Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2602
  -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 {#2449 …}
}

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

App\Twig\Components\ListePanier {#2679
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2682 …}
  -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 {#2681 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1884 …}
  +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 {#2449 …}
  -formView: Symfony\Component\Form\FormView {#2718 …}
  -form: Symfony\Component\Form\Form {#2868 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1838
    -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 {#1804 …}
    -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: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Beethoven : Sonata N° 7 in D Major, Op. 10, N° 3"
      ]
      [
        "ordre" => 2
        "nom" => "- I. Presto"
      ]
      [
        "ordre" => 3
        "nom" => "- II. Largo e mesto"
      ]
      [
        "ordre" => 4
        "nom" => "- III. Menuetto : Allegro"
      ]
      [
        "ordre" => 5
        "nom" => "- IV. Rondo : Allegro"
      ]
      [
        "ordre" => 6
        "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"
      ]
      [
        "ordre" => 19
        "nom" => "- XII. Variation N° 10"
      ]
      [
        "ordre" => 20
        "nom" => "- XIII. Variation N° 11"
      ]
      [
        "ordre" => 21
        "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 {#1895 …}
    -label: Proxies\__CG__\App\Entity\Label {#1913 …}
    -style: App\Entity\Style {#1438 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2030 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1876 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2018 …}
    -enregistreLe: DateTime @1775632160 {#1834
      date: 2026-04-08 07:09:20.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775632160 {#1879
      date: 2026-04-08 07:09:20.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2024 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-live-at-the-concertgebouw-1980-numbered-limited-edition-the-lost-recordings-6032"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3142
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  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2681 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1884 …}
  +produit: App\Entity\Produit {#1838
    -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 {#1804 …}
    -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: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Beethoven : Sonata N° 7 in D Major, Op. 10, N° 3"
      ]
      [
        "ordre" => 2
        "nom" => "- I. Presto"
      ]
      [
        "ordre" => 3
        "nom" => "- II. Largo e mesto"
      ]
      [
        "ordre" => 4
        "nom" => "- III. Menuetto : Allegro"
      ]
      [
        "ordre" => 5
        "nom" => "- IV. Rondo : Allegro"
      ]
      [
        "ordre" => 6
        "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"
      ]
      [
        "ordre" => 19
        "nom" => "- XII. Variation N° 10"
      ]
      [
        "ordre" => 20
        "nom" => "- XIII. Variation N° 11"
      ]
      [
        "ordre" => 21
        "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 {#1895 …}
    -label: Proxies\__CG__\App\Entity\Label {#1913 …}
    -style: App\Entity\Style {#1438 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2030 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1876 …}
    -typeMasterTape: null
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    -produitTestePar: null
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    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2018 …}
    -enregistreLe: DateTime @1775632160 {#1834
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    }
    -modifierLe: DateTime @1775632160 {#1879
      date: 2026-04-08 07:09:20.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2024 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-live-at-the-concertgebouw-1980-numbered-limited-edition-the-lost-recordings-6032"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2449 …}
}

[
  "produit" => App\Entity\Produit {#2053
    -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: """
      Sorti en 1966 sur le label Chess Records, "The Real Folk Blues" de Muddy Waters est bien plus qu’un simple album, c’est une plongée dans les racines profondes du blues électrique. Cette compilation rassemble des enregistrements réalisés entre la fin des années 1940 et les années 1950, période durant laquelle Muddy Waters façonne le son du Chicago blues.\r\n
      \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
      \r\n
      Des titres emblématiques comme “Mannish Boy” ou “Rollin’ Stone” capturent toute l’intensité de cette musique, un mélange de tension, de groove et d’émotion qui influencera durablement le rock et toute la musique moderne.\r\n
      \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
      \r\n
      Issued by Chess Records at the height of the 1960s folk revival, this classic compilation cleverly reframed Waters' early Chicago recordings with a title and cover that aligned him with a new, younger audience discovering the roots of American music. The irony, of course, is that Muddy didn't need repositioning. He was the source.\r\n
      \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
      \r\n
      This is the Muddy Waters who changed the language of modern blues. "Mannish Boy" stomps with primal swagger, its hypnotic riff and call-and-response vocal becoming one of the most recognizable signatures in postwar blues. "Screamin' & Cryin'" and "Just To Be With You" simmer with tension and longing, while "Walking Blues" reconnects directly to the Delta lineage that Waters absorbed in his youth. "Walking In The Park", "Same Thing", and "Canary Bird" round out a program that's stacked with grit, groove, and raw storytelling.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1804 …}
