forthright; their impact hits too close to home. We mingle, stare, draw closer. In a perverse way, Excitable Boy is our shared carnage a wickedly funny and ever-germane pile of wreckage.\r\n
      \r\n
      Nowhere is that more evident than in Zevon's tales involving America's domestic and foreign enterprise. In "Roland the Headless Thompson Gunner", co-written with former mercenary David Lindell, Zevon crafts a story of bloodshed, vengeance, and profiteering starring a mercenary who fights in the Congo Crisis only to get exterminated by the CIA because of his killing skills. Yet the soldier of fortune gets the last laugh : Resurrected as a ghost, he slays his assassin, and, like a zombie, roams the landscape for eternity. "Veracruz" is similarly sobering and historically rooted. Based on the U.S. occupation of the port city during the Mexican Revolution, Zevon's account – hitched to a gorgeous arrangement simultaneously offers a sympathetic view of those crushed by U.S. transgressions and functions as a smart take on the past.\r\n
      \r\n
      Ghosts of the present haunt the title track, a berserk affair sent up with a lively doo-wop chorus and lilting barroom piano. Titled after a nickname friends gave Zevon, "Excitable Boy" foreshadowed the government's decision to slash mental health-care budgets and involves the same concepts of privilege explored throughout the record. Speaking of privilege : The cascading "Lawyers, Guns, and Money" written after Zevon and a colleague joked about being bailed out of a precarious situation by Warner Bros. president Joe Smith addresses personal entitlement and U.S. diplomacy in no uncertain terms.\r\n
      \r\n
      Ironically, and likely intentionally, Zevon sets up everything by opening the record with its most upbeat and innocuous track, "Johnny Strikes Up the Band". The mid-tempo adrenaline shot turns sadness to joy while suggesting that the material that will follow will adhere to the same vibe. Consider the song Zevon's way of displaying his shrewdness via the sequencing of a long-playing record. Though he gives listeners a breather with "Nighttime in the Switching Yard" and hints at calm on "Tenderness on the Block", the serenity of the latter gets shattered by what he says in between the lines of the verses.\r\n
      \r\n
      There's nothing subtle about "Werewolves of London", a cult-favorite hit that stemmed from Zevon's association with Phil Everly. Akin to those in Bob Dylan's "Desolation Row", the deceptively comedic lyrics blend pop culture with classically grotesque imagery en route to establishing a riotous storyline. Dubbed a "dumb song for smart people" by Zevon, the cut zoomed into the Billboard Top 30 and remains beloved for its fun-spirited "ah-hoo" choral bits. Its appeal is fitting. Like the hairy creatures in the song and the ghosts wandering the corridors of Excitable Boy, Zevon's legacy still runs amok via the grooves of his finest studio work. Draw blood, indeed.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Warren Zevon (piano, organ, synthesizer, vocals), Jorge Calderón backing vocals, Spanish vocals), Danny Kortchmar (guitar, percussion), Russ Kunkel (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=69lcRB1qco8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-513"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Johnny Strikes Up the Band "
      ]
      [
        "ordre" => 2
        "nom" => "2. Roland the Headless Thompson Gunner "
      ]
      [
        "ordre" => 3
        "nom" => "3. Excitable Boy "
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Werewolves of London "
      ]
      [
        "ordre" => 6
        "nom" => "2. Accidentally Like a Martyr "
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Nighttime in the Switching Yard "
      ]
      [
        "ordre" => 9
        "nom" => "2. Veracruz "
      ]
      [
        "ordre" => 10
        "nom" => "Side D : "
      ]
      [
        "ordre" => 11
        "nom" => "1. Tenderness on the Block "
      ]
      [
        "ordre" => 12
        "nom" => "2. Lawyers, Guns, and Money"
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2063 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2072 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2065 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
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    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2067 …}
    -enregistreLe: DateTime @1671179661 {#2058
      date: 2022-12-16 08:34:21.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769964815 {#2059
      date: 2026-02-01 16:53:35.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2069 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-excitable-boy-2-lp-45-rpm-mobile-fidelity-sound-lab-mfsl-2-513"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2382 …}
}

[
  "produit" => App\Entity\Produit {#2077
    -id: 2438
    -nom: "Whitney"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Whitney Houston (vocals), Marc Russo (alto saxophone, horns), Randy Jackson (synthesizer, electric bass), Kenny G (tenor saxophone), Fred Zarr, Jack Waldman, Frank Martin, Randy Jackson, Michael Boddicker (synthesizer), Robbie Buchanan (piano, electric piano Fender Rhodes), Kashif, Ralph Schukett, Preston Glass (keyboards, synthesizer), Vincent Henry (saxophone), Roy Ayers (vibraphone), Nathan East, Marcus Miller (bass), Dan Huff, Ira Siegel, Paul Pesco (guitar), Shambhu Neil Vineberg (acoustic guitar), Jerry Hey, Premik Russell Tubbs, Wayne Wallace (horns), Randy Kerber (acoustic piano), Jennifer Hall, Jim Gilstrap, Kevin Dorsey, Kitty Beethoven, Myrna Matthews, Nikki Harris, Kashif, Claytoven Richardson, Cissy Houston (backing vocals), Figueroa (percussion), Paul Rekow (congas), Greg "Gigi" Gonaway, Bashiri Johnson, Paulinho Da Costa, Sammy Figueroa (percussion), John Robinson, Narada, Paul Leim (drums).\r\n
      \r\n
      - MASTERED FROM THE ORIGINAL MASTER TAPES AND PRESSED AT RTI ON MOFI SUPERVINYL FOR SPECTACULAR SOUND !\r\n
      - 1/2" / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Whitney did more than turn Whitney Houston into a pioneering sensation known around the world by her first name. Originally released in June 1987, the singer's blockbuster sophomore record became the first album by a female artist to debut at No. 1 on the Billboard 200 chart a position it claimed for a total of 11 weeks en route to selling more than 10 million copies in the U.S. The Diamond platinum effort also contains four N° 1 Hot 100 hits that, when combined with the three chart toppers from her 1985 debut, gave her seven consecutive N° 1 singles an accomplishment that no other artist has accomplished. Commercially and creatively, Whitney stands on hallowed ground especially now that the record plays with a sound that puts into perspective just how extraordinary, engaging, and vital Houston's music remains.\r\n
      \r\n
      Mastered from the original master tapes and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's 180 gram 33 RPM SuperVinyl LP of Whitney invites listeners to experience the Rock & Roll Hall of Fame inductee's pivotal album in audiophile quality for the very first time. Free of the dynamic limitations and tonal flatness prevalent on prior vinyl and CD pressings, it lets the music breathe and reveals the copious detail, nuance, and texture within the immaculately produced songs. MoFi's SuperVinyl profile offers further advantages in the forms of a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition.\r\n
      \r\n
      In addition to featuring extreme clarity and immediacy, this numbered-edition reissue does wonders for the attribute that inspired more than 20 million people around the globe to add Whitney to their record collections: that inimitable voice. Houston's trademark mezzo-soprano an acrobatic instrument equally capable of taking off on fantastic flights and unwinding for hushed meditations benefits from the fantastic airiness and transparency afforded by this meticulously restored edition. Whitney has never sounded or looked better. The crossover landmark deserves nothing less.\r\n
      \r\n
      Issued just two years after Houston's breakthrough debut, Whitney immediately signaled the genre-defying singer's intent to continue to push ahead and expand her palette. Shot by photographer Richard Avedon, the album cover depicts an iconic image of Houston captured with a gleaming smile, bright eyes, teased-out afro, toned arms, and a right hand that appears to wave a friendly hello whose active, athletic profile stands in contrast to the extremely formal sit-down shot of her that graces her '85 record. The change is telling: Whitney overflows with unfettered joy, rhythmic vibes, and deep-seated emotions that forever endeared her to the hearts and minds of countless listeners and which set the standard for the wave after wave of divas that followed in her footsteps.\r\n
      \r\n
