Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2592
  -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 {#2439 …}
}

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

App\Twig\Components\ListePanier {#2669
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2672 …}
  -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 {#2671 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +listePanier: null
  +listeModal: true
  +paysForme: null
  +paysSelectionne: null
  +selectedPays: null
  +fraisLivraison: 17.5
  +montantTotal: 35.0
  +tempsLivraison: 0
  +quantite: 0
  +categorieProduitEnum: [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2439 …}
  -formView: Symfony\Component\Form\FormView {#2708 …}
  -form: Symfony\Component\Form\Form {#2858 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
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[
  "produit" => App\Entity\Produit {#1821
    -id: 2957
    -nom: "My Morning Jacket Z -  (Box Set 2 LP) UltraDisc One-Step 45 RPM"
    -informationComplementaire: null
    -description: """
      - My Morning Jacket Explores Cosmic Frontiers on Z: Rolling Stone Ranks the Band's Fourth Effort as One of the 500 Greatest Albums of All Time ! \r\n
      \r\n
      - Experience the 2005 Record in Audiophile Sound for the First Time : Strictly Limited to 2500 Numbered Copies, Mobile Fidelity’s UltraDisc One-Step 180 gram 45 RPM (2 LP) Box Set Includes a Bonus Track and Custom Art !\r\n
      \r\n
      - 1/2” / 15 IPS / Dolby SR analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      My Morning Jacket found itself at a crossroads as it prepared to create the record that would become its breakthrough. Two members had amicably departed on a prior tour, and their replacements were settling into the group’s chemistry. The Kentucky ensemble also felt a desire to change up the approaches that served it so well on its first three LPs. Getting out of that comfort zone, making great use of the recent recruits, and inviting a professional producer into the fold paid immense dividends in the form of the critically revered Z.\r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, and strictly limited to 2500 numbered copies, Mobile Fidelity’s UltraDisc One-Step 180 gram 45 RPM (2 LP) box set of Z presents the 2005 effort ranked by Rolling Stone as one of the 500 Greatest Albums of All Time  in audiophile-grade sound for the first time. A considerable part of the record’s celebrated appeal and success John Leckie’s outstanding production, which tamps down the group’s signature reverb and washes the music with organic warmth and cosmic textures emerges with previously unheard openness, presence, and grandness. \r\n
      \r\n
      Benefitting from an ultra-low noise floor, superior groove definition, and dead-quiet surfaces, this collectible edition frames leader Jim James and company’s fare amid deep-black backgrounds and expansive soundstages. Songs feel natural, golden, and seemingly endless in scope. The extent of the dynamic breadth and accuracy of detail you sense will likely only be limited by the capacity of your stereo. You’ll hear the subtle nuances and smooth falsetto of James’ voice; liveliness of the studio environment; atmospheric flourishes of the effects pedals; wet splash and pounce of the percussion; soft sparkle of the keyboards; and the near-infinite tonality of the guitars like never before. Those benefits extend to the bonus track “Where to Begin”.\r\n
      \r\n
      The deluxe packaging of Mobile Fidelity’s Z UD1S set celebrates the work’s distinguished status with unique art developed in collaboration with the band. Housed in a slipcase, the LPs come in special foil-stamped jackets. You also get two inserts devised by the group for this release. Aurally and visually, this reissue is for listeners who want to engage in everything involved with the album, including Kathleen Lolley’s striking cover art. It depicts a trio of avian surgeons operating on one of their own a bird that happens to have a city inside his belly. James chose the image because of the way it represents the world within all of us and suggests the need to block out exterior noise and focus on your surroundings. \r\n
      \r\n
      Following its own advice, My Morning Jacket concentrates on the matters at hand throughout Z. Zooming beyond the Southern-styled rock and rustic balladry of its earlier LPs, the quintet invigorated by newcomers Carl Broemel on guitar and Bo Koster on keyboards invites exotic vocabularies and psychedelic ambience into its wheelhouse all the while tightening up structures and building upon past achievements. A conscious decision to ensconce itself in a studio that would eliminate distractions led the group to a remote area of the Catskill Mountains and away from its usual confines of Louisville, Kentucky. The final piece that locked everything into place? Co-producer Leckie. \r\n
      \r\n
      A veteran of Abbey Road Studios who worked in various capacities on albums by the likes of George Harrison, Pink Floyd and Wings, Leckie touted an impressive engineering and production resume that included efforts by the Stone Roses, XTC, Muse, and Radiohead by the time James met him before the sessions began. Leckie’s outsider perspective helped spur My Morning Jacket to glorious heights and change how the band operated.\r\n
      \r\n
      Z testifies on behalf of the brilliance of that collaboration, with adventurous arrangements and forays into reggae, R&B, and soul-jazz taking listeners on wondrous journeys into outer galaxies. The burbling undercurrents and calming bass lines on the opening “Wordless Chorus” a song true to its name plunges you into the depths of a vast ocean. James’ rising “aaaah” releases ultimately give way to “whooo” howls that speak to the liberating feelings at hand. A quick coda that nicks Elton John’s “Bennie and the Jets” underlines the mood.\r\n
      \r\n
      From there, Z continues to delight and surprise. Songs evoke rays of light pouring through a prism and projecting wide spectrums of color; the majestic glow of the flashing aurora borealis on a crisp night; the vast expanse of desert-plains horizons and towering sight of a tree-dense forest. As much about settings and transformation as melody, Z pulls you into its crevices, mysteries, and chasms. As tour guides and groove sorcerers, James and friends don tophats and wave magic wands. \r\n
      \r\n
      Surrender to the teeter-totter variations of the sincere “It Beats 4 U”, an ode complete with whistling from multi-hyphenate musician Andrew Bird. Shimmy and shake as “What a Wonderful Man” sparks with lightning-strike joy and dials up the crunch. Bob to the hypnotic reggae riffs and springboard rhythms of “Off the Record” as it casts out gloom and rejoices with happiness, the song’s second half even hinting at the Rolling Stones’ “Can’t You Hear Me Knocking” as it dives down an experimental black hole. Embrace the miniature piano ballet that is “Knot Comes Loose”, delivered by James in a churchy voice. \r\n
      \r\n
      “Listen, listen” he enthusiastically instructs on the building “Gideon” Fantastic advice for an album that never repeats itself or grows stale.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Jim James (guitar, lead vocals), Tom Blankenship (bass guitar), Bo Koster (keyboards), Carl Broemel (guitar, pedal steel, saxophone, backing vocals), Patrick Hallahan (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=q15sZK-8sPw&list=PLNPGM2D7aODd0OlYnfgHnUn4NniZD3_xU&index=2"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S 2-074"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Wordless Chorus"
      ]
      [
        "ordre" => 2
        "nom" => "2. It Beats 4 U"
      ]
      [
        "ordre" => 3
        "nom" => "3. Gideon"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. What a Wonderful Man"
      ]
      [
        "ordre" => 6
        "nom" => "2. Off the Record"
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Anytime"
      ]
      [
        "ordre" => 9
        "nom" => "2. Laylow"
      ]
      [
        "ordre" => 10
        "nom" => "3. Knot Comes Loose"
      ]
      [
        "ordre" => 11
        "nom" => "Side D : "
      ]
      [
        "ordre" => 12
        "nom" => "1. Dondante"
      ]
      [
        "ordre" => 13
        "nom" => "2. Where to Begin"
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2028 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1902 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2016 …}
    -enregistreLe: DateTime @1770055279 {#1876
      date: 2026-02-02 18:01:19.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1776403266 {#1869
      date: 2026-04-17 05:21:06.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2022 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-my-morning-jacket-z-box-set-2-lp-ultradisc-one-step-45-rpm-mobile-fidelity-sound-lab-mfsl-45ud1s-2-074"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3132
  -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 {#2671 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#1821
    -id: 2957
    -nom: "My Morning Jacket Z -  (Box Set 2 LP) UltraDisc One-Step 45 RPM"
    -informationComplementaire: null
    -description: """
      - My Morning Jacket Explores Cosmic Frontiers on Z: Rolling Stone Ranks the Band's Fourth Effort as One of the 500 Greatest Albums of All Time ! \r\n
      \r\n
      - Experience the 2005 Record in Audiophile Sound for the First Time : Strictly Limited to 2500 Numbered Copies, Mobile Fidelity’s UltraDisc One-Step 180 gram 45 RPM (2 LP) Box Set Includes a Bonus Track and Custom Art !\r\n
      \r\n
      - 1/2” / 15 IPS / Dolby SR analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      My Morning Jacket found itself at a crossroads as it prepared to create the record that would become its breakthrough. Two members had amicably departed on a prior tour, and their replacements were settling into the group’s chemistry. The Kentucky ensemble also felt a desire to change up the approaches that served it so well on its first three LPs. Getting out of that comfort zone, making great use of the recent recruits, and inviting a professional producer into the fold paid immense dividends in the form of the critically revered Z.\r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, and strictly limited to 2500 numbered copies, Mobile Fidelity’s UltraDisc One-Step 180 gram 45 RPM (2 LP) box set of Z presents the 2005 effort ranked by Rolling Stone as one of the 500 Greatest Albums of All Time  in audiophile-grade sound for the first time. A considerable part of the record’s celebrated appeal and success John Leckie’s outstanding production, which tamps down the group’s signature reverb and washes the music with organic warmth and cosmic textures emerges with previously unheard openness, presence, and grandness. \r\n
      \r\n
      Benefitting from an ultra-low noise floor, superior groove definition, and dead-quiet surfaces, this collectible edition frames leader Jim James and company’s fare amid deep-black backgrounds and expansive soundstages. Songs feel natural, golden, and seemingly endless in scope. The extent of the dynamic breadth and accuracy of detail you sense will likely only be limited by the capacity of your stereo. You’ll hear the subtle nuances and smooth falsetto of James’ voice; liveliness of the studio environment; atmospheric flourishes of the effects pedals; wet splash and pounce of the percussion; soft sparkle of the keyboards; and the near-infinite tonality of the guitars like never before. Those benefits extend to the bonus track “Where to Begin”.\r\n
      \r\n
      The deluxe packaging of Mobile Fidelity’s Z UD1S set celebrates the work’s distinguished status with unique art developed in collaboration with the band. Housed in a slipcase, the LPs come in special foil-stamped jackets. You also get two inserts devised by the group for this release. Aurally and visually, this reissue is for listeners who want to engage in everything involved with the album, including Kathleen Lolley’s striking cover art. It depicts a trio of avian surgeons operating on one of their own a bird that happens to have a city inside his belly. James chose the image because of the way it represents the world within all of us and suggests the need to block out exterior noise and focus on your surroundings. \r\n
      \r\n
      Following its own advice, My Morning Jacket concentrates on the matters at hand throughout Z. Zooming beyond the Southern-styled rock and rustic balladry of its earlier LPs, the quintet invigorated by newcomers Carl Broemel on guitar and Bo Koster on keyboards invites exotic vocabularies and psychedelic ambience into its wheelhouse all the while tightening up structures and building upon past achievements. A conscious decision to ensconce itself in a studio that would eliminate distractions led the group to a remote area of the Catskill Mountains and away from its usual confines of Louisville, Kentucky. The final piece that locked everything into place? Co-producer Leckie. \r\n
      \r\n
      A veteran of Abbey Road Studios who worked in various capacities on albums by the likes of George Harrison, Pink Floyd and Wings, Leckie touted an impressive engineering and production resume that included efforts by the Stone Roses, XTC, Muse, and Radiohead by the time James met him before the sessions began. Leckie’s outsider perspective helped spur My Morning Jacket to glorious heights and change how the band operated.\r\n
      \r\n
      Z testifies on behalf of the brilliance of that collaboration, with adventurous arrangements and forays into reggae, R&B, and soul-jazz taking listeners on wondrous journeys into outer galaxies. The burbling undercurrents and calming bass lines on the opening “Wordless Chorus” a song true to its name plunges you into the depths of a vast ocean. James’ rising “aaaah” releases ultimately give way to “whooo” howls that speak to the liberating feelings at hand. A quick coda that nicks Elton John’s “Bennie and the Jets” underlines the mood.\r\n
      \r\n
      From there, Z continues to delight and surprise. Songs evoke rays of light pouring through a prism and projecting wide spectrums of color; the majestic glow of the flashing aurora borealis on a crisp night; the vast expanse of desert-plains horizons and towering sight of a tree-dense forest. As much about settings and transformation as melody, Z pulls you into its crevices, mysteries, and chasms. As tour guides and groove sorcerers, James and friends don tophats and wave magic wands. \r\n
      \r\n
      Surrender to the teeter-totter variations of the sincere “It Beats 4 U”, an ode complete with whistling from multi-hyphenate musician Andrew Bird. Shimmy and shake as “What a Wonderful Man” sparks with lightning-strike joy and dials up the crunch. Bob to the hypnotic reggae riffs and springboard rhythms of “Off the Record” as it casts out gloom and rejoices with happiness, the song’s second half even hinting at the Rolling Stones’ “Can’t You Hear Me Knocking” as it dives down an experimental black hole. Embrace the miniature piano ballet that is “Knot Comes Loose”, delivered by James in a churchy voice. \r\n
      \r\n
      “Listen, listen” he enthusiastically instructs on the building “Gideon” Fantastic advice for an album that never repeats itself or grows stale.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Jim James (guitar, lead vocals), Tom Blankenship (bass guitar), Bo Koster (keyboards), Carl Broemel (guitar, pedal steel, saxophone, backing vocals), Patrick Hallahan (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=q15sZK-8sPw&list=PLNPGM2D7aODd0OlYnfgHnUn4NniZD3_xU&index=2"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S 2-074"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Wordless Chorus"
      ]
      [
        "ordre" => 2
        "nom" => "2. It Beats 4 U"
      ]
      [
        "ordre" => 3
        "nom" => "3. Gideon"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. What a Wonderful Man"
      ]
      [
        "ordre" => 6
        "nom" => "2. Off the Record"
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Anytime"
      ]
      [
        "ordre" => 9
        "nom" => "2. Laylow"
      ]
      [
        "ordre" => 10
        "nom" => "3. Knot Comes Loose"
      ]
      [
        "ordre" => 11
        "nom" => "Side D : "
      ]
      [
        "ordre" => 12
        "nom" => "1. Dondante"
      ]
      [
        "ordre" => 13
        "nom" => "2. Where to Begin"
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2028 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1902 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2016 …}
    -enregistreLe: DateTime @1770055279 {#1876
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    }
    -modifierLe: DateTime @1776403266 {#1869
      date: 2026-04-17 05:21:06.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2022 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-my-morning-jacket-z-box-set-2-lp-ultradisc-one-step-45-rpm-mobile-fidelity-sound-lab-mfsl-45ud1s-2-074"
  }
  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2439 …}
}

[
  "produit" => App\Entity\Produit {#2045
    -id: 3066
    -nom: "N° 4"
    -informationComplementaire: "Plongez dans l’intensité brute de "N° 4", l’un des albums les plus puissants de Stone Temple Pilots. Entre riffs tranchants, mélodies envoûtantes et énergie alternative des années 90, ce disque incarne toute la tension et le génie du groupe à son apogée."