    -musicienOrchestre: "Muddy Waters (guitar, vocals), Jimmy Rogers, Robert Lockwood Jr. (guitar), Otis Spann (piano), Little Walter (harmonica), Willie Dixon (bass), Fred Below (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=i-R9qiS_n50&list=PL4W2uOPeutt6b-5nELOpnmccUDOLcYZkF&index=2"
    -referenceProduit: "Acoustic Sounds Serie (Chess Records) 9991"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Mannish Boy"
      ]
      [
        "ordre" => 2
        "nom" => "2. Screamin' & Crying"
      ]
      [
        "ordre" => 3
        "nom" => "3. Just To Be With You"
      ]
      [
        "ordre" => 4
        "nom" => "4. Walking In The Park"
      ]
      [
        "ordre" => 5
        "nom" => "5. Walking Blues"
      ]
      [
        "ordre" => 6
        "nom" => "6. Canary Bird  Side"
      ]
      [
        "ordre" => 7
        "nom" => "Side B : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Same Thing"
      ]
      [
        "ordre" => 9
        "nom" => "2. Gypsy Women"
      ]
      [
        "ordre" => 10
        "nom" => "3. Rollin' & Tumblin'"
      ]
      [
        "ordre" => 11
        "nom" => "4. 40 Days & 40 Nights"
      ]
      [
        "ordre" => 12
        "nom" => "5. Little Geneva"
      ]
      [
        "ordre" => 13
        "nom" => "6. You Can't Lose What You Ain't Never Had"
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
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      [
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        "nom" => ""
      ]
      [
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2055 …}
    -label: Proxies\__CG__\App\Entity\Label {#2058 …}
    -style: App\Entity\Style {#1436 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2067 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2060 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2062 …}
    -enregistreLe: DateTime @1775545580 {#2045
      date: 2026-04-07 07:06:20.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775545613 {#2044
      date: 2026-04-07 07:06:53.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2064 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-real-folk-blues-mono-acoustic-sounds-serie-chess-records-9991"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3256
  -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 {#2681 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1884 …}
  +produit: App\Entity\Produit {#2053
    -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: """
      Sorti en 1966 sur le label Chess Records, "The Real Folk Blues" de Muddy Waters est bien plus qu’un simple album, c’est une plongée dans les racines profondes du blues électrique. Cette compilation rassemble des enregistrements réalisés entre la fin des années 1940 et les années 1950, période durant laquelle Muddy Waters façonne le son du Chicago blues.\r\n
      \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
      \r\n
      Des titres emblématiques comme “Mannish Boy” ou “Rollin’ Stone” capturent toute l’intensité de cette musique, un mélange de tension, de groove et d’émotion qui influencera durablement le rock et toute la musique moderne.\r\n
      \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
      \r\n
      Issued by Chess Records at the height of the 1960s folk revival, this classic compilation cleverly reframed Waters' early Chicago recordings with a title and cover that aligned him with a new, younger audience discovering the roots of American music. The irony, of course, is that Muddy didn't need repositioning. He was the source.\r\n
      \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
      \r\n
      This is the Muddy Waters who changed the language of modern blues. "Mannish Boy" stomps with primal swagger, its hypnotic riff and call-and-response vocal becoming one of the most recognizable signatures in postwar blues. "Screamin' & Cryin'" and "Just To Be With You" simmer with tension and longing, while "Walking Blues" reconnects directly to the Delta lineage that Waters absorbed in his youth. "Walking In The Park", "Same Thing", and "Canary Bird" round out a program that's stacked with grit, groove, and raw storytelling.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1804 …}
    -musicienOrchestre: "Muddy Waters (guitar, vocals), Jimmy Rogers, Robert Lockwood Jr. (guitar), Otis Spann (piano), Little Walter (harmonica), Willie Dixon (bass), Fred Below (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=i-R9qiS_n50&list=PL4W2uOPeutt6b-5nELOpnmccUDOLcYZkF&index=2"
    -referenceProduit: "Acoustic Sounds Serie (Chess Records) 9991"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Mannish Boy"
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      [
        "ordre" => 2
        "nom" => "2. Screamin' & Crying"
      ]
      [
        "ordre" => 3
        "nom" => "3. Just To Be With You"
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        "ordre" => 4
        "nom" => "4. Walking In The Park"
      ]
      [
        "ordre" => 5
        "nom" => "5. Walking Blues"
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        "nom" => "6. Canary Bird  Side"
      ]
      [
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        "nom" => "Side B : "
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        "ordre" => 8
        "nom" => "1. Same Thing"
      ]
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        "nom" => "2. Gypsy Women"
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        "nom" => "3. Rollin' & Tumblin'"
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        "nom" => "4. 40 Days & 40 Nights"
      ]
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        "ordre" => 12
        "nom" => "5. Little Geneva"