      It's no coincidence that the first track on Whitney is the declarative "I Wanna Dance with Somebody (Who Loves Me)". Like Michael Jackson's "Billie Jean" and Madonna's "Material Girl," the feel-good smash is one of the quintessential '80s gems a lithe, melodic, celebratory release of pent-up energy and loneliness that glides across club floors, shouts to the rooftops, and shrugs off any concerns about vulnerability or embarrassment. Houston's swooping voice moves in sync with the sleek beats and dipping-and-diving synths. She practically takes her fellow musicians by their hand and leads them in a blissful dance that nobody would dare sidestep. Focusing on Houston's singing a task made challenging only because of the impossible-to-ignore hooks and grooves showcases the virtuosic facets of not only her register but her control, discipline, smoothness, and warmth.\r\n
      \r\n
      That she replicates those feats for the entirety of the nearly 53 minute-long album makes Whitney that much more special. Houston reaches back and channels her childhood gospel training on the R&B-flared "So Emotional"; effortlessly slips into Quiet Storm mode on the duet with her mother, gospel great Cissy Houston, on "I Know Him So Well"; flirts with smooth jazz and collaborates with tenor saxophonist Kenny G on the lush "Just the Lonely Talking Again"; conjures dreamscapes and shadow-boxes with supple funk on a romantic cover of the Isley Brothers' "For the Love of You"; and, for the majestic power ballad "Didn't We Almost Have It All," displays the sky-scraping reach of her vocals amid a grand arrangement made even bigger by Houston's sweeping performance and triumphant finish.\r\n
      \r\n
      Houston's once-in-a-generation talents weren't lost on the adoring public, radio deejays, or industry experts. In addition to harboring four N° 1 hits and receiving nominations for four Grammy Awards, Whitney generated another Top 10 success in the guise of the Afro-Cuban-leaning "Love Will Save the Day". The album also netted Houston four American Music Awards; two Billboard Music Awards; back-to-back People's Choice Awards; a Soul Train Award; and various other accolades. It all makes the crux of the Washington Post's July '87 review of the album appear prophetic : "Her voice sounds stronger still and the songs are varied but so consistent she could garner 10 Top 10s out of a field of 11".\r\n
      \r\n
      That claim still holds true. A brilliant fusion of pop, R&B, smooth jazz, and soul, Whitney is a showstopper and one of the key reasons Houston is the most-awarded female artist of all time.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1878 …}
    -musicienOrchestre: "Whitney Houston (vocals), Marc Russo (alto saxophone, horns), Randy Jackson (synthesizer, electric bass), Kenny G (tenor saxophone),  Fred Zarr, Jack Waldman, Frank Martin, Randy Jackson, Michael Boddicker (synthesizer)..."
    -sonMusic: App\Enum\SonMusicEnum {#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=eH3giaIzONA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSV 1-529"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. I Wanna Dance with Somebody (Who Loves Me)"
      ]
      [
        "ordre" => 2
        "nom" => "2. Just the Lonely Talking Again"
      ]
      [
        "ordre" => 3
        "nom" => "3. Love Will Save the Day"
      ]
      [
        "ordre" => 4
        "nom" => "4. Didn't We Almost Have It All"
      ]
      [
        "ordre" => 5
        "nom" => "5. So Emotional"
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Where You Are"
      ]
      [
        "ordre" => 8
        "nom" => "2. Love Is a Contact Sport"
      ]
      [
        "ordre" => 9
        "nom" => "3. You're Still My Man"
      ]
      [
        "ordre" => 10
        "nom" => "4. For the Love of You"
      ]
      [
        "ordre" => 11
        "nom" => "5. Where Do Broken Hearts Go"
      ]
      [
        "ordre" => 12
        "nom" => "6. I Know Him So Well"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2079 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2088 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2081 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2083 …}
    -enregistreLe: DateTime @1685860973 {#2074
      date: 2023-06-04 06:42:53.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769964228 {#2075
      date: 2026-02-01 16:43:48.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2085 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-whitney-mobile-fidelity-sound-lab-mfsv-1-529"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3337
  -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 {#2614 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2077
    -id: 2438
    -nom: "Whitney"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Whitney Houston (vocals), Marc Russo (alto saxophone, horns), Randy Jackson (synthesizer, electric bass), Kenny G (tenor saxophone), Fred Zarr, Jack Waldman, Frank Martin, Randy Jackson, Michael Boddicker (synthesizer), Robbie Buchanan (piano, electric piano Fender Rhodes), Kashif, Ralph Schukett, Preston Glass (keyboards, synthesizer), Vincent Henry (saxophone), Roy Ayers (vibraphone), Nathan East, Marcus Miller (bass), Dan Huff, Ira Siegel, Paul Pesco (guitar), Shambhu Neil Vineberg (acoustic guitar), Jerry Hey, Premik Russell Tubbs, Wayne Wallace (horns), Randy Kerber (acoustic piano), Jennifer Hall, Jim Gilstrap, Kevin Dorsey, Kitty Beethoven, Myrna Matthews, Nikki Harris, Kashif, Claytoven Richardson, Cissy Houston (backing vocals), Figueroa (percussion), Paul Rekow (congas), Greg "Gigi" Gonaway, Bashiri Johnson, Paulinho Da Costa, Sammy Figueroa (percussion), John Robinson, Narada, Paul Leim (drums).\r\n
      \r\n
      - MASTERED FROM THE ORIGINAL MASTER TAPES AND PRESSED AT RTI ON MOFI SUPERVINYL FOR SPECTACULAR SOUND !\r\n
      - 1/2" / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Whitney did more than turn Whitney Houston into a pioneering sensation known around the world by her first name. Originally released in June 1987, the singer's blockbuster sophomore record became the first album by a female artist to debut at No. 1 on the Billboard 200 chart a position it claimed for a total of 11 weeks en route to selling more than 10 million copies in the U.S. The Diamond platinum effort also contains four N° 1 Hot 100 hits that, when combined with the three chart toppers from her 1985 debut, gave her seven consecutive N° 1 singles an accomplishment that no other artist has accomplished. Commercially and creatively, Whitney stands on hallowed ground especially now that the record plays with a sound that puts into perspective just how extraordinary, engaging, and vital Houston's music remains.\r\n
      \r\n
      Mastered from the original master tapes and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's 180 gram 33 RPM SuperVinyl LP of Whitney invites listeners to experience the Rock & Roll Hall of Fame inductee's pivotal album in audiophile quality for the very first time. Free of the dynamic limitations and tonal flatness prevalent on prior vinyl and CD pressings, it lets the music breathe and reveals the copious detail, nuance, and texture within the immaculately produced songs. MoFi's SuperVinyl profile offers further advantages in the forms of a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition.\r\n
      \r\n
      In addition to featuring extreme clarity and immediacy, this numbered-edition reissue does wonders for the attribute that inspired more than 20 million people around the globe to add Whitney to their record collections: that inimitable voice. Houston's trademark mezzo-soprano an acrobatic instrument equally capable of taking off on fantastic flights and unwinding for hushed meditations benefits from the fantastic airiness and transparency afforded by this meticulously restored edition. Whitney has never sounded or looked better. The crossover landmark deserves nothing less.\r\n
      \r\n
      Issued just two years after Houston's breakthrough debut, Whitney immediately signaled the genre-defying singer's intent to continue to push ahead and expand her palette. Shot by photographer Richard Avedon, the album cover depicts an iconic image of Houston captured with a gleaming smile, bright eyes, teased-out afro, toned arms, and a right hand that appears to wave a friendly hello whose active, athletic profile stands in contrast to the extremely formal sit-down shot of her that graces her '85 record. The change is telling: Whitney overflows with unfettered joy, rhythmic vibes, and deep-seated emotions that forever endeared her to the hearts and minds of countless listeners and which set the standard for the wave after wave of divas that followed in her footsteps.\r\n
      \r\n