    -description: """
      Sorti en 1999, "N° 4" de Stone Temple Pilots marque un retour aux racines rock du groupe après des expérimentations plus psychédéliques. Porté par la voix charismatique de Scott Weiland, l’album mêle habilement puissance grunge, influences hard rock et touches mélodiques plus subtiles.\r\n
      \r\n
      La section rythmique solide formée par Robert DeLeo et Eric Kretz soutient les guitares incisives et créatives de Dean DeLeo, donnant naissance à des titres emblématiques comme “Down”, “Heaven & Hot Rods” ou encore la ballade sombre “Atlanta”.\r\n
      \r\n
      Entre rage contenue et moments de fragilité, "N° 4" reflète aussi une période turbulente pour le groupe, ce qui confère à l’album une authenticité et une intensité rares. C’est un disque à la fois brut, mélodique et profondément humain, devenu incontournable dans la discographie du rock alternatif.\r\n
      \r\n
      Musicians :\r\n
      Scott Weiland (vocals, organ), Dean DeLeo (electric & acoustic guitars,  lap steel and six-string bass), Robert DeLeo (bass, percussion, guitar, fuzz bass, and zither, backing vocals), Eric Kretz (drums, percussion), Brendan O’Brien (keyboards, piano, percussion, backing vocals), David Campbell (string arrangement), Suzie Katayama, Larry Corbett (cello), Joel Derouin (concertmaster), Evan Wilson (violin, strings), Barrett Martin (bass marimba). \r\n
      \r\n
      - Stone Temple Pilots Return to Their Hard-Rock Roots on the Heavy "N° 4" : Brendan O’Brien-Produced Album Explores Dark Themes, Includes the Hit Single “Sour Girl” !\r\n
      \r\n
      - Hear the 1999 Record in Audiophile Sound : Mobile Fidelity’s Numbered-Edition 180 gram 45 RPM (2 LP) Plays with Stellar Dynamics, Comes Housed in a Stoughton Gatefold Jacket !\r\n
      \r\n
      - 1/2” / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Vengeance is sweet. Dismissed by some insiders due to vocalist Scott Weiland’s legal issues, and viewed by many critics as a band that rode the coattails of its predecessors, Stone Temple Pilots fired a loud shot across the bow in 1999 in the form of N° 4. Blending the strengths of the quartet’s three prior LPs while marking a return to its hard-rock roots, the platinum-certified record stands as the heaviest and edgiest of the California ensemble’s career. That it succeeded while flying in the face of prevailing trends underlines its historic significance and appeal.\r\n
      \r\n
      Sourced from the original analog tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180 gram 45 RPM (2 LP) set presents N° 4. in audiophile sound for the first time on vinyl. With exceptional groove definition, quiet surfaces, and black backgrounds, this collectible edition plays with enhanced liveliness, balance, and solidity that raise the profile of an album that doubled down on rock during a time when most of the style’s practitioners abandoned it in favor of electronic elements or quit the scene entirely. \r\n
      \r\n
      Helmed by the band’s go-to producer, Brendan O’Brien, "N° 4" makes a big noise. The thick crunch of the guitars, bang and crash of the drums, fluid textures of the bass, and lingering echo of the studio space: All are conveyed with newly revealed immediacy, presence, and scope on this reissue, which also delivers the music’s punch and power with visceral impact. Other aspects that tremendously benefit from the restoration: The tenor, attitude, grain, and pitch of Weiland’s versatile voice. While partially obscured or collapsed on prior pressings, imaging and separation come into full view on this version.\r\n
      \r\n
      Despite its general back-to-basics nature, "N° 4" contains a wealth of colors, dynamics, and subtle accents that demand careful unpacking and transparent resolution. Nothing more so than the wide-spanning sounds and sizable footprints of the guitars and percussion. Massive riffs drive sledgehammer tracks such as the grinding “Down”, stormy “Heaven & Hot Rods”, stomping “No Way Out”, and vitriolic “Sex & Violence”. The latter is as close as Stone Temple Pilots ever came to garage-rock territory. The aforementioned cuts and several others bulldoze and plow, their muscular arrangements caked with rich sludge and aluminum tones, their sinister moods draped in distortion. \r\n
      \r\n
      Even as they embrace aggression and toughness, Stone Temple Pilots don’t overlook the importance of sticky hooks and accessible melodies. The springboard motions of the pop-streaked “Church on Sunday” and shuffling patterns of the dreamy “Sour Girl”, the group’s biggest-ever Billboard single, spotlight the ace songwriting chemistry between Weiland and guitarist Robert DeLeo. Ditto the lush “Glide”, a spacy nod to the ‘70s glam movement. It features Weiland singing at the top of his range and, for good measure, a folksy outro steered by an otherworldly zither. And let’s not forget the closing “Atlanta”, a mini-epic complete with a formal string section and spry tunefulness that echoes the Rodgers and Hammerstein standard “My Favorite Things”. \r\n
      \r\n
      Stone Temple Pilots also briefly dial it back and hint at optimism on “I Got You”, a country-tinged ditty sent up with pedal-steel guitar, six-string bass, and piano. Yet N° 4 unmistakably remains a creation of its circumstances. While the album’s edgy sonic character speaks to the gaping holes left by artists who abandoned rock to chase the latest crazes, the lyrical themes relate to Weiland’s problems and addictions. \r\n
      \r\n
      Recorded after the singer spent time in jail for drug violations, N° 4 doesn’t shy from dark desires or wallowing despair. Most narratives seemingly read as confessions and pleas. They concern personal loss, chemical abuse, toxic impulses, and desperate struggles. Weiland addresses everything head on without gloss or protective shielding, the painful disclosures “I used to love me but I hate me now”; “troubled times, when my mind begins to wander to the spoon”; “ I got the message but I lost the race”; “son of a bitch, I know what the itch is like”; “keep it away now, motherfucker, keep it away” - jibing with the band’s omnipresent snarl. \r\n
      \r\n
      Having climbed to N° 6 on the charts amid a de-fanged mainstream era that rewarded boy bands and pin-up pop stars, "N° 4" may not be Stone Temple Pilots’ most commercially successful effort. But it remains their most uncompromising. And that status that arguably carries more weight than any other.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=zDQr4cPahXo&list=RDzDQr4cPahXo&start_radio=1"
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    -titreMorceau: [
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        "ordre" => 6
        "nom" => "2. Sour Girl "
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        "nom" => "Side C :"
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        "nom" => "3. Glide "
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      [
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        "nom" => "Side D : "
      ]
      [
        "ordre" => 12
        "nom" => "1. I Got You"
      ]
      [
        "ordre" => 13
        "nom" => "2. MC5"
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      [
        "ordre" => 14
        "nom" => "3. Atlanta"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2047 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1453 …}
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    -morceauMP3: Doctrine\ORM\PersistentCollection {#2049 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2051 …}
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    -modifierLe: DateTime @1776114514 {#2043
      date: 2026-04-13 21:08:34.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2053 …}
    -disponible: null
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    -slug: "vinyles-n-4-mobile-fidelity-sound-lab-2-595"
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App\Twig\Components\GestionPanierFavoriComponents {#3246
  -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 {#2671 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2045
    -id: 3066
    -nom: "N° 4"
    -informationComplementaire: "Plongez dans l’intensité brute de "N° 4", l’un des albums les plus puissants de Stone Temple Pilots. Entre riffs tranchants, mélodies envoûtantes et énergie alternative des années 90, ce disque incarne toute la tension et le génie du groupe à son apogée."