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        "nom" => "6. You Can't Lose What You Ain't Never Had"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2055 …}
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}

[
  "produit" => App\Entity\Produit {#2072
    -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 {#1804 …}
    -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 {#2074 …}
    -label: Proxies\__CG__\App\Entity\Label {#2058 …}
    -style: App\Entity\Style {#1436 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2083 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2076 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2078 …}
    -enregistreLe: DateTime @1775543324 {#2069
      date: 2026-04-07 06:28:44.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775543342 {#2070
      date: 2026-04-07 06:29:02.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2080 …}
    -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 {#3307
  -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 {#2681 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1884 …}
  +produit: App\Entity\Produit {#2072
    -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 {#1804 …}
    -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"
      ]
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        "nom" => "5. Ooh Baby, Hold Me"
      ]
      [
        "ordre" => 13
        "nom" => "6. Tell Me What I've Done"
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2074 …}
    -label: Proxies\__CG__\App\Entity\Label {#2058 …}
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    -modifierLe: DateTime @1775543342 {#2070
      date: 2026-04-07 06:29:02.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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    -slug: "vinyles-the-real-folk-blues-mono-acoustic-sounds-serie-chess-records-9990"
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2449 …}
}

[
  "produit" => App\Entity\Produit {#2088
    -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 {#1804 …}
    -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 :"
      ]
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        "ordre" => 1
        "nom" => "1. Heart Shaped World"
      ]
      [
        "ordre" => 2
        "nom" => "2. I'm Not Waiting"
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      [
        "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
        "nom" => ""
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      [
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        "nom" => ""
      ]
      [
        "ordre" => 17
        "nom" => ""
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      [
        "ordre" => 18
        "nom" => ""
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2090 …}
    -label: Proxies\__CG__\App\Entity\Label {#2093 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2102 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2095 …}
    -typeMasterTape: null
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    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2097 …}
    -enregistreLe: DateTime @1775497125 {#2085
      date: 2026-04-06 17:38:45.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775497125 {#2086
      date: 2026-04-06 17:38:45.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2099 …}
    -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
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App\Twig\Components\GestionPanierFavoriComponents {#3358
  -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 {#2681 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1884 …}
  +produit: App\Entity\Produit {#2088
    -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 {#1804 …}
    -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 :"
      ]
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        "nom" => "3. Don't Make Me Dream About You"
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        "nom" => "1. Kings Of The Highway"
      ]
      [
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        "nom" => "2. Wicked Game "
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      [
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        "nom" => "Side C :"
      ]
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        "nom" => "1. Blue Spanish Sky"
      ]
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      ]
      [
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      ]
      [
        "ordre" => 13
        "nom" => "2. In The Heat Of The Jungle"
      ]
      [
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        "nom" => "3. Diddley Daddy"
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
      [
        "ordre" => 16
        "nom" => ""
      ]
      [
        "ordre" => 17
        "nom" => ""
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      [
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        "nom" => ""
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2090 …}
    -label: Proxies\__CG__\App\Entity\Label {#2093 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2102 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2097 …}
    -enregistreLe: DateTime @1775497125 {#2085
      date: 2026-04-06 17:38:45.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775497125 {#2086
      date: 2026-04-06 17:38:45.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2099 …}
    -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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  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2449 …}
}

[
  "produit" => App\Entity\Produit {#2107
    -id: 3052
    -nom: "The Cat Walk"
    -informationComplementaire: "New York, début des années 60. En pleine effervescence jazz, Donald Byrd enregistre "The Cat Walk", entouré de musiciens d’exception. Un album entre élégance et énergie, emblématique de l’âge d’or de Blue Note Records."