      It's no coincidence that the first track on Whitney is the declarative "I Wanna Dance with Somebody (Who Loves Me)". Like Michael Jackson's "Billie Jean" and Madonna's "Material Girl," the feel-good smash is one of the quintessential '80s gems a lithe, melodic, celebratory release of pent-up energy and loneliness that glides across club floors, shouts to the rooftops, and shrugs off any concerns about vulnerability or embarrassment. Houston's swooping voice moves in sync with the sleek beats and dipping-and-diving synths. She practically takes her fellow musicians by their hand and leads them in a blissful dance that nobody would dare sidestep. Focusing on Houston's singing a task made challenging only because of the impossible-to-ignore hooks and grooves showcases the virtuosic facets of not only her register but her control, discipline, smoothness, and warmth.\r\n
      \r\n
      That she replicates those feats for the entirety of the nearly 53 minute-long album makes Whitney that much more special. Houston reaches back and channels her childhood gospel training on the R&B-flared "So Emotional"; effortlessly slips into Quiet Storm mode on the duet with her mother, gospel great Cissy Houston, on "I Know Him So Well"; flirts with smooth jazz and collaborates with tenor saxophonist Kenny G on the lush "Just the Lonely Talking Again"; conjures dreamscapes and shadow-boxes with supple funk on a romantic cover of the Isley Brothers' "For the Love of You"; and, for the majestic power ballad "Didn't We Almost Have It All," displays the sky-scraping reach of her vocals amid a grand arrangement made even bigger by Houston's sweeping performance and triumphant finish.\r\n
      \r\n
      Houston's once-in-a-generation talents weren't lost on the adoring public, radio deejays, or industry experts. In addition to harboring four N° 1 hits and receiving nominations for four Grammy Awards, Whitney generated another Top 10 success in the guise of the Afro-Cuban-leaning "Love Will Save the Day". The album also netted Houston four American Music Awards; two Billboard Music Awards; back-to-back People's Choice Awards; a Soul Train Award; and various other accolades. It all makes the crux of the Washington Post's July '87 review of the album appear prophetic : "Her voice sounds stronger still and the songs are varied but so consistent she could garner 10 Top 10s out of a field of 11".\r\n
      \r\n
      That claim still holds true. A brilliant fusion of pop, R&B, smooth jazz, and soul, Whitney is a showstopper and one of the key reasons Houston is the most-awarded female artist of all time.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1878 …}
    -musicienOrchestre: "Whitney Houston (vocals), Marc Russo (alto saxophone, horns), Randy Jackson (synthesizer, electric bass), Kenny G (tenor saxophone),  Fred Zarr, Jack Waldman, Frank Martin, Randy Jackson, Michael Boddicker (synthesizer)..."
    -sonMusic: App\Enum\SonMusicEnum {#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=eH3giaIzONA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSV 1-529"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. I Wanna Dance with Somebody (Who Loves Me)"
      ]
      [
        "ordre" => 2
        "nom" => "2. Just the Lonely Talking Again"
      ]
      [
        "ordre" => 3
        "nom" => "3. Love Will Save the Day"
      ]
      [
        "ordre" => 4
        "nom" => "4. Didn't We Almost Have It All"
      ]
      [
        "ordre" => 5
        "nom" => "5. So Emotional"
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Where You Are"
      ]
      [
        "ordre" => 8
        "nom" => "2. Love Is a Contact Sport"
      ]
      [
        "ordre" => 9
        "nom" => "3. You're Still My Man"
      ]
      [
        "ordre" => 10
        "nom" => "4. For the Love of You"
      ]
      [
        "ordre" => 11
        "nom" => "5. Where Do Broken Hearts Go"
      ]
      [
        "ordre" => 12
        "nom" => "6. I Know Him So Well"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2079 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2088 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2081 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2083 …}
    -enregistreLe: DateTime @1685860973 {#2074
      date: 2023-06-04 06:42:53.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769964228 {#2075
      date: 2026-02-01 16:43:48.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2085 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-whitney-mobile-fidelity-sound-lab-mfsv-1-529"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2382 …}
}

[
  "produit" => App\Entity\Produit {#2093
    -id: 2440
    -nom: "KC and the Sunshine Band"
    -informationComplementaire: null
    -description: """
      MASTERED ON MOBILE FIDELITY'S WORLD-RENOWNED MASTERING SYSTEM AND PRESSED AT RTI: WAIT UNTIL YOU HEAR HOW DEEP AND LOW THE GROOVES GO\r\n
      \r\n
      1/4" / 15 IPS analog copy to analog console to lathe\r\n
      \r\n
      It's okay to admit it. While few openly confess their love for KC and the Sunshine Band, who among us doesn't light up the instant that the super-catchy "Get Down Tonight" or giddy sing-a-long invitation "That's the Way (I Like It)" begins to play ? Yeah, just by reading that last sentence, it's likely you're already humming the tune in your head, or feeling a twitch in your feet. The music is that addictive. And that universally recognized. It's time you finally enjoy it on a pressing that brings everything that's been buried in those deep grooves to the surface.\r\n
      \r\n
      Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, Silver Label numbered-edition LP presents the 1975 triple-platinum smash in the absolute best sound it's ever had. The ensemble's brassy horns, funky guitars, tropical percussion, and snappy vocals take their respective place amidst a gargantuan soundstage that, in your listening room, will double as a discothèque. Get your dancing shoes ready !\r\n
      \r\n
      Coming from a musical strain then known as the Miami Sound, KC and the Sunshine Band perfected its mix of boisterous rhythms, disco-floor grooves, slick funk riffs, R&B hooks, carefree choruses, and dance commands on this self-titled release. The world immediately took notice. Focused on nothing but fun, letting go, and channeling feel-good emotions, the group revolutionized pop music by getting even the most hardened, resistant rock purists to embrace its appeal.\r\n
      \r\n
      There isn't a better record with which to start or continue a party. Synonymous with celebrations, commemorations, and just blowing off steam, mega-hits "That's the Way (I Like It)" and "Get Down Tonight" transcend boundaries and generations. If you're within earshot, you will get up and dance. In addition to being utterly irresistible songs, guilty pleasure or not, the fare on KC and the Sunshine Band qualifies as simply great pop, the arrangements, playing, and consistency as good as it gets. As for the grooves? Man, keep 'em flowing.\r\n
      \r\n
      Rather than live in secrecy or settle for an inferior version, go ahead, indulge yourself, and grab this 70s classic on remastered, audiophile-grade vinyl. You'll be surprised at the amount of new information that's revealed, whether it's the depth of the low frequencies or timbral properties of the horns.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3388
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  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
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    -id: 2440
    -nom: "KC and the Sunshine Band"
    -informationComplementaire: null
    -description: """
      MASTERED ON MOBILE FIDELITY'S WORLD-RENOWNED MASTERING SYSTEM AND PRESSED AT RTI: WAIT UNTIL YOU HEAR HOW DEEP AND LOW THE GROOVES GO\r\n
      \r\n
      1/4" / 15 IPS analog copy to analog console to lathe\r\n
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      It's okay to admit it. While few openly confess their love for KC and the Sunshine Band, who among us doesn't light up the instant that the super-catchy "Get Down Tonight" or giddy sing-a-long invitation "That's the Way (I Like It)" begins to play ? Yeah, just by reading that last sentence, it's likely you're already humming the tune in your head, or feeling a twitch in your feet. The music is that addictive. And that universally recognized. It's time you finally enjoy it on a pressing that brings everything that's been buried in those deep grooves to the surface.\r\n
      \r\n
      Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, Silver Label numbered-edition LP presents the 1975 triple-platinum smash in the absolute best sound it's ever had. The ensemble's brassy horns, funky guitars, tropical percussion, and snappy vocals take their respective place amidst a gargantuan soundstage that, in your listening room, will double as a discothèque. Get your dancing shoes ready !\r\n
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      Rather than live in secrecy or settle for an inferior version, go ahead, indulge yourself, and grab this 70s classic on remastered, audiophile-grade vinyl. You'll be surprised at the amount of new information that's revealed, whether it's the depth of the low frequencies or timbral properties of the horns.