    -description: """
      Sorti en 1999, "N° 4" de Stone Temple Pilots marque un retour aux racines rock du groupe après des expérimentations plus psychédéliques. Porté par la voix charismatique de Scott Weiland, l’album mêle habilement puissance grunge, influences hard rock et touches mélodiques plus subtiles.\r\n
      \r\n
      La section rythmique solide formée par Robert DeLeo et Eric Kretz soutient les guitares incisives et créatives de Dean DeLeo, donnant naissance à des titres emblématiques comme “Down”, “Heaven & Hot Rods” ou encore la ballade sombre “Atlanta”.\r\n
      \r\n
      Entre rage contenue et moments de fragilité, "N° 4" reflète aussi une période turbulente pour le groupe, ce qui confère à l’album une authenticité et une intensité rares. C’est un disque à la fois brut, mélodique et profondément humain, devenu incontournable dans la discographie du rock alternatif.\r\n
      \r\n
      Musicians :\r\n
      Scott Weiland (vocals, organ), Dean DeLeo (electric & acoustic guitars,  lap steel and six-string bass), Robert DeLeo (bass, percussion, guitar, fuzz bass, and zither, backing vocals), Eric Kretz (drums, percussion), Brendan O’Brien (keyboards, piano, percussion, backing vocals), David Campbell (string arrangement), Suzie Katayama, Larry Corbett (cello), Joel Derouin (concertmaster), Evan Wilson (violin, strings), Barrett Martin (bass marimba). \r\n
      \r\n
      - Stone Temple Pilots Return to Their Hard-Rock Roots on the Heavy "N° 4" : Brendan O’Brien-Produced Album Explores Dark Themes, Includes the Hit Single “Sour Girl” !\r\n
      \r\n
      - Hear the 1999 Record in Audiophile Sound : Mobile Fidelity’s Numbered-Edition 180 gram 45 RPM (2 LP) Plays with Stellar Dynamics, Comes Housed in a Stoughton Gatefold Jacket !\r\n
      \r\n
      - 1/2” / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Vengeance is sweet. Dismissed by some insiders due to vocalist Scott Weiland’s legal issues, and viewed by many critics as a band that rode the coattails of its predecessors, Stone Temple Pilots fired a loud shot across the bow in 1999 in the form of N° 4. Blending the strengths of the quartet’s three prior LPs while marking a return to its hard-rock roots, the platinum-certified record stands as the heaviest and edgiest of the California ensemble’s career. That it succeeded while flying in the face of prevailing trends underlines its historic significance and appeal.\r\n
      \r\n
      Sourced from the original analog tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180 gram 45 RPM (2 LP) set presents N° 4. in audiophile sound for the first time on vinyl. With exceptional groove definition, quiet surfaces, and black backgrounds, this collectible edition plays with enhanced liveliness, balance, and solidity that raise the profile of an album that doubled down on rock during a time when most of the style’s practitioners abandoned it in favor of electronic elements or quit the scene entirely. \r\n
      \r\n
      Helmed by the band’s go-to producer, Brendan O’Brien, "N° 4" makes a big noise. The thick crunch of the guitars, bang and crash of the drums, fluid textures of the bass, and lingering echo of the studio space: All are conveyed with newly revealed immediacy, presence, and scope on this reissue, which also delivers the music’s punch and power with visceral impact. Other aspects that tremendously benefit from the restoration: The tenor, attitude, grain, and pitch of Weiland’s versatile voice. While partially obscured or collapsed on prior pressings, imaging and separation come into full view on this version.\r\n
      \r\n
      Despite its general back-to-basics nature, "N° 4" contains a wealth of colors, dynamics, and subtle accents that demand careful unpacking and transparent resolution. Nothing more so than the wide-spanning sounds and sizable footprints of the guitars and percussion. Massive riffs drive sledgehammer tracks such as the grinding “Down”, stormy “Heaven & Hot Rods”, stomping “No Way Out”, and vitriolic “Sex & Violence”. The latter is as close as Stone Temple Pilots ever came to garage-rock territory. The aforementioned cuts and several others bulldoze and plow, their muscular arrangements caked with rich sludge and aluminum tones, their sinister moods draped in distortion. \r\n
      \r\n
      Even as they embrace aggression and toughness, Stone Temple Pilots don’t overlook the importance of sticky hooks and accessible melodies. The springboard motions of the pop-streaked “Church on Sunday” and shuffling patterns of the dreamy “Sour Girl”, the group’s biggest-ever Billboard single, spotlight the ace songwriting chemistry between Weiland and guitarist Robert DeLeo. Ditto the lush “Glide”, a spacy nod to the ‘70s glam movement. It features Weiland singing at the top of his range and, for good measure, a folksy outro steered by an otherworldly zither. And let’s not forget the closing “Atlanta”, a mini-epic complete with a formal string section and spry tunefulness that echoes the Rodgers and Hammerstein standard “My Favorite Things”. \r\n
      \r\n
      Stone Temple Pilots also briefly dial it back and hint at optimism on “I Got You”, a country-tinged ditty sent up with pedal-steel guitar, six-string bass, and piano. Yet N° 4 unmistakably remains a creation of its circumstances. While the album’s edgy sonic character speaks to the gaping holes left by artists who abandoned rock to chase the latest crazes, the lyrical themes relate to Weiland’s problems and addictions. \r\n
      \r\n
      Recorded after the singer spent time in jail for drug violations, N° 4 doesn’t shy from dark desires or wallowing despair. Most narratives seemingly read as confessions and pleas. They concern personal loss, chemical abuse, toxic impulses, and desperate struggles. Weiland addresses everything head on without gloss or protective shielding, the painful disclosures “I used to love me but I hate me now”; “troubled times, when my mind begins to wander to the spoon”; “ I got the message but I lost the race”; “son of a bitch, I know what the itch is like”; “keep it away now, motherfucker, keep it away” - jibing with the band’s omnipresent snarl. \r\n
      \r\n
      Having climbed to N° 6 on the charts amid a de-fanged mainstream era that rewarded boy bands and pin-up pop stars, "N° 4" may not be Stone Temple Pilots’ most commercially successful effort. But it remains their most uncompromising. And that status that arguably carries more weight than any other.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Scott Weiland (vocals, organ), Dean DeLeo (electric & acoustic guitars,  lap steel and six-string bass), Robert DeLeo (bass, percussion, guitar, fuzz bass, and zither, backing vocals), Eric Kretz (drums, percussion)..."
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=zDQr4cPahXo&list=RDzDQr4cPahXo&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab 2-595"
    -titreMorceau: [
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2047 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2056 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2049 …}
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    -modifierLe: DateTime @1776114514 {#2043
      date: 2026-04-13 21:08:34.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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    -disponible: null
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    -slug: "vinyles-n-4-mobile-fidelity-sound-lab-2-595"
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}

[
  "produit" => App\Entity\Produit {#2061
    -id: 3063
    -nom: "Faure, Debussy, Szymanowski, Chopin"
    -informationComplementaire: "Deux sensibilités, une même poésie. Rafał Blechacz et Bomsori Kim tissent un dialogue délicat entre rêve et émotion, dans un voyage musical d’une élégance lumineuse."
    -description: """
      Dans cet enregistrement raffiné, le pianiste Rafał Blechacz et la violoniste Bomsori Kim unissent leurs sensibilités pour explorer un répertoire d’une grande richesse poétique.\r\n
      \r\n
      Le programme traverse les univers de Gabriel Fauré, Claude Debussy, Karol Szymanowski et Frédéric Chopin, offrant un dialogue subtil entre les esthétiques française et polonaise du tournant des XIXe et XXe siècles.\r\n
      \r\n
      Entre impressionnisme vaporeux, lyrisme romantique et modernité naissante, les deux interprètes façonnent un univers sonore d’une grande délicatesse. Le jeu limpide et introspectif de Blechacz se mêle à la sonorité chaleureuse et expressive de Bomsori Kim, révélant toute la profondeur émotionnelle de ces œuvres pour violon et piano.\r\n
      \r\n
      - Rafal Blechacz & Bomsori Kim "Faure, Debussy, Szymanowski, Chopin" 180 gram Audiophile Virgin Vinyl Double LP !\r\n
      - Mastered from the Original Masters of Universal Music by Rainer Maillard at Emil Berliner Studios !\r\n
      - Pressed at Optimal in Germany !\r\n
      - First Time Ever on Vinyl !\r\n
      \r\n
      It seems that Blechacz has done well to find Kim, too, because there's an audible meeting of musical minds across their exploration of French lyricism and Polish melancholy, heard right from the start of the opening Fauré Violin Sonata N° 1. First, Blechacz's picked-out melody sings out brightly with passionate amour from within lucid-textured cascading figures. Then in comes Kim, counterfoiling her equal romance with a clean, supple sound. Engineering-wise, as well, there's a nicely egalitarian balance between the two of them. What does remain constant, is the sheer energy and drive, aided by Kim's sound itself : direct and ardent, with mahogany-hued lower registers contrasting with sweetly ringing, singing upper ones. This all combines to especial effect with the Debussy, in an unusually driven, emotional-ly strong reading of this autumnal work. One of Kim's most effective gifts here is her spotlighting of Debussy's linguistic debt to the Orient; listen in the first movement to how grace-note inflections and sur la touche playing is so very husky and languorous that the parallels with Asian voice flute are unmissable. (Gramophone)
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Rafal Blechacz (piano), Bomsori Ki (violin)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Ua5oSMOxrOw&list=RDUa5oSMOxrOw&start_radio=1"
    -referenceProduit: "Deutsche Grammophon Records 1953"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "Gabriel Fauré - Sonata For Violin And Piano N° 1 In A Major Op. 13"
      ]
      [
        "ordre" => 2
        "nom" => "1. Allegro Molto"
      ]
      [
        "ordre" => 3
        "nom" => "2. Andante"
      ]
      [
        "ordre" => 4
        "nom" => "3. Allegro Vivo"
      ]
      [
        "ordre" => 5
        "nom" => "4. Allegro Quasi Presto"
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "Claude Debussy - Sonata For Violin And Piano In G Minor L 148"
      ]
      [
        "ordre" => 8
        "nom" => "1. Allegro Vivo"
      ]
      [
        "ordre" => 9
        "nom" => "2. Intermede. Fantasque Et Leger"
      ]
      [
        "ordre" => 10
        "nom" => "3. Finale. Tres Anime"
      ]
      [
        "ordre" => 11
        "nom" => "Frederic Chopin - Nocturne N° 20 In C Sharp Minor Op. Posth. Arrangement For "
      ]
      [
        "ordre" => 12
        "nom" => "Violin And Piano) - Nathan Milstein"
      ]
      [
        "ordre" => 13
        "nom" => "4. Lento Con Gran Espressione"
      ]
      [
        "ordre" => 14
        "nom" => "Side C :"
      ]
      [
        "ordre" => 15
        "nom" => "Karol Szymanowski - Sonata For Piano And Violin In D Minor Op. 9"
      ]
      [
        "ordre" => 16
        "nom" => "1. Allegro Moderato. Patetico"
      ]
      [
        "ordre" => 17
        "nom" => "2. Andantino Tranquillo E Dolce"
      ]
      [
        "ordre" => 18
        "nom" => "3. Finale. Allegro Molto Quasi Presto"
      ]
      [
        "ordre" => 19
        "nom" => "Side D : "
      ]
      [
        "ordre" => 20
        "nom" => "1. Blank"
      ]
      [
        "ordre" => 21
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2066 …}
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    -modifierLe: DateTime @1775927875 {#2059
      date: 2026-04-11 17:17:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2072 …}
    -disponible: null
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    -slug: "vinyles-faure-debussy-szymanowski-chopin-deutsche-grammophon-records-1953"
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App\Twig\Components\GestionPanierFavoriComponents {#3297
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2671 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2061
    -id: 3063
    -nom: "Faure, Debussy, Szymanowski, Chopin"
    -informationComplementaire: "Deux sensibilités, une même poésie. Rafał Blechacz et Bomsori Kim tissent un dialogue délicat entre rêve et émotion, dans un voyage musical d’une élégance lumineuse."
    -description: """
      Dans cet enregistrement raffiné, le pianiste Rafał Blechacz et la violoniste Bomsori Kim unissent leurs sensibilités pour explorer un répertoire d’une grande richesse poétique.\r\n
      \r\n
      Le programme traverse les univers de Gabriel Fauré, Claude Debussy, Karol Szymanowski et Frédéric Chopin, offrant un dialogue subtil entre les esthétiques française et polonaise du tournant des XIXe et XXe siècles.\r\n
      \r\n
      Entre impressionnisme vaporeux, lyrisme romantique et modernité naissante, les deux interprètes façonnent un univers sonore d’une grande délicatesse. Le jeu limpide et introspectif de Blechacz se mêle à la sonorité chaleureuse et expressive de Bomsori Kim, révélant toute la profondeur émotionnelle de ces œuvres pour violon et piano.\r\n
      \r\n
      - Rafal Blechacz & Bomsori Kim "Faure, Debussy, Szymanowski, Chopin" 180 gram Audiophile Virgin Vinyl Double LP !\r\n
      - Mastered from the Original Masters of Universal Music by Rainer Maillard at Emil Berliner Studios !\r\n
      - Pressed at Optimal in Germany !\r\n
      - First Time Ever on Vinyl !\r\n
      \r\n
      It seems that Blechacz has done well to find Kim, too, because there's an audible meeting of musical minds across their exploration of French lyricism and Polish melancholy, heard right from the start of the opening Fauré Violin Sonata N° 1. First, Blechacz's picked-out melody sings out brightly with passionate amour from within lucid-textured cascading figures. Then in comes Kim, counterfoiling her equal romance with a clean, supple sound. Engineering-wise, as well, there's a nicely egalitarian balance between the two of them. What does remain constant, is the sheer energy and drive, aided by Kim's sound itself : direct and ardent, with mahogany-hued lower registers contrasting with sweetly ringing, singing upper ones. This all combines to especial effect with the Debussy, in an unusually driven, emotional-ly strong reading of this autumnal work. One of Kim's most effective gifts here is her spotlighting of Debussy's linguistic debt to the Orient; listen in the first movement to how grace-note inflections and sur la touche playing is so very husky and languorous that the parallels with Asian voice flute are unmissable. (Gramophone)
      """
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[
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    -nom: "Rachmaninoff : Piano Concerto N° 3"
    -informationComplementaire: "Martha Argerich s’empare du redoutable Concerto N° 3 de Sergei Rachmaninoff avec une intensité saisissante.  Portée par Riccardo Chailly et le RSO Berlin, cette version live est un concentré de virtuosité et d’émotion."