    -description: """
      Sorti en 1961 sur le mythique label Blue Note Records, "The Cat Walk" est un album emblématique du trompettiste Donald Byrd, figure majeure du hard bop.\r\n
      \r\n
      Entouré d’un quintet d’exception notamment Pepper Adams au saxophone baryton et Duke Pearson au piano, Donald Byrd propose ici un jazz élégant, énergique et profondément groove. L’alchimie entre les musiciens donne naissance à des compositions sophistiquées mais accessibles, portées par des lignes mélodiques accrocheuses et une section rythmique impeccable.\r\n
      \r\n
      Entre puissance et raffinement, "The Cat Walk" illustre parfaitement l’âge d’or du jazz Blue Note, un son chaleureux, une cohésion sans faille et une créativité toujours en mouvement.\r\n
      \r\n
      - Blue Note Classic Vinyl Reissue Series !\r\n
      - 180 gram Vinyl LP !\r\n
      - All-Analog Pressing !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from Original Master Tapes !\r\n
      - Manufactured at Optimal in Germany !\r\n
      \r\n
      Donald Byrd was deep in a groove in 1961 as the trumpeter turned out one hard bop classic after another for Blue Note including The Cat Walk featuring Byrd's quintet with Pepper Adams on baritone saxophone, Duke Pearson on piano, Laymon Jackson on bass, and Philly Joe Jones on drums. The band struts their stuff on an engaging set of swinging originals including Pearson's alluring opener "Say You're Mine", Byrd's swaggering title track, and an up-tempo sprint through Neal Hefti's tune "Cute" featuring a commanding performance by Jones.\r\n
      \r\n
      This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180 gram vinyl at Optimal.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1804 …}
    -musicienOrchestre: "Donald Byrd (trumpet), Pepper Adams (baritone saxophone), Duke Pearson (piano), Laymon Jackson (bass), Philly Joe Jones (drums)"
    -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=D0MkfbtQBac&list=RDD0MkfbtQBac&start_radio=1"
    -referenceProduit: "Blue Note Records 1365"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Say You're Mine"
      ]
      [
        "ordre" => 2
        "nom" => "2. Duke's Mixture"
      ]
      [
        "ordre" => 3
        "nom" => "3. Each Time I Think of You "
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. The Cat Walk"
      ]
      [
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        "nom" => "2. Cute"
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      [
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        "nom" => "3. Hello Bright Sunflower"
      ]
      [
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        "nom" => ""
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      [
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        "nom" => ""
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      [
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        "nom" => ""
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      [
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        "nom" => ""
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      [
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        "nom" => ""
      ]
      [
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2109 …}
    -label: Proxies\__CG__\App\Entity\Label {#2112 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2121 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2114 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2116 …}
    -enregistreLe: DateTime @1775479473 {#2104
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    }
    -modifierLe: DateTime @1775479473 {#2105
      date: 2026-04-06 12:44:33.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2118 …}
    -disponible: null
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    -slug: "vinyles-the-cat-walk-blue-note-records-1365"
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App\Twig\Components\GestionPanierFavoriComponents {#3409
  -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 {#2681 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1884 …}
  +produit: App\Entity\Produit {#2107
    -id: 3052
    -nom: "The Cat Walk"
    -informationComplementaire: "New York, début des années 60. En pleine effervescence jazz, Donald Byrd enregistre "The Cat Walk", entouré de musiciens d’exception. Un album entre élégance et énergie, emblématique de l’âge d’or de Blue Note Records."