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2095 …}
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[
  "produit" => App\Entity\Produit {#2109
    -id: 2342
    -nom: "Hejira - (2 LP) 45 RPM UltraDisc One-Step"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Joni Mitchell (acoustic & electric guitar, vocals), Chuck Findley, Tom Scott (horns), Abe Most (clarinet), Neil Young (harmonica), Victor Feldman (vibraphone), Larry Carlton (electric guitar), Max Bennett (bass guitar), Jaco Pastorius (fretless bass), Chuck Domanico (double bass), Bobbye Hall (percussion), John Guerin (drums)  \r\n
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      - Mastering Source to Be Determined Closer to Production Date; Specifics Will Be Posted Here When Authenticated !\r\n
      \r\n
      The eccentric title of Joni Mitchell's eighth studio album, Hejira, reflects the liberating circumstances that inspired the revered record as well as the explorative nature of the restless music, dense songwriting, and resilient moods. A transliterate reference to the migration of the prophet Mohammad in the seventh century, the term to Mitchell symbolized the sensation of "leaving the dream, no blame" or, "running away, honorably." Largely written as Mitchell traveled alone across the United States and came to terms with her own mental, emotional, and physical health, the sparsely arranged Hejira is the sound of starting over; embracing change; meditating on the divide between free will and possession; channeling the colors, looks, and feelings of landscapes seen and imagined. The 1976 work deemed the 133rd Greatest Album of All Time by Rolling Stone also features Mitchell diving into the deep end of the jazz spectrum and partnering on several songs with virtuosic bassist and fellow sonic cosmonaut Jaco Pastorius. Viewed by many fans as the Canadian native's finest hour, Hejira comes across like nine short films that will linger in your mind on Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM 2 LP box set.
      """
    -prixVente: "249.50"
    -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=i4KBohkaHDE"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S2-053"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2111 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3439
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2614 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2109
    -id: 2342
    -nom: "Hejira - (2 LP) 45 RPM UltraDisc One-Step"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Joni Mitchell (acoustic & electric guitar, vocals), Chuck Findley, Tom Scott (horns), Abe Most (clarinet), Neil Young (harmonica), Victor Feldman (vibraphone), Larry Carlton (electric guitar), Max Bennett (bass guitar), Jaco Pastorius (fretless bass), Chuck Domanico (double bass), Bobbye Hall (percussion), John Guerin (drums)  \r\n
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      """
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      date: 2026-01-30 18:45:24.0 UTC (+00:00)
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[
  "produit" => App\Entity\Produit {#2125
    -id: 2569
    -nom: "Court and Spark - (2 LP) 45 RPM UltraDisc One-Step"
    -informationComplementaire: null
    -description: """
      - Joni Mitchell Counterbalances Love and Trust with Freedom and Confusion on Court and Spark : Ranked the 110th Greatest Album of All Time by Rolling Stone !\r\n
      - Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) Plays with Definitive Detail and Clarity : Pressed on MoFi SuperVinyl and Strictly Limited to 5000 Numbered Copies, Box Set Includes New Liner Notes !\r\n
      - 1/4” / 15 IPS / Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Court and Spark, the most commercially successful album of Joni Mitchell's trailblazing career, arrived after a year in which she took some time to breathe and kept a low profile. The pause led to more breakthroughs for the singer-songwriter. Marking Mitchell's increasing drift toward jazz (and affinity for Miles Davis and John Coltrane), Court and Spark garnered four Grammy nominations, earned the Best Album of the Year vote in the prestigious Pazz & Jop poll, and ranks #110 on Rolling Stone’s list of the 500 Greatest Albums of All Time.\r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, strictly limited to 5,000 numbered copies, and featuring new liner notes, Mobile Fidelity's UltraDisc One-Step 180 ram 45 RPM (2 LP) box set presents the 1974 classic with definitive detail, tonality, and directness. Marking the first time the revered LP has received audiophile-quality treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on vinyl and SACD sets.\r\n
      \r\n
      Benefitting from a virtually nonexistent noise floor, dead-quiet surfaces, and superior groove definition, this collectible edition reproduces without compromise the textures, details, and breathtaking craftsmanship that help make Court and Spark into what many fans believe is the Canadian native’s finest hour. Notes bloom and decay as they do amid an acoustic live environment. Soundstages extend far and deep, with black backgrounds and balanced tones adding to the uncanny realism.\r\n
      \r\n
      The reference-grade presence and openness put in transparent view Mitchell’s incisive words and unique phrasing, as well as the contributions of her prized support musicians including Tom Scott and the L.A. Express as well as guest turns by the likes of David Crosby, Graham Nash, Jose Feliciano, and Robbie Robertson. Mitchell, experimenting with the melodic parameters of guitar and piano, is rightly found at the center of it all. The jazz-rock rhythms of drummer John Guerin, slippery guitar lines of Larry Carlton, vibrant horns and reeds laid down by Scott crucial to the songs’ shape-shifting arrangements — can now also be heard with fresh ears. \r\n
      \r\n
      Visually and physically, the packaging of the Court and Spark UD1S set complements its distinguished status. Housed in a deluxe slipcase, both LPs come in foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. This reissue is for listeners who desire to engage themselves in everything involved with the album, including Mitchell’s “The Mountain Loves the Sea” painting a picture of waves embracing and receding away from a mountain, a metaphor for the record’s lyrical themes on the cover art.\r\n
      \r\n
      Pitching deceptively light compositions against underlying tensions, Court and Spark witnesses the singer-songwriter finding her footing with a group of top-shelf musicians who seemingly understand her visions as well as expanding her lyrical palette and venturing further into territory no artist had dared explore. Mitchell’s accessibly complex structures, beat-propelled rhythms, and spirited interplay with Scott & Co. both give the music a different identity than her prior efforts and point in the directions she soon headed.\r\n
      \r\n
      Lyrically, Court and Spark matches the wit, integrity, originality, and intellect of anything in Mitchell’s oeuvre no small feat. Offsetting positives with negatives, and considering circumstances from multiple angles, Mitchell explores issues connected to love and freedom, certainty and confusion, and trust and fear with unfettered boldness and introspective empathy. She teeters between surrender and retreat, and spends a majority of the record sussing out the complications and sacrifices involved with such actions. \r\n
      \r\n
      Mitchell addresses the transactional nature of desire (the intimate title track, the upbeat “Raised on Robbery”, complete with rock ‘n’ roll pep from Robertson and zesty sax from Scott); anticipation and disappointment of romance (“Car on a Hill”, “”Down to You); fame and celebrity (“A Free Man in Paris”, “People’s Parties”); and sanity (the dark and stormy “Trouble Child”, a satirical cover of Annie Ross’ “Twisted”). Throughout, she sings with an emotionally penetrating beauty and devastating honesty that teaches about ourselves. \r\n
      \r\n
      Or, as Mitchell relays on “People’s Parties”: “Laughing and crying/You know it’s the same release”.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Joni Mitchell (piano, vocals), Jim Hughart, Max Bennett, Wilton Felder (bass), Larry Carlton (electric guitar), Joe Sample (electric piano), Tom Scott (woodwind, reeds), John Guerin (drums, percussion),"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=XZLVYoO6r9g"