    -description: """
      Cet enregistrement live du Concerto pour piano N° 3 en ré mineur, op. 30 de Sergei Rachmaninoff réunit des interprètes d’exception, la pianiste Martha Argerich, le chef d’orchestre Riccardo Chailly et le RSO Berlin.\r\n
      \r\n
      Œuvre mythique du répertoire romantique, ce concerto est réputé pour sa redoutable difficulté technique et sa profondeur expressive. Dans cette version captée en concert, Martha Argerich livre une interprétation électrisante, mêlant virtuosité fulgurante, liberté rythmique et intensité émotionnelle.\r\n
      \r\n
      Sous la direction précise et engagée de Riccardo Chailly, l’orchestre berlinois accompagne avec puissance et finesse, mettant en valeur les contrastes dramatiques et les élans lyriques de la partition.\r\n
      \r\n
      Un enregistrement de référence, où la tension du live sublime chaque instant de cette œuvre monumentale.\r\n
      \r\n
      - Martha Argerich "Rachmaninoff : Piano Concerto N° 3" 180 gram Audiophile Virgin Vinyl LP !\r\n
      - From the Original Master of Universal Music !\r\n
      - Audiophile Analog Mastering by Sidney Claire Meyer at Emil Berliner Studios !\r\n
      - Pressed at Optimal in Germany !\r\n
      - First Time Ever on Vinyl !\r\n
      \r\n
      To describe both performances as 'live' is to deal in understatement, for rarely in her entire and extraordinary career has Argerich sounded more exhaustingly restless and quixotic, her mind and fingers flashing with reflexes merely dreamt of by other less phenomenally endowed pianists. Yet her Rachmaninov is full of surprises, her opening Allegro almost convivial until she meets directions such as più vivo or veloce, where the tigress in her shows her claws and the music is made to seethe and boil at a white-hot temperature. The cadenza rises to the sort of climax that will make all pianists' hearts beat faster and her first entry in the "Intermezzo" interrupts the orchestra's musing with the impatience of a hurricane. But throughout these pages it is almost as if she is searching for music that will allow her virtuosity its fullest scope. In the finale she finds it, accelerating out of the second movement with a sky-rocketing propulsion. Here the music races like wildfire, with a truly death-defying turn of speed at 7:20 and an explosive energy throughout that must have left audience, conductor and orchestra feeling as if hit by some seismic shock-wave. (Gramophone)
      """
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      \r\n
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      \r\n
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      \r\n
      Un enregistrement de référence, où la tension du live sublime chaque instant de cette œuvre monumentale.\r\n
      \r\n
      - Martha Argerich "Rachmaninoff : Piano Concerto N° 3" 180 gram Audiophile Virgin Vinyl LP !\r\n
      - From the Original Master of Universal Music !\r\n
      - Audiophile Analog Mastering by Sidney Claire Meyer at Emil Berliner Studios !\r\n
      - Pressed at Optimal in Germany !\r\n
      - First Time Ever on Vinyl !\r\n
      \r\n
      To describe both performances as 'live' is to deal in understatement, for rarely in her entire and extraordinary career has Argerich sounded more exhaustingly restless and quixotic, her mind and fingers flashing with reflexes merely dreamt of by other less phenomenally endowed pianists. Yet her Rachmaninov is full of surprises, her opening Allegro almost convivial until she meets directions such as più vivo or veloce, where the tigress in her shows her claws and the music is made to seethe and boil at a white-hot temperature. The cadenza rises to the sort of climax that will make all pianists' hearts beat faster and her first entry in the "Intermezzo" interrupts the orchestra's musing with the impatience of a hurricane. But throughout these pages it is almost as if she is searching for music that will allow her virtuosity its fullest scope. In the finale she finds it, accelerating out of the second movement with a sky-rocketing propulsion. Here the music races like wildfire, with a truly death-defying turn of speed at 7:20 and an explosive energy throughout that must have left audience, conductor and orchestra feeling as if hit by some seismic shock-wave. (Gramophone)
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[
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    -id: 3061
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      \r\n
      Le duo formé par Gidon Kremer et Martha Argerich en offre une lecture d’une rare intensité, un jeu incisif, des contrastes puissants et une complicité musicale qui donne à l’ensemble une énergie presque improvisée.\r\n
      \r\n
      Une interprétation de référence, à la fois fougueuse, profonde et captivante.\r\n
      \r\n
      - Gidon Kremer & Martha Argerich "Beethoven : Violin Sonatas 6-8" 180 gram double LP !\r\n
      - Mastered from the original masters of Universal Music by Rainer Maillard at Emil Berliner Studios !\r\n
      - Pressed at Optimal in Germany !\r\n
      - First-time ever on vinyl !\r\n
      \r\n
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    -id: 3061
    -nom: "Beethoven : Violin Sonatas 6-8"
    -informationComplementaire: "Une rencontre au sommet entre deux légendes, Kremer et Argerich insufflent à Beethoven une intensité brûlante, où chaque phrase devient dialogue, tension et émotion pure."
    -description: """
      Dans cet enregistrement des sonates pour violon et piano N° 6 à 8, opus 30, Beethoven affirme un langage plus libre et audacieux, où les deux instruments dialoguent d’égal à égal. Entre élégance classique (N° 6), tension dramatique (N° 7) et éclat virtuose (N° 8), ces œuvres marquent une étape clé dans son évolution.\r\n
      \r\n
      Le duo formé par Gidon Kremer et Martha Argerich en offre une lecture d’une rare intensité, un jeu incisif, des contrastes puissants et une complicité musicale qui donne à l’ensemble une énergie presque improvisée.\r\n
      \r\n
      Une interprétation de référence, à la fois fougueuse, profonde et captivante.\r\n
      \r\n
      - Gidon Kremer & Martha Argerich "Beethoven : Violin Sonatas 6-8" 180 gram double LP !\r\n
      - Mastered from the original masters of Universal Music by Rainer Maillard at Emil Berliner Studios !\r\n
      - Pressed at Optimal in Germany !\r\n
      - First-time ever on vinyl !\r\n
      \r\n
      "Beethoven's op.30 violin and piano sonatas are three irresistibly lively and individual spirits in the hands and imaginations of Martha Argerich and Gidon Kremer. The first, in A major, has that particular quality of blithe and elusive joy reminiscent of the Spring Sonata, and created here by the lightest and truest touch on string and key, fused with bright rhythmic clarity. The slow movement is a tremulous song of long-forgotten, far-off things, in which violin and piano find an intimate balance of tone. The G major Sonata's centrepiece is its Minuet and Trio, which Argerich and Kremer cunningly tease and charm into revealing its archaic qualities: a dance glimpsed through a lace veil. It is framed by two fast movements that would identify their performers anywhere, with their high-voltage velocity and wittily imaginative anticipation of each other's every move". - Gramophone
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Gidon Kremer (violin), Martha Argerich (piano)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Niu-1HcKDCo&list=RDNiu-1HcKDCo&start_radio=1"
    -referenceProduit: "Deutsche Grammophon Records 3196"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "Sonate A Dur, Op. 30 NR 1"
      ]
      [
        "ordre" => 2
        "nom" => "1. Allegro"
      ]
      [
        "ordre" => 3
        "nom" => "2. Adagio molto espressivo"
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        "ordre" => 4
        "nom" => "3. Allegretto con Variazioni (I—VI)"
      ]
      [
        "ordre" => 5
        "nom" => "Side B : "
      ]
      [
        "ordre" => 6
        "nom" => "Sonate C-Moll, Op. 30 NR 2"
      ]
      [
        "ordre" => 7
        "nom" => "1. Allegro con brio"
      ]
      [
        "ordre" => 8
        "nom" => "2. Adagio cantabile"
      ]
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        "ordre" => 9
        "nom" => "3. Scherzo. Allegro"
      ]
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        "ordre" => 10
        "nom" => "4. Finale. Allegro - Presto"
      ]
      [
        "ordre" => 11
        "nom" => "Side C :"
      ]
      [
        "ordre" => 12
        "nom" => "1. Allegro assai"
      ]
      [
        "ordre" => 13
        "nom" => "2. Tempo di Minuetto, ma molto moderato e grazioso"
      ]
      [
        "ordre" => 14
        "nom" => "3. Allegro vivace"
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      [
        "ordre" => 15
        "nom" => "Side D : "
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      [
        "ordre" => 16
        "nom" => "1. Blank"
      ]
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        "ordre" => 17
        "nom" => ""
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    -slug: "vinyles-beethoven-violin-sonatas-6-8-deutsche-grammophon-records-3196"
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[
  "produit" => App\Entity\Produit {#2112
    -id: 2382
    -nom: "Listen To Art Farmer and the Orchestra"
    -informationComplementaire: "Plongez dans l’élégance du jazz orchestral avec "Listen to Art Farmer and the Orchestra", un voyage porté par le souffle unique d’Art Farmer et des arrangements somptueux signés Oliver Nelson. Un classique intemporel, entre douceur et sophistication."
    -description: """
      Listen to Art Farmer and the Orchestra est un album emblématique du flugelhorniste Art Farmer, sublimé par les arrangements élégants de Oliver Nelson. Enregistré à une époque où le jazz orchestral atteint une maturité remarquable, cet album offre un équilibre parfait entre sophistication et émotion.\r\n
      \r\n
      Porté par un orchestre de haut niveau réunissant plusieurs grands noms du jazz, l’album met en lumière le jeu fluide, chaleureux et expressif d’Art Farmer. Sa sonorité au flugelhorn, à la fois douce et profonde, se déploie sur des arrangements riches, où chaque section, cuivres, bois et rythmique dialogue avec finesse.\r\n
      \r\n
      Loin des démonstrations techniques gratuites, cet enregistrement privilégie la musicalité, la nuance et l’élégance. Il s’inscrit dans la tradition du jazz moderne des années 60, tout en conservant une accessibilité qui séduira autant les amateurs éclairés que les auditeurs curieux.\r\n
      \r\n
      Un disque incontournable pour les amoureux de jazz orchestral, entre lyrisme, swing maîtrisé et raffinement sonore.\r\n
      \r\n
      Musicians :\r\n
      Art Farmer (flugelhorn, trumpet, bandleader), Oliver Nelson (arranger & conductor), Clark Terry, Ernie Royal (trumpet), Jimmy Cleveland, Benny Powell (trombone), Phil Woods (alto saxophone), Jerome Richardson (reeds, multi-instrumentalist), Hank Jones (piano), George Duvivier (bass), Osie Johnson (drums).\r\n
      \r\n
      - Art Farmer "Listen To Art Farmer and the Orchestra" !\r\n
      - Part of the Verve Vault Series !\r\n
      - Mastered from the original analog tapes by Ryan K. Smith at Sterling Sound !\r\n
      - 180 gram vinyl pressed at Optimal in Germany !\r\n
      \r\n
      Listen to Art Farmer and the Orchestra, recorded in 1962 and released the following year on Mercury, stands as one of trumpeter / flugelhornist Art Farmer's most ambitious statements as a leader.\r\n
      \r\n
      The album places Farmer at the forefront of a large ensemble arranged and conducted by Oliver Nelson, whose writing gives the project a striking blend of sophistication and swing. The personnel bridges New York's hard-bop scene with leading studio and jazz musicians, with Farmer featured as the principal solo voice against Nelson's full complement of brass, reeds, and rhythm. Guitarists Jim Hall and Barry Galbraith, bassist George Duvivier, drummer Charlie Persip, and pianist Tommy Flanagan are among the players supporting Farmer.\r\n
      \r\n
      They appear alongside an expanded orchestral roster of trumpets, trombones, French horns, reeds, and percussion. Nelson's orchestrations give him space to showcase his lyricism and poised tone, balancing tightly-arranged ensemble passages with luminous solo statements. This program draws on beloved standards including "Street of Dreams", and "Naima" and the orchestral setting underscores why Farmer was regarded as one of the era's most elegant and expressive horn players.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Art Farmer (flugelhorn, trumpet, bandleader), Oliver Nelson (arranger & conductor), Clark Terry, Ernie Royal (trumpet), Jimmy Cleveland, Benny Powell (trombone)..."
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=s9eoqEDPEvI&list=PLb_GPRyrUSsXilcAVENMrvapk2IBe108z&index=3"
    -referenceProduit: "Verve Records (Vault Series) 1655"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
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        "ordre" => 1
        "nom" => "1. The Time and the Place"
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      [
        "ordre" => 2
        "nom" => "2. The Shadow of Your Smile"
      ]
      [
        "ordre" => 3
        "nom" => "3. One for Juan"
      ]
      [
        "ordre" => 4
        "nom" => "4. The Gentle Rain"
      ]
      [
        "ordre" => 5
        "nom" => "Side B : "
      ]
      [
        "ordre" => 6
        "nom" => "1. A Time for Love"
      ]
      [
        "ordre" => 7
        "nom" => "2. Goin’ Home"
      ]
      [
        "ordre" => 8
        "nom" => "3. I’m Easy to Find"
      ]
      [
        "ordre" => 9
        "nom" => "4. Listen to Art Farmer"
      ]
      [
        "ordre" => 10
        "nom" => ""
      ]
      [
        "ordre" => 11
        "nom" => ""
      ]
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        "ordre" => 12
        "nom" => ""
      ]
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2114 …}
    -label: Proxies\__CG__\App\Entity\Label {#2117 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2126 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2119 …}
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    -enregistreLe: DateTime @1679415150 {#2109
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    }
    -modifierLe: DateTime @1775668870 {#2110
      date: 2026-04-08 17:21:10.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2123 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-listen-to-art-farmer-and-the-orchestra-verve-records-vault-series-1655"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3450
  -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 {#2671 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2112
    -id: 2382
    -nom: "Listen To Art Farmer and the Orchestra"
    -informationComplementaire: "Plongez dans l’élégance du jazz orchestral avec "Listen to Art Farmer and the Orchestra", un voyage porté par le souffle unique d’Art Farmer et des arrangements somptueux signés Oliver Nelson. Un classique intemporel, entre douceur et sophistication."
    -description: """
      Listen to Art Farmer and the Orchestra est un album emblématique du flugelhorniste Art Farmer, sublimé par les arrangements élégants de Oliver Nelson. Enregistré à une époque où le jazz orchestral atteint une maturité remarquable, cet album offre un équilibre parfait entre sophistication et émotion.\r\n
      \r\n
      Porté par un orchestre de haut niveau réunissant plusieurs grands noms du jazz, l’album met en lumière le jeu fluide, chaleureux et expressif d’Art Farmer. Sa sonorité au flugelhorn, à la fois douce et profonde, se déploie sur des arrangements riches, où chaque section, cuivres, bois et rythmique dialogue avec finesse.\r\n
      \r\n
      Loin des démonstrations techniques gratuites, cet enregistrement privilégie la musicalité, la nuance et l’élégance. Il s’inscrit dans la tradition du jazz moderne des années 60, tout en conservant une accessibilité qui séduira autant les amateurs éclairés que les auditeurs curieux.\r\n
      \r\n
      Un disque incontournable pour les amoureux de jazz orchestral, entre lyrisme, swing maîtrisé et raffinement sonore.\r\n
      \r\n
      Musicians :\r\n
      Art Farmer (flugelhorn, trumpet, bandleader), Oliver Nelson (arranger & conductor), Clark Terry, Ernie Royal (trumpet), Jimmy Cleveland, Benny Powell (trombone), Phil Woods (alto saxophone), Jerome Richardson (reeds, multi-instrumentalist), Hank Jones (piano), George Duvivier (bass), Osie Johnson (drums).\r\n
      \r\n
      - Art Farmer "Listen To Art Farmer and the Orchestra" !\r\n
      - Part of the Verve Vault Series !\r\n
      - Mastered from the original analog tapes by Ryan K. Smith at Sterling Sound !\r\n
      - 180 gram vinyl pressed at Optimal in Germany !\r\n
      \r\n
      Listen to Art Farmer and the Orchestra, recorded in 1962 and released the following year on Mercury, stands as one of trumpeter / flugelhornist Art Farmer's most ambitious statements as a leader.\r\n
      \r\n
      The album places Farmer at the forefront of a large ensemble arranged and conducted by Oliver Nelson, whose writing gives the project a striking blend of sophistication and swing. The personnel bridges New York's hard-bop scene with leading studio and jazz musicians, with Farmer featured as the principal solo voice against Nelson's full complement of brass, reeds, and rhythm. Guitarists Jim Hall and Barry Galbraith, bassist George Duvivier, drummer Charlie Persip, and pianist Tommy Flanagan are among the players supporting Farmer.\r\n
      \r\n
      They appear alongside an expanded orchestral roster of trumpets, trombones, French horns, reeds, and percussion. Nelson's orchestrations give him space to showcase his lyricism and poised tone, balancing tightly-arranged ensemble passages with luminous solo statements. This program draws on beloved standards including "Street of Dreams", and "Naima" and the orchestral setting underscores why Farmer was regarded as one of the era's most elegant and expressive horn players.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Art Farmer (flugelhorn, trumpet, bandleader), Oliver Nelson (arranger & conductor), Clark Terry, Ernie Royal (trumpet), Jimmy Cleveland, Benny Powell (trombone)..."
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=s9eoqEDPEvI&list=PLb_GPRyrUSsXilcAVENMrvapk2IBe108z&index=3"
    -referenceProduit: "Verve Records (Vault Series) 1655"
    -titreMorceau: [
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      date: 2026-04-08 17:21:10.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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    -disponible: null
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    -slug: "vinyles-listen-to-art-farmer-and-the-orchestra-verve-records-vault-series-1655"
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}

[
  "produit" => App\Entity\Produit {#2133
    -id: 2915
    -nom: "Live In Finland 1961 & 1962  (Numbered Limited Edition Mono)"
    -informationComplementaire: "Plongez au cœur d’un Coltrane en pleine métamorphose. Avec "Live In Finland 1961–1962", chaque souffle devient feu, chaque improvisation repousse les frontières du jazz. Un voyage brut, intense et essentiel, là où la légende s’écrit en direct."
    -description: """
      Live In Finland 1961–1962 capture un moment charnière de la carrière de John Coltrane, à l’aube de ses explorations les plus audacieuses. Enregistré lors de ses tournées finlandaises entre 1961 et 1962, cet album restitue toute l’intensité brute et la liberté créative du saxophoniste en pleine mutation artistique.\r\n
      \r\n
      Entouré de musiciens d’exception comme Eric Dolphy, McCoy Tyner, Reggie Workman et Elvin Jones, Coltrane livre des performances habitées, oscillant entre standards revisités et longues improvisations transcendantes.\r\n
      \r\n
      Des titres emblématiques comme "My Favorite Things", "Blue Train" ou encore "Impressions" prennent ici une dimension nouvelle, plus étirée, plus intense, presque hypnotique. Ces enregistrements témoignent de la transition entre le hard bop et le jazz modal, annonçant déjà les audaces spirituelles de ses œuvres futures.\r\n
      \r\n
      Un document rare et précieux, où chaque note semble capturer l’instant fragile, libre et incandescent.\r\n
      \r\n
      - John Coltrane "Live In Finland 1961 & 1962" !\r\n
      - 180 gram mono (2 LP) 33 1/3 RPM limited to 4000 hand-numbered copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed by Phoenix Pressings !\r\n
      - Tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      John Coltrane was never a loner. A tireless worker, he was on a perpetual quest to learn from others and build symbiotic relationships with them. Before playing, he listened. The 1950s were dazzling years, and decisive ones; he performed with Ellingtonian Johnny Hodges, collaborated with Dizzy Gillespie's band, and met Charlie Parker and Bud Powell. Then he encountered Miles Davis.\r\n
      \r\n
      Coltrane pursued his quest. In the space of just a few months he met Thelonious Monk, Yusef Lateef, Sonny Rollins, McCoy Tyner, Elvin Jones and Eric Dolphy. All of them shared the same passion for musical creativity. They were all exploring new modes of expression and new sounds, seeking a dense playing style that could cascade across astonishingly rapid tempi. To the standard harmonic chart, they added cycles of thirds that made polytonality a realm of infinite possibilities.\r\n
      \r\n
      On November 22, 1961, at the Kulttuuritalo in Helsinki, John Coltrane, Eric Dolphy, McCoy Tyner, Reggie Workman (on bass) and Elvin Jones were on stage. "My Favorite Things", which opened the session, is from Rodgers & Hammerstein's musical comedy The Sound of Music. Coltrane had made the piece one of the iconic hits of his career, and in March of that year had released an eponymous album.\r\n
      \r\n
      One detects in this piece the extension of innovations found in Kind of Blue: long modal passages alternate between major and minor modes. Coltrane said of it, "This waltz is fantastic : when you play it slowly, it has a ‘gospel' aspect, which is not at all unpleasant; when you play it fast, it has certain other undeniable qualities. It's very interesting to discover a terrain that renews itself according to the impulse that you give it; that's the reason why we don't always play this tune in the same tempo. Nothing is ever fixed with Coltrane, and this version is no doubt one of his finest...\r\n
      \r\n
      It has often been said that everything Trane did, he did to excess drugs and alcohol, then cigars, vegetarianism, and finally, religion. Overlooked, though, was his obsession with friendship, his passion for group musical performances where owing to his high expectations of himself and others the contribution of each individual musician was elevated. Even his spiritual conversion late in life was not self-centered. Miles Davis wrote in his autobiography that Coltrane turned into a diamond. He could have added that Trane was considered a beacon; he shaped music in general and jazz in particular, and he guided entire generations of immense jazzmen.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "John Coltrane (tenor & soprano saxophone), Eric Dolphy (alto saxophone & flute), McCoy Tyner (piano), Reggie Workman (bass), Elvin Jones (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=i0PCZVMydAc"
    -referenceProduit: "The Lost Recordings 4065"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. My Favorite Things"
      ]
      [
        "ordre" => 2
        "nom" => "Side B : "
      ]
      [
        "ordre" => 3
        "nom" => "1. Blue Train"
      ]
      [
        "ordre" => 4
        "nom" => "2. I Want to Talk About You"
      ]
      [
        "ordre" => 5
        "nom" => "Side C :"
      ]
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        "nom" => "Side D : "
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        "nom" => "1. Bye Bye Blackbird"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2135 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3501
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2671 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2133
    -id: 2915
    -nom: "Live In Finland 1961 & 1962  (Numbered Limited Edition Mono)"
    -informationComplementaire: "Plongez au cœur d’un Coltrane en pleine métamorphose. Avec "Live In Finland 1961–1962", chaque souffle devient feu, chaque improvisation repousse les frontières du jazz. Un voyage brut, intense et essentiel, là où la légende s’écrit en direct."
    -description: """
      Live In Finland 1961–1962 capture un moment charnière de la carrière de John Coltrane, à l’aube de ses explorations les plus audacieuses. Enregistré lors de ses tournées finlandaises entre 1961 et 1962, cet album restitue toute l’intensité brute et la liberté créative du saxophoniste en pleine mutation artistique.\r\n
      \r\n
      Entouré de musiciens d’exception comme Eric Dolphy, McCoy Tyner, Reggie Workman et Elvin Jones, Coltrane livre des performances habitées, oscillant entre standards revisités et longues improvisations transcendantes.\r\n
      \r\n
      Des titres emblématiques comme "My Favorite Things", "Blue Train" ou encore "Impressions" prennent ici une dimension nouvelle, plus étirée, plus intense, presque hypnotique. Ces enregistrements témoignent de la transition entre le hard bop et le jazz modal, annonçant déjà les audaces spirituelles de ses œuvres futures.\r\n
      \r\n
      Un document rare et précieux, où chaque note semble capturer l’instant fragile, libre et incandescent.\r\n
      \r\n
      - John Coltrane "Live In Finland 1961 & 1962" !\r\n
      - 180 gram mono (2 LP) 33 1/3 RPM limited to 4000 hand-numbered copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed by Phoenix Pressings !\r\n
      - Tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      John Coltrane was never a loner. A tireless worker, he was on a perpetual quest to learn from others and build symbiotic relationships with them. Before playing, he listened. The 1950s were dazzling years, and decisive ones; he performed with Ellingtonian Johnny Hodges, collaborated with Dizzy Gillespie's band, and met Charlie Parker and Bud Powell. Then he encountered Miles Davis.\r\n
      \r\n
      Coltrane pursued his quest. In the space of just a few months he met Thelonious Monk, Yusef Lateef, Sonny Rollins, McCoy Tyner, Elvin Jones and Eric Dolphy. All of them shared the same passion for musical creativity. They were all exploring new modes of expression and new sounds, seeking a dense playing style that could cascade across astonishingly rapid tempi. To the standard harmonic chart, they added cycles of thirds that made polytonality a realm of infinite possibilities.\r\n
      \r\n
      On November 22, 1961, at the Kulttuuritalo in Helsinki, John Coltrane, Eric Dolphy, McCoy Tyner, Reggie Workman (on bass) and Elvin Jones were on stage. "My Favorite Things", which opened the session, is from Rodgers & Hammerstein's musical comedy The Sound of Music. Coltrane had made the piece one of the iconic hits of his career, and in March of that year had released an eponymous album.\r\n
      \r\n
      One detects in this piece the extension of innovations found in Kind of Blue: long modal passages alternate between major and minor modes. Coltrane said of it, "This waltz is fantastic : when you play it slowly, it has a ‘gospel' aspect, which is not at all unpleasant; when you play it fast, it has certain other undeniable qualities. It's very interesting to discover a terrain that renews itself according to the impulse that you give it; that's the reason why we don't always play this tune in the same tempo. Nothing is ever fixed with Coltrane, and this version is no doubt one of his finest...\r\n
      \r\n
      It has often been said that everything Trane did, he did to excess drugs and alcohol, then cigars, vegetarianism, and finally, religion. Overlooked, though, was his obsession with friendship, his passion for group musical performances where owing to his high expectations of himself and others the contribution of each individual musician was elevated. Even his spiritual conversion late in life was not self-centered. Miles Davis wrote in his autobiography that Coltrane turned into a diamond. He could have added that Trane was considered a beacon; he shaped music in general and jazz in particular, and he guided entire generations of immense jazzmen.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "John Coltrane (tenor & soprano saxophone), Eric Dolphy (alto saxophone & flute), McCoy Tyner (piano), Reggie Workman (bass), Elvin Jones (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=i0PCZVMydAc"
    -referenceProduit: "The Lost Recordings 4065"
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[
  "produit" => App\Entity\Produit {#2158
    -id: 3056
    -nom: "Live at the Concertgebouw 1980  (Numbered Limited Edition)"
    -informationComplementaire: "Un piano, une salle légendaire, un Maître au sommet de son art. Avec ce récital capté en 1980 au Concertgebouw, Emil Gilels livre un Beethoven d’une intensité rare, profond, lumineux, inoubliable."