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        "nom" => "11. Twisted"
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      date: 2026-01-30 18:40:32.0 UTC (+00:00)
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App\Twig\Components\GestionPanierFavoriComponents {#3492
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2614 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2125
    -id: 2569
    -nom: "Court and Spark - (2 LP) 45 RPM UltraDisc One-Step"
    -informationComplementaire: null
    -description: """
      - Joni Mitchell Counterbalances Love and Trust with Freedom and Confusion on Court and Spark : Ranked the 110th Greatest Album of All Time by Rolling Stone !\r\n
      - Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) Plays with Definitive Detail and Clarity : Pressed on MoFi SuperVinyl and Strictly Limited to 5000 Numbered Copies, Box Set Includes New Liner Notes !\r\n
      - 1/4” / 15 IPS / Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Court and Spark, the most commercially successful album of Joni Mitchell's trailblazing career, arrived after a year in which she took some time to breathe and kept a low profile. The pause led to more breakthroughs for the singer-songwriter. Marking Mitchell's increasing drift toward jazz (and affinity for Miles Davis and John Coltrane), Court and Spark garnered four Grammy nominations, earned the Best Album of the Year vote in the prestigious Pazz & Jop poll, and ranks #110 on Rolling Stone’s list of the 500 Greatest Albums of All Time.\r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, strictly limited to 5,000 numbered copies, and featuring new liner notes, Mobile Fidelity's UltraDisc One-Step 180 ram 45 RPM (2 LP) box set presents the 1974 classic with definitive detail, tonality, and directness. Marking the first time the revered LP has received audiophile-quality treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on vinyl and SACD sets.\r\n
      \r\n
      Benefitting from a virtually nonexistent noise floor, dead-quiet surfaces, and superior groove definition, this collectible edition reproduces without compromise the textures, details, and breathtaking craftsmanship that help make Court and Spark into what many fans believe is the Canadian native’s finest hour. Notes bloom and decay as they do amid an acoustic live environment. Soundstages extend far and deep, with black backgrounds and balanced tones adding to the uncanny realism.\r\n
      \r\n
      The reference-grade presence and openness put in transparent view Mitchell’s incisive words and unique phrasing, as well as the contributions of her prized support musicians including Tom Scott and the L.A. Express as well as guest turns by the likes of David Crosby, Graham Nash, Jose Feliciano, and Robbie Robertson. Mitchell, experimenting with the melodic parameters of guitar and piano, is rightly found at the center of it all. The jazz-rock rhythms of drummer John Guerin, slippery guitar lines of Larry Carlton, vibrant horns and reeds laid down by Scott crucial to the songs’ shape-shifting arrangements — can now also be heard with fresh ears. \r\n
      \r\n
      Visually and physically, the packaging of the Court and Spark UD1S set complements its distinguished status. Housed in a deluxe slipcase, both LPs come in foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. This reissue is for listeners who desire to engage themselves in everything involved with the album, including Mitchell’s “The Mountain Loves the Sea” painting a picture of waves embracing and receding away from a mountain, a metaphor for the record’s lyrical themes on the cover art.\r\n
      \r\n
      Pitching deceptively light compositions against underlying tensions, Court and Spark witnesses the singer-songwriter finding her footing with a group of top-shelf musicians who seemingly understand her visions as well as expanding her lyrical palette and venturing further into territory no artist had dared explore. Mitchell’s accessibly complex structures, beat-propelled rhythms, and spirited interplay with Scott & Co. both give the music a different identity than her prior efforts and point in the directions she soon headed.\r\n
      \r\n
      Lyrically, Court and Spark matches the wit, integrity, originality, and intellect of anything in Mitchell’s oeuvre no small feat. Offsetting positives with negatives, and considering circumstances from multiple angles, Mitchell explores issues connected to love and freedom, certainty and confusion, and trust and fear with unfettered boldness and introspective empathy. She teeters between surrender and retreat, and spends a majority of the record sussing out the complications and sacrifices involved with such actions. \r\n
      \r\n
      Mitchell addresses the transactional nature of desire (the intimate title track, the upbeat “Raised on Robbery”, complete with rock ‘n’ roll pep from Robertson and zesty sax from Scott); anticipation and disappointment of romance (“Car on a Hill”, “”Down to You); fame and celebrity (“A Free Man in Paris”, “People’s Parties”); and sanity (the dark and stormy “Trouble Child”, a satirical cover of Annie Ross’ “Twisted”). Throughout, she sings with an emotionally penetrating beauty and devastating honesty that teaches about ourselves. \r\n
      \r\n
      Or, as Mitchell relays on “People’s Parties”: “Laughing and crying/You know it’s the same release”.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Joni Mitchell (piano, vocals), Jim Hughart, Max Bennett, Wilton Felder (bass), Larry Carlton (electric guitar), Joe Sample (electric piano), Tom Scott (woodwind, reeds), John Guerin (drums, percussion),"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=XZLVYoO6r9g"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-052"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => " 1. Court And Spark"
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      ]
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2111 …}
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[
  "produit" => App\Entity\Produit {#2138
    -id: 2340
    -nom: "Ladies Of The Canyon - (2 LP) 45 RPM Ultradisc One-Step"
    -informationComplementaire: null
    -description: """
      - ULTRADISC ONE-STEP PRESENTS LANDMARK 1970 ALBUM IN UNPARALLELED SOUND !\r\n
      - Mastering Source to Be Determined Closer to Production Date; Specifics Will Be Posted Here When Authenticated !\r\n
      \r\n
      Ladies of the Canyon can be viewed as Joni Mitchell's coming-out party. Having recently moved to Lookout Mountain in Los Angeles' Laurel Canyon area – her house is depicted in a watercolor painting she made for the record's cover – the Canadian icon turned to her immediate surroundings for inspiration all the while taking the pulse of national affairs, corporate enterprise, celebrity, and her relationship with Graham Nash. The rather upbeat Ladies of the Canyon also finds the singer-songwriter morphing into the groundbreaker who would shed folk music's constructs and wade into pop, jazz, soul, and poetry with a combination of depth, sophistication, self-examination, and acumen no one had ever heard. Deemed "powerful and brilliant" upon release by The New York Times, this 1970 set marks the first of six consecutive masterworks Mitchell made and an album that deserves to be heard in the finest-possible fidelity on Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM 2 LP box set.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Joni Mitchell (guitars, keyboards, vocals), Teresa Adams (cello),  Paul Horn (clarinet, flute), Jim Horn (baritone saxophone), The Lookout Mountain United Downstairs Choir (vocal chorus), Milt Holland (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=j_g8QQubIdA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL MFSL45UD1S2-049"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "1. Morning Morgantown "
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        "ordre" => 1
        "nom" => "2. For Free "
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        "ordre" => 2
        "nom" => "3. Conversation "
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        "nom" => "4. Ladies of the Canyon "
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        "nom" => "10. Big Yellow Taxi \t11."