    -description: """
      Enregistré le 15 avril 1980 au mythique Concertgebouw d’Amsterdam, ce récital d’Emil Gilels capture l’un des derniers témoignages d’un maître absolu du piano dans son répertoire de prédilection : "Ludwig van Beethoven".\r\n
      \r\n
      Seul sur scène, Gilels déploie toute la richesse de son art dans deux œuvres majeures : la Sonate n° 7 en ré majeur, Op. 10 n° 3, et les Variations et fugue "Eroica", Op. 35. Entre puissance architecturale et profondeur expressive, son jeu allie une clarté souveraine à une intensité presque introspective.\r\n
      \r\n
      Ce concert, capté en public dans une acoustique exceptionnelle, restitue avec une rare authenticité la présence du pianiste, la tension du moment et la poésie du silence entre les notes. Plus qu’un simple enregistrement, il s’agit d’un document vivant, où chaque phrase semble surgir dans l’instant.\r\n
      \r\n
      Une parution essentielle pour les amateurs de Beethoven comme pour les admirateurs de Gilels, témoignant d’un art arrivé à pleine maturité.\r\n
      \r\n
      - Emil Gilels "Live at the Concertgebouw 1980" !\r\n
      - 180 gram hand-numbered edition !\r\n
      - Limited to 3000 copies worldwide !\r\n
      - Remastered from the original analog tape by Kevin Gray at Cohearent Audio !\r\n
      - Gold foil and debossing on soft-touch cover !\r\n
      - Printed inner sleeve; pressed at Optimal in Germany !\r\n
      \r\n
      While exploring the Dutch archives, The Lost Recordings unearthed five forgotten recordings of Emil Gilels, captured between 1975 and 1980 at the Concertgebouw in Amsterdam.\r\n
      \r\n
      Among them : a recital performed on April 15, 1980, entirely dedicated to Beethoven. A unique performance, filled with calm power, absolute clarity, and a musicality carved out of silence.\r\n
      \r\n
      Beethoven, embodied! Gilels doesn't merely play Beethoven. He inhabits him shapes him sculpts every note. From Sonata N° 7 to the Eroica Variations, this recital journeys through shadow and light, tragedy and grace, with sovereign elegance. No effects, no artifice each movement reveals a raw, dense, and moving truth.\r\n
      \r\n
      This recital, rediscovered more than four decades later, is more than just a recording. It's a true legacy.\r\n
      \r\n
      Recorded at the Concertgebouw, Amsterdam.\r\n
      \r\n
      Remastered by The Lost Recordings from the original analog tapes.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Emil Gilels (piano)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=1sObJaNgBMI"
    -referenceProduit: "The Lost Recordings 6032"
    -titreMorceau: [
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        "nom" => "Side A :"
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        "nom" => "1. Beethoven : Sonata N° 7 in D Major, Op. 10, N° 3"
      ]
      [
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        "nom" => "- I. Presto"
      ]
      [
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        "nom" => "- II. Largo e mesto"
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      [
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        "nom" => "- III. Menuetto : Allegro"
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        "nom" => "- IV. Rondo : Allegro"
      ]
      [
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        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Beethoven : Varations and Fugue in E-flat major "Eroica", Op. 35 "
      ]
      [
        "ordre" => 8
        "nom" => "- I. Introduzione: Allegretto vivace"
      ]
      [
        "ordre" => 9
        "nom" => "- II. Tema"
      ]
      [
        "ordre" => 10
        "nom" => "- III. Variation N° 1"
      ]
      [
        "ordre" => 11
        "nom" => "- IV. Variation N° 2"
      ]
      [
        "ordre" => 12
        "nom" => "- V. Variation N° 3"
      ]
      [
        "ordre" => 13
        "nom" => "- VI. Variation N° 4"
      ]
      [
        "ordre" => 14
        "nom" => "- VII. Variation N° 5"
      ]
      [
        "ordre" => 15
        "nom" => "- VIII. Variation N° 6"
      ]
      [
        "ordre" => 16
        "nom" => "- IX. Variation N° 7 : Canone All'ottava"
      ]
      [
        "ordre" => 17
        "nom" => "- X. Variation N° 8"
      ]
      [
        "ordre" => 18
        "nom" => "- XI. Variation N° 9"
      ]
      [
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        "nom" => "- XII. Variation N° 10"
      ]
      [
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        "nom" => "- XIII. Variation N° 11"
      ]
      [
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        "nom" => "- XIV. Variation N° 12"
      ]
      [
        "ordre" => 22
        "nom" => "- XV. Variation N° 13"
      ]
      [
        "ordre" => 23
        "nom" => "- XVI. Variation N° 14 minore"
      ]
      [
        "ordre" => 24
        "nom" => "- XVII. Variation N° 15 Maggiore - Largo"
      ]
      [
        "ordre" => 25
        "nom" => "- XVIII. Coda"
      ]
      [
        "ordre" => 26
        "nom" => "- XIX. Finale : Alla Fuga"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2160 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3552
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2671 …}
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    -id: 3056
    -nom: "Live at the Concertgebouw 1980  (Numbered Limited Edition)"
    -informationComplementaire: "Un piano, une salle légendaire, un Maître au sommet de son art. Avec ce récital capté en 1980 au Concertgebouw, Emil Gilels livre un Beethoven d’une intensité rare, profond, lumineux, inoubliable."
    -description: """
      Enregistré le 15 avril 1980 au mythique Concertgebouw d’Amsterdam, ce récital d’Emil Gilels capture l’un des derniers témoignages d’un maître absolu du piano dans son répertoire de prédilection : "Ludwig van Beethoven".\r\n
      \r\n
      Seul sur scène, Gilels déploie toute la richesse de son art dans deux œuvres majeures : la Sonate n° 7 en ré majeur, Op. 10 n° 3, et les Variations et fugue "Eroica", Op. 35. Entre puissance architecturale et profondeur expressive, son jeu allie une clarté souveraine à une intensité presque introspective.\r\n
      \r\n
      Ce concert, capté en public dans une acoustique exceptionnelle, restitue avec une rare authenticité la présence du pianiste, la tension du moment et la poésie du silence entre les notes. Plus qu’un simple enregistrement, il s’agit d’un document vivant, où chaque phrase semble surgir dans l’instant.\r\n
      \r\n
      Une parution essentielle pour les amateurs de Beethoven comme pour les admirateurs de Gilels, témoignant d’un art arrivé à pleine maturité.\r\n
      \r\n
      - Emil Gilels "Live at the Concertgebouw 1980" !\r\n
      - 180 gram hand-numbered edition !\r\n
      - Limited to 3000 copies worldwide !\r\n
      - Remastered from the original analog tape by Kevin Gray at Cohearent Audio !\r\n
      - Gold foil and debossing on soft-touch cover !\r\n
      - Printed inner sleeve; pressed at Optimal in Germany !\r\n
      \r\n
      While exploring the Dutch archives, The Lost Recordings unearthed five forgotten recordings of Emil Gilels, captured between 1975 and 1980 at the Concertgebouw in Amsterdam.\r\n
      \r\n
      Among them : a recital performed on April 15, 1980, entirely dedicated to Beethoven. A unique performance, filled with calm power, absolute clarity, and a musicality carved out of silence.\r\n
      \r\n
      Beethoven, embodied! Gilels doesn't merely play Beethoven. He inhabits him shapes him sculpts every note. From Sonata N° 7 to the Eroica Variations, this recital journeys through shadow and light, tragedy and grace, with sovereign elegance. No effects, no artifice each movement reveals a raw, dense, and moving truth.\r\n
      \r\n
      This recital, rediscovered more than four decades later, is more than just a recording. It's a true legacy.\r\n
      \r\n
      Recorded at the Concertgebouw, Amsterdam.\r\n
      \r\n
      Remastered by The Lost Recordings from the original analog tapes.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Emil Gilels (piano)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
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    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=1sObJaNgBMI"
    -referenceProduit: "The Lost Recordings 6032"
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        "nom" => "1. Beethoven : Varations and Fugue in E-flat major "Eroica", Op. 35 "
      ]
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        "nom" => "- I. Introduzione: Allegretto vivace"
      ]
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        "nom" => "- II. Tema"
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        "nom" => "- III. Variation N° 1"
      ]
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        "ordre" => 11
        "nom" => "- IV. Variation N° 2"
      ]
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        "ordre" => 12
        "nom" => "- V. Variation N° 3"
      ]
      [
        "ordre" => 13
        "nom" => "- VI. Variation N° 4"
      ]
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        "ordre" => 14
        "nom" => "- VII. Variation N° 5"
      ]
      [
        "ordre" => 15
        "nom" => "- VIII. Variation N° 6"
      ]
      [
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        "nom" => "- IX. Variation N° 7 : Canone All'ottava"
      ]
      [
        "ordre" => 17
        "nom" => "- X. Variation N° 8"
      ]
      [
        "ordre" => 18
        "nom" => "- XI. Variation N° 9"
      ]
      [
        "ordre" => 19
        "nom" => "- XII. Variation N° 10"
      ]
      [
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        "nom" => "- XIII. Variation N° 11"
      ]
      [
        "ordre" => 21
        "nom" => "- XIV. Variation N° 12"
      ]
      [
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        "nom" => "- XV. Variation N° 13"
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      [
        "ordre" => 23
        "nom" => "- XVI. Variation N° 14 minore"
      ]
      [
        "ordre" => 24
        "nom" => "- XVII. Variation N° 15 Maggiore - Largo"
      ]
      [
        "ordre" => 25
        "nom" => "- XVIII. Coda"
      ]
      [
        "ordre" => 26
        "nom" => "- XIX. Finale : Alla Fuga"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2160 …}
    -label: Proxies\__CG__\App\Entity\Label {#2138 …}
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[
  "produit" => App\Entity\Produit {#2180
    -id: 422
    -nom: "Inception"
    -informationComplementaire: "Avec "Inception", McCoy Tyner signe une entrée puissante et inspirée. Entre profondeur harmonique et énergie contenue, le trio explore un jazz en mutation. Un premier souffle intense, déjà habité d’une quête sonore."
    -description: """
      Sorti en 1962, "Inception" marque les débuts discographiques en leader du pianiste McCoy Tyner, alors déjà membre du mythique quartet de John Coltrane. Cet album révèle une identité musicale forte, à la fois enracinée dans le hard bop et déjà tournée vers des horizons plus modaux et spirituels.\r\n
      \r\n
      Accompagné de Art Davis à la contrebasse et Elvin Jones à la batterie, deux musiciens également liés à Coltrane, McCoy Tyner déploie un jeu percussif, dense et harmonique, caractérisé par ses accords puissants et ses structures modales.\r\n
      \r\n
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      \r\n
      - Acoustic Sounds Series reissues from Verve / Universal Music Enterprises !\r\n
      - Monthly releases highlighting the world's most historic and best jazz records !\r\n
      - Mastered by Matthew Lutthans at The Mastering Lab from the original analog tape !\r\n
      - 180 gram LPs pressed at Quality Record Pressings !\r\n
      - Stoughton Printing gatefold old-style tip-on jackets !\r\n
      - Series supervised by Chad Kassem CEO of Acoustic Sounds !\r\n
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      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "McCoy Tyner (piano), Art Davis (bass), Elvin Jones (drums)"
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    -nom: "Inception"
    -informationComplementaire: "Avec "Inception", McCoy Tyner signe une entrée puissante et inspirée. Entre profondeur harmonique et énergie contenue, le trio explore un jazz en mutation. Un premier souffle intense, déjà habité d’une quête sonore."
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      - Monthly releases highlighting the world's most historic and best jazz records !\r\n
      - Mastered by Matthew Lutthans at The Mastering Lab from the original analog tape !\r\n
      - 180 gram LPs pressed at Quality Record Pressings !\r\n
      - Stoughton Printing gatefold old-style tip-on jackets !\r\n
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[
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    -description: """
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      \r\n
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      \r\n
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      \r\n
      The Real Folk Blues est une œuvre essentielle, à la fois historique et vibrante, qui continue de résonner comme l’un des témoignages les plus puissants du blues urbain américain.\r\n
      \r\n
      - Muddy Waters "The Real Folk Blues" (Mono) !\r\n
      - Chess Records 75 Series from Chess Records and Acoustic Sounds !\r\n
      - All-analog mastering by Matthew Lutthans at The Mastering Lab !\r\n
      - 180 gram vinyl pressed at Quality Record Pressings !\r\n
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      \r\n
      Although most of these tracks were recorded in Chicago studios, often with electric guitar in the mix, the spirit is unmistakably down-home. There's a stark, front-porch authority in the performances spare instrumentation, unvarnished arrangements, and a gritty, conversational vocal style that carries the emotional weight of Delta tradition straight into the urban blues era.\r\n
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      """
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    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3654
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    -id: 3055
    -nom: "The Real Folk Blues  (Mono)"
    -informationComplementaire: "Un blues brut, viscéral et intemporel. Avec "The Real Folk Blues", Muddy Waters incarne l’âme du Chicago blues dans ce qu’elle a de plus authentique. Une musique née de la terre, électrifiée en ville, et devenue légende."
    -description: """
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      \r\n
      Porté par une voix puissante et une guitare slide immédiatement reconnaissable, Muddy Waters s’entoure de musiciens d’exception tels que Little Walter à l’harmonica, Otis Spann au piano ou encore Willie Dixon à la basse. Ensemble, ils donnent naissance à un son brut, direct et profondément expressif.\r\n
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      \r\n
      The Real Folk Blues est une œuvre essentielle, à la fois historique et vibrante, qui continue de résonner comme l’un des témoignages les plus puissants du blues urbain américain.\r\n
      \r\n
      - Muddy Waters "The Real Folk Blues" (Mono) !\r\n
      - Chess Records 75 Series from Chess Records and Acoustic Sounds !\r\n
      - All-analog mastering by Matthew Lutthans at The Mastering Lab !\r\n
      - 180 gram vinyl pressed at Quality Record Pressings !\r\n
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      \r\n
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      """
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}

[
  "produit" => App\Entity\Produit {#2220
    -id: 3054
    -nom: "The Real Folk Blues  (Mono)"
    -informationComplementaire: "Une voix. Une légende. Le blues à l’état pur. Avec "The Real Folk Blues", Howlin' Wolf livre une collection essentielle de titres bruts et intemporels, où chaque note résonne avec l’âme du Chicago blues."
    -description: """
      The Real Folk Blues (Mono) de Howlin' Wolf est une plongée brute et authentique dans l’âge d’or du blues de Chicago. Cette compilation rassemble certaines des sessions les plus marquantes enregistrées pour Chess Records entre les années 1950 et 1960.\r\n
      \r\n
      Porté par la voix puissante, rugueuse et profondément expressive de Howlin’ Wolf, l’album capture toute l’intensité émotionnelle du blues électrique. Chaque morceau est soutenu par une section rythmique solide et des musiciens d’exception, dont le guitariste Hubert Sumlin, dont le jeu incisif et nerveux est devenu indissociable du son du Wolf.\r\n
      \r\n
      Entre riffs hypnotiques, grooves lourds et atmosphères sombres, cet album incarne une musique viscérale, à la fois sauvage et raffinée. Le mix mono renforce encore cette sensation d’immersion directe, comme si l’auditeur se retrouvait au cœur d’un club enfumé du South Side de Chicago.\r\n
      \r\n
      - Howlin' Wolf "The Real Folk Blues" (Mono) !\r\n
      - Chess Records 75 Series from Chess Records and Acoustic Sounds !\r\n
      - Mastered from digital sources by Matt Lutthans at The Mastering Lab !\r\n
      - 180 gram vinyl pressed at Quality Record Pressings !\r\n
      \r\n
      Most of Chess Records' Real Folk Blues albums were compilations of singles recorded over a span of years (in Wolf's case, from 1956 to 1965). This album did not fit the usual definitions of "folk blues," featuring instead Chicago urban blues by an incomparable singer and a host of great sidemen (including Hubert Sumlin and Buddy Guy), but Chess was making a move to remarket the blues to a new audience that had developed with the boom in folk music.\r\n
      \r\n
      This was Chess' second LP of Wolf singles, and a comment posted on the Blues Hall of Fame web site about the first LP applies to this one too : "Considering how many of the songs here have become standards in the repertoires of countless blues and rock bands, it's hard to fathom that none of these Wolf 45s sold well enough to make the Billboard R&B charts". The Real Folk Blues classics include "Killing Floor", "Tail Dragger", "Built for Comfort", and "Three Hundred Pounds of Joy".
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Howlin' Wolf (harmonica, vocals), Hubert Sumlin (lead guitar), Willie Johnson, Jody Williams, Buddy Guy (guitar), Otis Spann, Hosea Lee Kennard (piano), Willie Dixon, Andrew McMahon (bass), Earl Phillips, Fred Below, Sam Lay (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=ETMhupZUCsc&list=PLOFsCPXqLYfopdCzb5JMOXPFyT2Ie8u6T&index=3"
    -referenceProduit: "Acoustic Sounds Serie (Chess Records) 9990"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Killing Floor 2:48"
      ]
      [
        "ordre" => 2
        "nom" => "2. Louise"
      ]
      [
        "ordre" => 3
        "nom" => "3. Poor Boy"
      ]
      [
        "ordre" => 4
        "nom" => "4. Sittin' On Top Of The World"
      ]
      [
        "ordre" => 5
        "nom" => "5. Nature"
      ]
      [
        "ordre" => 6
        "nom" => "6. My Country Sugar Mama "
      ]
      [
        "ordre" => 7
        "nom" => "Side B :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Tail Dragger"
      ]
      [
        "ordre" => 9
        "nom" => "2. Three Hundred Pounds Of Joy"
      ]
      [
        "ordre" => 10
        "nom" => "3. Natchez Burnin'"
      ]
      [
        "ordre" => 11
        "nom" => "4. Built For Comfort"
      ]
      [
        "ordre" => 12
        "nom" => "5. Ooh Baby, Hold Me"
      ]
      [
        "ordre" => 13
        "nom" => "6. Tell Me What I've Done"
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
      [
        "ordre" => 16
        "nom" => ""
      ]
      [
        "ordre" => 17
        "nom" => ""
      ]
      [
        "ordre" => 18
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2222 …}
    -label: Proxies\__CG__\App\Entity\Label {#2206 …}
    -style: App\Entity\Style {#1436 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2231 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2224 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
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    -poids: null
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    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2226 …}
    -enregistreLe: DateTime @1775543324 {#2217
      date: 2026-04-07 06:28:44.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775543342 {#2218
      date: 2026-04-07 06:29:02.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2228 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-real-folk-blues-mono-acoustic-sounds-serie-chess-records-9990"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3705
  -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 {#2671 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2220
    -id: 3054
    -nom: "The Real Folk Blues  (Mono)"
    -informationComplementaire: "Une voix. Une légende. Le blues à l’état pur. Avec "The Real Folk Blues", Howlin' Wolf livre une collection essentielle de titres bruts et intemporels, où chaque note résonne avec l’âme du Chicago blues."
    -description: """
      The Real Folk Blues (Mono) de Howlin' Wolf est une plongée brute et authentique dans l’âge d’or du blues de Chicago. Cette compilation rassemble certaines des sessions les plus marquantes enregistrées pour Chess Records entre les années 1950 et 1960.\r\n
      \r\n
      Porté par la voix puissante, rugueuse et profondément expressive de Howlin’ Wolf, l’album capture toute l’intensité émotionnelle du blues électrique. Chaque morceau est soutenu par une section rythmique solide et des musiciens d’exception, dont le guitariste Hubert Sumlin, dont le jeu incisif et nerveux est devenu indissociable du son du Wolf.\r\n
      \r\n
      Entre riffs hypnotiques, grooves lourds et atmosphères sombres, cet album incarne une musique viscérale, à la fois sauvage et raffinée. Le mix mono renforce encore cette sensation d’immersion directe, comme si l’auditeur se retrouvait au cœur d’un club enfumé du South Side de Chicago.\r\n
      \r\n
      - Howlin' Wolf "The Real Folk Blues" (Mono) !\r\n
      - Chess Records 75 Series from Chess Records and Acoustic Sounds !\r\n
      - Mastered from digital sources by Matt Lutthans at The Mastering Lab !\r\n
      - 180 gram vinyl pressed at Quality Record Pressings !\r\n
      \r\n
      Most of Chess Records' Real Folk Blues albums were compilations of singles recorded over a span of years (in Wolf's case, from 1956 to 1965). This album did not fit the usual definitions of "folk blues," featuring instead Chicago urban blues by an incomparable singer and a host of great sidemen (including Hubert Sumlin and Buddy Guy), but Chess was making a move to remarket the blues to a new audience that had developed with the boom in folk music.\r\n
      \r\n
      This was Chess' second LP of Wolf singles, and a comment posted on the Blues Hall of Fame web site about the first LP applies to this one too : "Considering how many of the songs here have become standards in the repertoires of countless blues and rock bands, it's hard to fathom that none of these Wolf 45s sold well enough to make the Billboard R&B charts". The Real Folk Blues classics include "Killing Floor", "Tail Dragger", "Built for Comfort", and "Three Hundred Pounds of Joy".
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Howlin' Wolf (harmonica, vocals), Hubert Sumlin (lead guitar), Willie Johnson, Jody Williams, Buddy Guy (guitar), Otis Spann, Hosea Lee Kennard (piano), Willie Dixon, Andrew McMahon (bass), Earl Phillips, Fred Below, Sam Lay (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=ETMhupZUCsc&list=PLOFsCPXqLYfopdCzb5JMOXPFyT2Ie8u6T&index=3"
    -referenceProduit: "Acoustic Sounds Serie (Chess Records) 9990"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Killing Floor 2:48"
      ]
      [
        "ordre" => 2
        "nom" => "2. Louise"
      ]
      [
        "ordre" => 3
        "nom" => "3. Poor Boy"
      ]
      [
        "ordre" => 4
        "nom" => "4. Sittin' On Top Of The World"
      ]
      [
        "ordre" => 5
        "nom" => "5. Nature"
      ]
      [
        "ordre" => 6
        "nom" => "6. My Country Sugar Mama "
      ]
      [
        "ordre" => 7
        "nom" => "Side B :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Tail Dragger"
      ]
      [
        "ordre" => 9
        "nom" => "2. Three Hundred Pounds Of Joy"
      ]
      [
        "ordre" => 10
        "nom" => "3. Natchez Burnin'"
      ]
      [
        "ordre" => 11
        "nom" => "4. Built For Comfort"
      ]
      [
        "ordre" => 12
        "nom" => "5. Ooh Baby, Hold Me"
      ]
      [
        "ordre" => 13
        "nom" => "6. Tell Me What I've Done"
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
      [
        "ordre" => 16
        "nom" => ""
      ]
      [
        "ordre" => 17
        "nom" => ""
      ]
      [
        "ordre" => 18
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2222 …}
    -label: Proxies\__CG__\App\Entity\Label {#2206 …}
    -style: App\Entity\Style {#1436 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2231 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2224 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2226 …}
    -enregistreLe: DateTime @1775543324 {#2217
      date: 2026-04-07 06:28:44.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775543342 {#2218
      date: 2026-04-07 06:29:02.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2228 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-real-folk-blues-mono-acoustic-sounds-serie-chess-records-9990"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2439 …}
}

[
  "produit" => App\Entity\Produit {#2236
    -id: 3053
    -nom: "Heart Shaped World - Box Set (2 LP) 45 RPM UltraDisc One-Step"
    -informationComplementaire: "Plongez dans l’atmosphère envoûtante de Heart Shaped World de Chris Isaak. Porté par le mythique "Wicked Game", cet album mêle mélancolie et sensualité dans un son à la fois rétro et intemporel."