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        "nom" => "12. The Circle Game"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2111 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -slug: "vinyles-ladies-of-the-canyon-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-mfsl-mfsl45ud1s2-049"
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App\Twig\Components\GestionPanierFavoriComponents {#3540
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2614 …}
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  +produit: App\Entity\Produit {#2138
    -id: 2340
    -nom: "Ladies Of The Canyon - (2 LP) 45 RPM Ultradisc One-Step"
    -informationComplementaire: null
    -description: """
      - ULTRADISC ONE-STEP PRESENTS LANDMARK 1970 ALBUM IN UNPARALLELED SOUND !\r\n
      - Mastering Source to Be Determined Closer to Production Date; Specifics Will Be Posted Here When Authenticated !\r\n
      \r\n
      Ladies of the Canyon can be viewed as Joni Mitchell's coming-out party. Having recently moved to Lookout Mountain in Los Angeles' Laurel Canyon area – her house is depicted in a watercolor painting she made for the record's cover – the Canadian icon turned to her immediate surroundings for inspiration all the while taking the pulse of national affairs, corporate enterprise, celebrity, and her relationship with Graham Nash. The rather upbeat Ladies of the Canyon also finds the singer-songwriter morphing into the groundbreaker who would shed folk music's constructs and wade into pop, jazz, soul, and poetry with a combination of depth, sophistication, self-examination, and acumen no one had ever heard. Deemed "powerful and brilliant" upon release by The New York Times, this 1970 set marks the first of six consecutive masterworks Mitchell made and an album that deserves to be heard in the finest-possible fidelity on Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM 2 LP box set.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Joni Mitchell (guitars, keyboards, vocals), Teresa Adams (cello),  Paul Horn (clarinet, flute), Jim Horn (baritone saxophone), The Lookout Mountain United Downstairs Choir (vocal chorus), Milt Holland (percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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        "nom" => "12. The Circle Game"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2111 …}
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      date: 2022-12-19 09:08:47.0 UTC (+00:00)
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    -modifierLe: DateTime @1769798217 {#2136
      date: 2026-01-30 18:36:57.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -slug: "vinyles-ladies-of-the-canyon-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-mfsl-mfsl45ud1s2-049"
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[
  "produit" => App\Entity\Produit {#2151
    -id: 2339
    -nom: "Blue - (2 LP) 45 RPM Ultradisc One-Step"
    -informationComplementaire: null
    -description: """
      - BLUE REACHES NEW AUDIOPHILE HEIGHTS ON ULTRADISC ONE-STEP !\r\n
      - 1/4" / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Blue would literally change everything shortly after its release in June 1971. But what's even more remarkable about Joni Mitchell's exponentially influential and emotionally candid fourth record is that, more than 50 years later, the largely autobiographical work continues to alter contemporary music, cultural, and songwriting landscapes. Deemed the third Greatest Album of All Time by Rolling Stone; universally celebrated by critics, fans, artists, and educators; and defined by a spell of disarmingly vulnerable songs at once confessional, intense, spare, honest, painful, hopeful, and exquisite, Blue charts love, spiritualism, independence, and loss like no record before or since. It is the epitome of brilliance and sounds more intimate, involving, and inescapable than ever on MoFi SuperVinyl via Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM 2 LP box set.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Joni Mitchell (guitar, piano, vocals), Stephen Stills (bass, guitar), James Taylor (guitar), Sneeky Pete (pedal steel guitar), Russ Kunkel (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=Wq2jhs19_V8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S2-050"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "1. All I Want "
      ]
      [
        "ordre" => 1
        "nom" => "2. My Old Man "
      ]
      [
        "ordre" => 2
        "nom" => "3. Little Green "
      ]
      [
        "ordre" => 3
        "nom" => "4. Carey "
      ]
      [
        "ordre" => 4
        "nom" => "5. Blue "
      ]
      [
        "ordre" => 5
        "nom" => "6. California "
      ]
      [
        "ordre" => 6
        "nom" => "7. This Flight Tonight "
      ]
      [
        "ordre" => 7
        "nom" => "8. River "
      ]
      [
        "ordre" => 8
        "nom" => "9. A Case of You "
      ]
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        "ordre" => 9
        "nom" => "10. The Last Time I Saw Richard"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2111 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3588
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2614 …}
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    -id: 2339
    -nom: "Blue - (2 LP) 45 RPM Ultradisc One-Step"
    -informationComplementaire: null
    -description: """
      - BLUE REACHES NEW AUDIOPHILE HEIGHTS ON ULTRADISC ONE-STEP !\r\n
      - 1/4" / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Blue would literally change everything shortly after its release in June 1971. But what's even more remarkable about Joni Mitchell's exponentially influential and emotionally candid fourth record is that, more than 50 years later, the largely autobiographical work continues to alter contemporary music, cultural, and songwriting landscapes. Deemed the third Greatest Album of All Time by Rolling Stone; universally celebrated by critics, fans, artists, and educators; and defined by a spell of disarmingly vulnerable songs at once confessional, intense, spare, honest, painful, hopeful, and exquisite, Blue charts love, spiritualism, independence, and loss like no record before or since. It is the epitome of brilliance and sounds more intimate, involving, and inescapable than ever on MoFi SuperVinyl via Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM 2 LP box set.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Joni Mitchell (guitar, piano, vocals), Stephen Stills (bass, guitar), James Taylor (guitar), Sneeky Pete (pedal steel guitar), Russ Kunkel (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
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    -extraitYoutube: "https://www.youtube.com/watch?v=Wq2jhs19_V8"
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        "nom" => "10. The Last Time I Saw Richard"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2111 …}
    -label: App\Entity\Label {#1063 …}
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[
  "produit" => App\Entity\Produit {#2164
    -id: 2536
    -nom: "At Folsom Prison"
    -informationComplementaire: null
    -description: """
      - The 1968 album that made Johnny Cash a music legend !\r\n
      - 180 gram double LP, 45 RPM !\r\n
      - 1/4" / 15 ips analog master to DSD 256 to analog console to lathe !\r\n
      - Double LP set plays arresting immediacy, spaciousness, and directness !\r\n
      \r\n
      Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution's forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He'd played there two years prior. But this time was different.\r\n
      \r\n
      Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.\r\n
      \r\n
      Mastered on MoFi's renowned mastering system at its California studio and housed in a Stoughton gatefold jacket, Mobile Fidelity's numbered-edition 180 gram 45 RPM (2 LP) set of At Folsom Prison veritably places you in the cafeteria with the hootin' and hollerin' prisoners with which Cash felt a mutual chemistry, sympathy, and spirit. A through-line to the no-frills rawness that helps make this landmark record among the most genuine documents ever committed to tape, this audiophile reissue presents what transpired that winter day with a fullness, directness, spaciousness, and dynamic absent prior editions.\r\n
      \r\n
      You can hear it echo off the walls of the room; pulse through the Tennessee Three's itchy, acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash's knockout singing. The bedrock foundation of all his music, the singer's baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him and the extent he was living the narratives.\r\n
      \r\n
      Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions mental, emotional, physical, geographical, legal, social the inmates confronted on a daily basis. Beginning with the explicit messages of the opening "Folsom Prison Blues", Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That's how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.\r\n
      \r\n
      Listen to the sorrow, regret, pity, and loneliness of Merle Travis' "Dark as the Dungeon", Cash pulling syllables until they threaten to break and inhabiting the mood of bleak phrases such as "pleasures are few" and "the sun never shines". Witness the isolation, dejection, and sadness punctuating the walking-blues "I Still Miss Someone", matched in gravity by a solemn reading of "The Long Black Veil" a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of "Send a Picture of Mother" and plainspoken version of Harlan Howard's "The Wall", detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.\r\n
      \r\n
      In chronicling temptations, mistakes, mortality, punishment, and life "inside" — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant "At Folsom Prison" also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of "Cocaine Blues", taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of "25 Minutes to Go"; quicksilver accents and resigned acceptance of "I Got Stripes"; train-whistle blare and twangy locomotion of "Folsom Prison Blues" all fight the law only to see the law win.\r\n
      \r\n
      Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day's first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black's soon-to-be-wife, June Carter. The couple's fiery duet on "Jackson" scorches; their combination of surrender and fortitude "Give My Love to Rose" puts us in the dying protagonist's shoes.\r\n
      \r\n
      And with the closing "Greystone Chapel", famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he'd return for the remainder of his illustrious career.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Johnny Cash (guitar, vocals), Luther Perkins (electric guitar), Carl Perkins (electric guitar, vocals), Marshall Grant (bass), June Carter Cash, The Statler Brothers (vocals), The Carter Family (guitar, vocals), Randall Martin, W.S. Holland (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: true
    -extraitYoutube: "https://www.youtube.com/watch?v=GpZ-2HDJzFw"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-543"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Folsom Prison Blues"
      ]
      [
        "ordre" => 2
        "nom" => "2. Dark As The Dungeon"
      ]
      [
        "ordre" => 3
        "nom" => "3. I Still Miss Someone"
      ]
      [
        "ordre" => 4
        "nom" => "4. Cocaine Blues"
      ]
      [
        "ordre" => 5
        "nom" => "Side B : "
      ]
      [
        "ordre" => 6
        "nom" => "1. 25 Minutes To Go"
      ]
      [
        "ordre" => 7
        "nom" => "2. Orange Blossom Special"
      ]
      [
        "ordre" => 8
        "nom" => "3. The Long Black Veil"
      ]
      [
        "ordre" => 9
        "nom" => "Side C :"
      ]
      [
        "ordre" => 10
        "nom" => "1. Send A Picture Of Mother"
      ]
      [
        "ordre" => 11
        "nom" => "2. The Wall"
      ]
      [
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        "nom" => "3. Dirty Old Eggsuckin' Dog"
      ]
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        "nom" => "4. Flushed From The Bathroom Of Your Heart"
      ]
      [
        "ordre" => 14
        "nom" => "5. Jackson - with June Carter"
      ]
      [
        "ordre" => 15
        "nom" => "Side D : "
      ]
      [
        "ordre" => 16
        "nom" => "1. Give My Love To Rose - with June Carter"
      ]
      [
        "ordre" => 17
        "nom" => "2. I Got Stripes"
      ]
      [
        "ordre" => 18
        "nom" => "3. Green, Green Grass Of Home"
      ]
      [
        "ordre" => 19
        "nom" => "4. Greystone Chapel"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2166 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1458 …}
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    -modifierLe: DateTime @1769797122 {#2162
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3634
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2614 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2164
    -id: 2536
    -nom: "At Folsom Prison"
    -informationComplementaire: null
    -description: """
      - The 1968 album that made Johnny Cash a music legend !\r\n
      - 180 gram double LP, 45 RPM !\r\n
      - 1/4" / 15 ips analog master to DSD 256 to analog console to lathe !\r\n
      - Double LP set plays arresting immediacy, spaciousness, and directness !\r\n
      \r\n
      Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution's forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He'd played there two years prior. But this time was different.\r\n
      \r\n
      Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.\r\n
      \r\n
      Mastered on MoFi's renowned mastering system at its California studio and housed in a Stoughton gatefold jacket, Mobile Fidelity's numbered-edition 180 gram 45 RPM (2 LP) set of At Folsom Prison veritably places you in the cafeteria with the hootin' and hollerin' prisoners with which Cash felt a mutual chemistry, sympathy, and spirit. A through-line to the no-frills rawness that helps make this landmark record among the most genuine documents ever committed to tape, this audiophile reissue presents what transpired that winter day with a fullness, directness, spaciousness, and dynamic absent prior editions.\r\n
      \r\n
      You can hear it echo off the walls of the room; pulse through the Tennessee Three's itchy, acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash's knockout singing. The bedrock foundation of all his music, the singer's baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him and the extent he was living the narratives.\r\n
      \r\n
      Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions mental, emotional, physical, geographical, legal, social the inmates confronted on a daily basis. Beginning with the explicit messages of the opening "Folsom Prison Blues", Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That's how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.\r\n
      \r\n
      Listen to the sorrow, regret, pity, and loneliness of Merle Travis' "Dark as the Dungeon", Cash pulling syllables until they threaten to break and inhabiting the mood of bleak phrases such as "pleasures are few" and "the sun never shines". Witness the isolation, dejection, and sadness punctuating the walking-blues "I Still Miss Someone", matched in gravity by a solemn reading of "The Long Black Veil" a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of "Send a Picture of Mother" and plainspoken version of Harlan Howard's "The Wall", detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.\r\n
      \r\n
      In chronicling temptations, mistakes, mortality, punishment, and life "inside" — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant "At Folsom Prison" also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of "Cocaine Blues", taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of "25 Minutes to Go"; quicksilver accents and resigned acceptance of "I Got Stripes"; train-whistle blare and twangy locomotion of "Folsom Prison Blues" all fight the law only to see the law win.\r\n
      \r\n
      Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day's first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black's soon-to-be-wife, June Carter. The couple's fiery duet on "Jackson" scorches; their combination of surrender and fortitude "Give My Love to Rose" puts us in the dying protagonist's shoes.\r\n
      \r\n
      And with the closing "Greystone Chapel", famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he'd return for the remainder of his illustrious career.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Johnny Cash (guitar, vocals), Luther Perkins (electric guitar), Carl Perkins (electric guitar, vocals), Marshall Grant (bass), June Carter Cash, The Statler Brothers (vocals), The Carter Family (guitar, vocals), Randall Martin, W.S. Holland (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: true
    -extraitYoutube: "https://www.youtube.com/watch?v=GpZ-2HDJzFw"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-543"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
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        "ordre" => 1
        "nom" => "1. Folsom Prison Blues"
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        "ordre" => 2
        "nom" => "2. Dark As The Dungeon"
      ]
      [
        "ordre" => 3
        "nom" => "3. I Still Miss Someone"
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      [
        "ordre" => 4
        "nom" => "4. Cocaine Blues"
      ]
      [
        "ordre" => 5
        "nom" => "Side B : "
      ]
      [
        "ordre" => 6
        "nom" => "1. 25 Minutes To Go"
      ]
      [
        "ordre" => 7
        "nom" => "2. Orange Blossom Special"
      ]
      [
        "ordre" => 8
        "nom" => "3. The Long Black Veil"
      ]
      [
        "ordre" => 9
        "nom" => "Side C :"
      ]
      [
        "ordre" => 10
        "nom" => "1. Send A Picture Of Mother"
      ]
      [
        "ordre" => 11
        "nom" => "2. The Wall"
      ]
      [
        "ordre" => 12
        "nom" => "3. Dirty Old Eggsuckin' Dog"
      ]
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        "nom" => "4. Flushed From The Bathroom Of Your Heart"
      ]
      [
        "ordre" => 14
        "nom" => "5. Jackson - with June Carter"
      ]
      [
        "ordre" => 15
        "nom" => "Side D : "
      ]
      [
        "ordre" => 16
        "nom" => "1. Give My Love To Rose - with June Carter"
      ]
      [
        "ordre" => 17
        "nom" => "2. I Got Stripes"
      ]
      [
        "ordre" => 18
        "nom" => "3. Green, Green Grass Of Home"
      ]
      [
        "ordre" => 19
        "nom" => "4. Greystone Chapel"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2166 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1458 …}
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    -morceauMP3: Doctrine\ORM\PersistentCollection {#2168 …}
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    }
    -modifierLe: DateTime @1769797122 {#2162
      date: 2026-01-30 18:18:42.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2172 …}
    -disponible: null
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    -slug: "vinyles-at-folsom-prison-mobile-fidelity-sound-lab-mfsl-2-543"
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[
  "produit" => App\Entity\Produit {#2180
    -id: 867
    -nom: "Volunteers"
    -informationComplementaire: null
    -description: """
      Awash in controversy and loaded with revolutionary protest, Jefferson Airplane's Volunteers stands as the last album made by the group's classic lineup and brings insurgent closure to the peace-and-love era. The potent 1969 record confronts war, politics, greed, and environmental ruin in head-on fashion matched by few peers. Steeped in the belief people and music could transform the world, it steers the band in community-minded and county-rock directions, and features charged playing by guest luminaries such as Jerry Garcia, Stephen Stills, David Crosby, and Nicky Hopkins. Volunteers also benefits from being one of the first 16 track recordings. And now, the historic set can be heard in the fidelity the artists and producers intended.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180 gram 45 RPM 2LP set of Volunteers teems with soul-affirming energy, dynamics, immediacy, and standout textures. The wider and deeper grooves translate into finer pacing, enhanced information retrieval, and superior transparency. Soundstages stretch far and extend back, with instrumental separation giving all of the musicians their own place in the mix. As a result, subtle albeit important details – Hopkins' rollicking piano, guitarist Norma Kaukonen's biting tones, Garcia's deft pedal-steel work – emerge in three-dimensional fashion amidst a musical canvas that manages to be both edgy and produced, raw and revealing. Jefferson Airplane has never sounded more vital.\r\n
      \r\n
      Much had changed in America – and within Jefferson Airplane – in just the two short years since the release of the San Francisco collective's breakthrough smash Surrealistic Pillow. The countercultural movement had darkened, government involvement in Vietnam escalated, and regard for human rights fallen. Retreating from the excessive experimentalism that graced its prior two LPs, the Airplane responded to the social circumstances with defiant, assured, and cohesive songs shot through with driving psychedelia, crunchy acid-rock, and rustic country. From start to finish, it's the aural equivalent of a demonstration march.\r\n
      \r\n
      Having drawn attention for the inclusion of profanities in multiple tunes, the Top 20 LP also ran up against the nonprofit Volunteers of America after the sextet wanted to title the record Volunteers of Amerika in order to express further dissatisfaction with the country. While Grace Slick and Co. gave into the charity's desires to switch the name, there's nothing compromising about Volunteers. Kaukonen's leads cut searing swaths through urgent fare like "Eskimo Blue Day" and anthemic "We Can Be Together", which boldly speaks out against convention and in favor of chaos and anarchy.\r\n
      \r\n
      Indeed, in organizing a pseudo summit of many of the counterculture's leading musical figures to participate on Volunteers, the Airplane treats the album as an orchestrated stance against the establishment. Stills and Crosby assist in rocking the boat on a turbulent cover of "Wooden Ships" lined with Slick and Marty Balin's overlapping lead vocals. Hopkins gooses the call-to-arms title track with frisky boogie-woogie lines. Garcia lends "The Farm" a suitable rustic vibe, and on his final appearance with the Airplane, drummer Spencer Dryden helms the pastoral sing-a-long "A Song for All Seasons".\r\n
      \r\n
      Ranked #373 on Rolling Stone's 500 Greatest Albums of All Time, Volunteers remains a cultural and musical touchstone.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Jorma Kaukonen (guitar), Jerry Garcia (steel guitar), Steven Stills (organ), Jack Casady (bass), Nicky Hopkins (piano), Grace Slick, Marty Balin, Paul Kantner (vocals), Joey Covington (percussion), Spencer Dryden (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=zZKaCVNJ0hg"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-457"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. We Can Be Together"
      ]
      [
        "ordre" => 2
        "nom" => "2. Good Shepherd"
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
      ]
      [
        "ordre" => 4
        "nom" => "1. The Farm"
      ]
      [
        "ordre" => 5
        "nom" => "2. Hey Frederick"
      ]
      [
        "ordre" => 6
        "nom" => "Side C : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Turn My Life Down"
      ]
      [
        "ordre" => 8
        "nom" => "2. Wooden Ships"
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
      [
        "ordre" => 10
        "nom" => "1. Eskimo Blue Day"
      ]
      [
        "ordre" => 11
        "nom" => "2. A Song for All Seasons"
      ]
      [
        "ordre" => 12
        "nom" => "3. Meadowlands"
      ]
      [
        "ordre" => 13
        "nom" => "4. Volunteers"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2182 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2191 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2184 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2186 …}
    -enregistreLe: DateTime @1455018574 {#2177
      date: 2016-02-09 11:49:34.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769585072 {#2178
      date: 2026-01-28 07:24:32.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2188 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-volunteers-mobile-fidelity-sound-lab-mfsl-2-457"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3685
  -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 {#2614 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2180
    -id: 867
    -nom: "Volunteers"
    -informationComplementaire: null
    -description: """
      Awash in controversy and loaded with revolutionary protest, Jefferson Airplane's Volunteers stands as the last album made by the group's classic lineup and brings insurgent closure to the peace-and-love era. The potent 1969 record confronts war, politics, greed, and environmental ruin in head-on fashion matched by few peers. Steeped in the belief people and music could transform the world, it steers the band in community-minded and county-rock directions, and features charged playing by guest luminaries such as Jerry Garcia, Stephen Stills, David Crosby, and Nicky Hopkins. Volunteers also benefits from being one of the first 16 track recordings. And now, the historic set can be heard in the fidelity the artists and producers intended.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180 gram 45 RPM 2LP set of Volunteers teems with soul-affirming energy, dynamics, immediacy, and standout textures. The wider and deeper grooves translate into finer pacing, enhanced information retrieval, and superior transparency. Soundstages stretch far and extend back, with instrumental separation giving all of the musicians their own place in the mix. As a result, subtle albeit important details – Hopkins' rollicking piano, guitarist Norma Kaukonen's biting tones, Garcia's deft pedal-steel work – emerge in three-dimensional fashion amidst a musical canvas that manages to be both edgy and produced, raw and revealing. Jefferson Airplane has never sounded more vital.\r\n
      \r\n
      Much had changed in America – and within Jefferson Airplane – in just the two short years since the release of the San Francisco collective's breakthrough smash Surrealistic Pillow. The countercultural movement had darkened, government involvement in Vietnam escalated, and regard for human rights fallen. Retreating from the excessive experimentalism that graced its prior two LPs, the Airplane responded to the social circumstances with defiant, assured, and cohesive songs shot through with driving psychedelia, crunchy acid-rock, and rustic country. From start to finish, it's the aural equivalent of a demonstration march.\r\n
      \r\n
      Having drawn attention for the inclusion of profanities in multiple tunes, the Top 20 LP also ran up against the nonprofit Volunteers of America after the sextet wanted to title the record Volunteers of Amerika in order to express further dissatisfaction with the country. While Grace Slick and Co. gave into the charity's desires to switch the name, there's nothing compromising about Volunteers. Kaukonen's leads cut searing swaths through urgent fare like "Eskimo Blue Day" and anthemic "We Can Be Together", which boldly speaks out against convention and in favor of chaos and anarchy.\r\n
      \r\n
      Indeed, in organizing a pseudo summit of many of the counterculture's leading musical figures to participate on Volunteers, the Airplane treats the album as an orchestrated stance against the establishment. Stills and Crosby assist in rocking the boat on a turbulent cover of "Wooden Ships" lined with Slick and Marty Balin's overlapping lead vocals. Hopkins gooses the call-to-arms title track with frisky boogie-woogie lines. Garcia lends "The Farm" a suitable rustic vibe, and on his final appearance with the Airplane, drummer Spencer Dryden helms the pastoral sing-a-long "A Song for All Seasons".\r\n
      \r\n
      Ranked #373 on Rolling Stone's 500 Greatest Albums of All Time, Volunteers remains a cultural and musical touchstone.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Jorma Kaukonen (guitar), Jerry Garcia (steel guitar), Steven Stills (organ), Jack Casady (bass), Nicky Hopkins (piano), Grace Slick, Marty Balin, Paul Kantner (vocals), Joey Covington (percussion), Spencer Dryden (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=zZKaCVNJ0hg"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-457"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. We Can Be Together"
      ]
      [
        "ordre" => 2
        "nom" => "2. Good Shepherd"
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
      ]
      [
        "ordre" => 4
        "nom" => "1. The Farm"
      ]
      [
        "ordre" => 5
        "nom" => "2. Hey Frederick"
      ]
      [
        "ordre" => 6
        "nom" => "Side C : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Turn My Life Down"
      ]
      [
        "ordre" => 8
        "nom" => "2. Wooden Ships"
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
      [
        "ordre" => 10
        "nom" => "1. Eskimo Blue Day"
      ]
      [
        "ordre" => 11
        "nom" => "2. A Song for All Seasons"
      ]
      [
        "ordre" => 12
        "nom" => "3. Meadowlands"
      ]
      [
        "ordre" => 13
        "nom" => "4. Volunteers"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2182 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2191 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2184 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2186 …}
    -enregistreLe: DateTime @1455018574 {#2177
      date: 2016-02-09 11:49:34.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769585072 {#2178
      date: 2026-01-28 07:24:32.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2188 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-volunteers-mobile-fidelity-sound-lab-mfsl-2-457"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2382 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3885
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2382 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3886 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3934 …}
  +isValidated: false
  +validatedFields: []
}