    -description: """
      Sorti en 1989, "Heart Shaped World" est l’album qui révèle pleinement Chris Isaak au grand public. Entre rock, rockabilly et ambiances dream pop, il développe une identité sonore immédiatement reconnaissable, guitares réverbérées, rythmiques épurées et voix habitée.\r\n
      \r\n
      Porté par le succès planétaire de "Wicked Game", l’album s’impose comme une œuvre à la fois intime et cinématographique. Chaque morceau explore des thèmes universels, le désir, la solitude, l’amour impossible, dans une atmosphère nocturne et élégante.\r\n
      \r\n
      La guitare aérienne de James Calvin Wilsey joue un rôle central, créant un paysage sonore hypnotique qui enveloppe l’auditeur. L’ensemble donne un disque intemporel, à la croisée des influences vintage et d’une sensibilité moderne.\r\n
      \r\n
      - Chris Isaak’s Heart Shaped World Is a Mood Masterpiece : Double-Platinum Album Features the Smash “Wicked Game”, Brilliant Singing, and Extraordinary Guitar Tones\r\n
      \r\n
      - Experience the Brooding 1989 Album in Definitive Sound : Mobile Fidelity’s UltraDisc 180 gram 45 RPM (2 LP) Box Set Is Strictly Limited to 3000 Numbered Copies and Includes the Bonus Track “Diddley Daddy” !\r\n
      \r\n
      - 1/2” 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      There was nothing in contemporary music like Chris Isaak’s Heart Shaped World when it hit shelves in June 1989. More than three decades later, the singer-songwriter’s third album still sounds unique and claims a backstory nearly as fascinating as the retro-leaning material and standout performances that propelled it to sales of more than 2.5 million copies. Home to the Top 10 smash “Wicked Game”, the set remains a masterful mood piece that invites you to pour a late-night drink, sit in a dimmed room, and relish Isaak’s elegant albeit raw ruminations on love, relationships, and questionable decisions. \r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, strictly limited to 3000 numbered copies, and featuring the bonus track “Diddley Daddy”, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) box set of Heart Shaped World unearths the staggering inner details, saturated tones, and brilliant atmospherics of the crisp production. It brings you up close and personal with Isaak’s spectacular singing impeccably controlled, tense, brooding, steamy, smoldering, haunted situated amidst stripped-down backdrops that allow every note to fully bloom and decay. \r\n
      \r\n
      While Isaak’s ever-steady baritone remains the anchor, the contributions of his trusty backing band, the aptly named Silvertone, come across with just as much cool, command, and realism. The indispensable playing of guitarist James Calvin Wilsey particularly emerges with superb clarity and dimensionality. The character of his 1965 Fender Stratocaster, shivering twang of his spring-coiled fills, and his signature use of reverb, delay, and vibrato seamlessly match Isaak's patient deliveries and the band’s unhurried rhythms. Experienced on UD1S with ultra-black backgrounds and a nearly invisible noise floor, Heart Shaped World is in every regard a demonstration disc. \r\n
      \r\n
      The premium packaging of this UD1S pressing befits its elevated status. Housed in a deluxe slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, this reissue is for discerning listeners who desire to immerse themselves in everything involved with the album, not the least of which is the cover art depicting a lost-in-thought Isaak staring ahead and sitting in what appears to be an efficiency apartment. The image epitomizes the record’s lonesome temperaments and pensive themes.\r\n
      \r\n
      Of course, if not for director David Lynch hand-picking two cuts from Heart Shaped World for his 1990 film Wild at Heart, the record would’ve probably suffered the same fate as Isaak’s prior efforts and gone unnoticed by the mainstream. Despite receiving raves from outlets such as NME, Chicago Tribune, and Rolling Stone upon its original release, the album stalled in the lower quadrants of the Billboard charts and, after a few weeks, dropped off. \r\n
      \r\n
      Cue the ear of Lee Chesnut. Then the music director for a large Atlanta radio station, Chesnut heard the instrumental version of “Wicked Game” on Lynch’s soundtrack and started airing the album rendition at all hours of the day. Aided by a sensual video featuring Isaak and supermodel Helena Christensen, the song found its way into the public consciousness by early ‘91 and helped make Isaak a most unlikely mainstream star in an era where his techniques had little to nothing in common with popular tastes. \r\n
      \r\n
      Despite its vintage vibes and shared DNA with legends such as Roy Orbison, Chet Baker, and Glen Campbell, Heart Shaped World transcends nostalgia, rockabilly, and throwback tropes. For all the melodrama and sadness at hand, Isaak’s gorgeously transparent singing dives deep underneath emotional surfaces. He mines subtleties that indicate his feelings go beyond heartbreak and anguish, and occasionally suggest frustration, menace, and anger. You can hear it in his quivering falsetto, and the slow and methodical ways he allows delicate whispers to break into shadowy phrasing that crosses over to the darker sides of romance and desire.\r\n
      \r\n
      That approach bolsters the title track, which suggests calm yet moves on ominous currents its simmering pace and snare-drum snappiness foreshadowing Isaak raising the volume and urgency during the coda. The southwestern-tinged “Wrong to Love You” plays with similar concepts of hesitation, unease, and discord, Isaak careful never to fully erupt and give anything away. His poised deliveries offer a master class in the art of insinuation and hurt on “Nothing’s Changed”, sent up with a wordless backing chorus and crackling guitar lines straight out of a Memphis blues joint. \r\n
      \r\n
      Heart Shaped World further boosts its merit via its abundant stylistic variations, from the upbeat country-and-western trot of “I’m Not Waiting” and Spanish acoustic shimmer of the jazz-based ballad “Blue Spanish Sky” to the swinging horn-accompanied grooves of “Don’t Make Me Love You” and desert smokiness of the understated “Kings of the Highway”. On the latter, Isaak comes across as resigned and absolute. His singing and pain worm their way into your soul, and echo akin to the way the music prepares to strike when you least expect. \r\n
      \r\n
      “Trouble going 'round”, Isaak croons right as the album begins. “Trouble going down”. Damn straight.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Chris Isaak (guitar, vocals), James Calvin Wilsey (lead guitar), Rowland Salley (bass), Kenney Dale Johnson (drums), John Shanks (guitar, keyboards), Jeff Watson (guitar), Greg Leisz (pedal steel guitar)."
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=jd-qI62gNJM&list=OLAK5uy_mCikd-mLC4SYxsssIh394kKCcHtfs-vpo"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL MFSL 45UD1S 2-075"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Heart Shaped World"
      ]
      [
        "ordre" => 2
        "nom" => "2. I'm Not Waiting"
      ]
      [
        "ordre" => 3
        "nom" => "3. Don't Make Me Dream About You"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Kings Of The Highway"
      ]
      [
        "ordre" => 6
        "nom" => "2. Wicked Game "
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Blue Spanish Sky"
      ]
      [
        "ordre" => 9
        "nom" => "2. Wrong To Love You"
      ]
      [
        "ordre" => 10
        "nom" => "3. Forever Young"
      ]
      [
        "ordre" => 11
        "nom" => "Side D : "
      ]
      [
        "ordre" => 12
        "nom" => "1. Nothing's Changed"
      ]
      [
        "ordre" => 13
        "nom" => "2. In The Heat Of The Jungle"
      ]
      [
        "ordre" => 14
        "nom" => "3. Diddley Daddy"
      ]
      [
        "ordre" => 15
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      ]
      [
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      [
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      ]
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2238 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2247 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2240 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2242 …}
    -enregistreLe: DateTime @1775497125 {#2233
      date: 2026-04-06 17:38:45.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775497125 {#2234
      date: 2026-04-06 17:38:45.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2244 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-heart-shaped-world-box-set-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-mfsl-mfsl-45ud1s-2-075"
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  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3756
  -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 {#2671 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2236
    -id: 3053
    -nom: "Heart Shaped World - Box Set (2 LP) 45 RPM UltraDisc One-Step"
    -informationComplementaire: "Plongez dans l’atmosphère envoûtante de Heart Shaped World de Chris Isaak. Porté par le mythique "Wicked Game", cet album mêle mélancolie et sensualité dans un son à la fois rétro et intemporel."
    -description: """
      Sorti en 1989, "Heart Shaped World" est l’album qui révèle pleinement Chris Isaak au grand public. Entre rock, rockabilly et ambiances dream pop, il développe une identité sonore immédiatement reconnaissable, guitares réverbérées, rythmiques épurées et voix habitée.\r\n
      \r\n
      Porté par le succès planétaire de "Wicked Game", l’album s’impose comme une œuvre à la fois intime et cinématographique. Chaque morceau explore des thèmes universels, le désir, la solitude, l’amour impossible, dans une atmosphère nocturne et élégante.\r\n
      \r\n
      La guitare aérienne de James Calvin Wilsey joue un rôle central, créant un paysage sonore hypnotique qui enveloppe l’auditeur. L’ensemble donne un disque intemporel, à la croisée des influences vintage et d’une sensibilité moderne.\r\n
      \r\n
      - Chris Isaak’s Heart Shaped World Is a Mood Masterpiece : Double-Platinum Album Features the Smash “Wicked Game”, Brilliant Singing, and Extraordinary Guitar Tones\r\n
      \r\n
      - Experience the Brooding 1989 Album in Definitive Sound : Mobile Fidelity’s UltraDisc 180 gram 45 RPM (2 LP) Box Set Is Strictly Limited to 3000 Numbered Copies and Includes the Bonus Track “Diddley Daddy” !\r\n
      \r\n
      - 1/2” 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      There was nothing in contemporary music like Chris Isaak’s Heart Shaped World when it hit shelves in June 1989. More than three decades later, the singer-songwriter’s third album still sounds unique and claims a backstory nearly as fascinating as the retro-leaning material and standout performances that propelled it to sales of more than 2.5 million copies. Home to the Top 10 smash “Wicked Game”, the set remains a masterful mood piece that invites you to pour a late-night drink, sit in a dimmed room, and relish Isaak’s elegant albeit raw ruminations on love, relationships, and questionable decisions. \r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, strictly limited to 3000 numbered copies, and featuring the bonus track “Diddley Daddy”, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) box set of Heart Shaped World unearths the staggering inner details, saturated tones, and brilliant atmospherics of the crisp production. It brings you up close and personal with Isaak’s spectacular singing impeccably controlled, tense, brooding, steamy, smoldering, haunted situated amidst stripped-down backdrops that allow every note to fully bloom and decay. \r\n
      \r\n
      While Isaak’s ever-steady baritone remains the anchor, the contributions of his trusty backing band, the aptly named Silvertone, come across with just as much cool, command, and realism. The indispensable playing of guitarist James Calvin Wilsey particularly emerges with superb clarity and dimensionality. The character of his 1965 Fender Stratocaster, shivering twang of his spring-coiled fills, and his signature use of reverb, delay, and vibrato seamlessly match Isaak's patient deliveries and the band’s unhurried rhythms. Experienced on UD1S with ultra-black backgrounds and a nearly invisible noise floor, Heart Shaped World is in every regard a demonstration disc. \r\n
      \r\n
      The premium packaging of this UD1S pressing befits its elevated status. Housed in a deluxe slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, this reissue is for discerning listeners who desire to immerse themselves in everything involved with the album, not the least of which is the cover art depicting a lost-in-thought Isaak staring ahead and sitting in what appears to be an efficiency apartment. The image epitomizes the record’s lonesome temperaments and pensive themes.\r\n
      \r\n
      Of course, if not for director David Lynch hand-picking two cuts from Heart Shaped World for his 1990 film Wild at Heart, the record would’ve probably suffered the same fate as Isaak’s prior efforts and gone unnoticed by the mainstream. Despite receiving raves from outlets such as NME, Chicago Tribune, and Rolling Stone upon its original release, the album stalled in the lower quadrants of the Billboard charts and, after a few weeks, dropped off. \r\n
      \r\n
      Cue the ear of Lee Chesnut. Then the music director for a large Atlanta radio station, Chesnut heard the instrumental version of “Wicked Game” on Lynch’s soundtrack and started airing the album rendition at all hours of the day. Aided by a sensual video featuring Isaak and supermodel Helena Christensen, the song found its way into the public consciousness by early ‘91 and helped make Isaak a most unlikely mainstream star in an era where his techniques had little to nothing in common with popular tastes. \r\n
      \r\n
      Despite its vintage vibes and shared DNA with legends such as Roy Orbison, Chet Baker, and Glen Campbell, Heart Shaped World transcends nostalgia, rockabilly, and throwback tropes. For all the melodrama and sadness at hand, Isaak’s gorgeously transparent singing dives deep underneath emotional surfaces. He mines subtleties that indicate his feelings go beyond heartbreak and anguish, and occasionally suggest frustration, menace, and anger. You can hear it in his quivering falsetto, and the slow and methodical ways he allows delicate whispers to break into shadowy phrasing that crosses over to the darker sides of romance and desire.\r\n
      \r\n
      That approach bolsters the title track, which suggests calm yet moves on ominous currents its simmering pace and snare-drum snappiness foreshadowing Isaak raising the volume and urgency during the coda. The southwestern-tinged “Wrong to Love You” plays with similar concepts of hesitation, unease, and discord, Isaak careful never to fully erupt and give anything away. His poised deliveries offer a master class in the art of insinuation and hurt on “Nothing’s Changed”, sent up with a wordless backing chorus and crackling guitar lines straight out of a Memphis blues joint. \r\n
      \r\n
      Heart Shaped World further boosts its merit via its abundant stylistic variations, from the upbeat country-and-western trot of “I’m Not Waiting” and Spanish acoustic shimmer of the jazz-based ballad “Blue Spanish Sky” to the swinging horn-accompanied grooves of “Don’t Make Me Love You” and desert smokiness of the understated “Kings of the Highway”. On the latter, Isaak comes across as resigned and absolute. His singing and pain worm their way into your soul, and echo akin to the way the music prepares to strike when you least expect. \r\n
      \r\n
      “Trouble going 'round”, Isaak croons right as the album begins. “Trouble going down”. Damn straight.
      """
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