    -description: """
      Sorti en 1961 sur le mythique label Blue Note Records, "The Cat Walk" est un album emblématique du trompettiste Donald Byrd, figure majeure du hard bop.\r\n
      \r\n
      Entouré d’un quintet d’exception notamment Pepper Adams au saxophone baryton et Duke Pearson au piano, Donald Byrd propose ici un jazz élégant, énergique et profondément groove. L’alchimie entre les musiciens donne naissance à des compositions sophistiquées mais accessibles, portées par des lignes mélodiques accrocheuses et une section rythmique impeccable.\r\n
      \r\n
      Entre puissance et raffinement, "The Cat Walk" illustre parfaitement l’âge d’or du jazz Blue Note, un son chaleureux, une cohésion sans faille et une créativité toujours en mouvement.\r\n
      \r\n
      - Blue Note Classic Vinyl Reissue Series !\r\n
      - 180 gram Vinyl LP !\r\n
      - All-Analog Pressing !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from Original Master Tapes !\r\n
      - Manufactured at Optimal in Germany !\r\n
      \r\n
      Donald Byrd was deep in a groove in 1961 as the trumpeter turned out one hard bop classic after another for Blue Note including The Cat Walk featuring Byrd's quintet with Pepper Adams on baritone saxophone, Duke Pearson on piano, Laymon Jackson on bass, and Philly Joe Jones on drums. The band struts their stuff on an engaging set of swinging originals including Pearson's alluring opener "Say You're Mine", Byrd's swaggering title track, and an up-tempo sprint through Neal Hefti's tune "Cute" featuring a commanding performance by Jones.\r\n
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      This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180 gram vinyl at Optimal.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1804 …}
    -musicienOrchestre: "Donald Byrd (trumpet), Pepper Adams (baritone saxophone), Duke Pearson (piano), Laymon Jackson (bass), Philly Joe Jones (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
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    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=D0MkfbtQBac&list=RDD0MkfbtQBac&start_radio=1"
    -referenceProduit: "Blue Note Records 1365"
    -titreMorceau: [
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      [
        "ordre" => 1
        "nom" => "1. Say You're Mine"
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        "nom" => "2. Duke's Mixture"
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        "nom" => "3. Each Time I Think of You "
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        "nom" => "Side B : "
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        "ordre" => 5
        "nom" => "1. The Cat Walk"
      ]
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        "ordre" => 6
        "nom" => "2. Cute"
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        "nom" => "3. Hello Bright Sunflower"
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      [
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      [
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2109 …}
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[
  "produit" => App\Entity\Produit {#2128
    -id: 3051
    -nom: "The Pet Sounds Sessions Highlights"
    -informationComplementaire: "Plongez au cœur de "Pet Sounds", l’album mythique qui a redéfini la pop moderne. Harmonies envoûtantes, arrangements audacieux et innovations sonores au service d’une œuvre unique."
    -description: """
      The Pet Sounds Sessions Highlights de The Beach Boys offre une plongée captivante dans l’un des albums les plus influents de l’histoire de la musique. Porté par la vision créative de Brian Wilson, à la fois compositeur, producteur et chanteur, ce projet met en lumière la richesse des harmonies vocales et l’innovation sonore qui ont redéfini la pop des années 1960.\r\n
      \r\n
      Entouré des membres du groupe, Carl Wilson, Dennis Wilson, Mike Love, Al Jardine et Bruce Johnston et soutenu par les talentueux musiciens de The Wrecking Crew, "Pet Sounds" se distingue par des arrangements audacieux, des textures inédites et une sensibilité émotionnelle rare.\r\n
      \r\n
      Cette sélection de moments forts révèle les coulisses d’un chef-d’œuvre intemporel, entre expérimentations en studio et perfectionnisme artistique.\r\n
      \r\n
      Musicians : \r\n
      Brian Wilson (bass, keyboards, vocals), Carl Wilson (lead guitar, vocals), Dennis Wilson (drums, vocals), Mike Love (lead vocals), Al Jardine (rhythm guitar, vocals), Bruce Johnston (keyboards, vocals), The Wrecking Crew : Hal Blaine (drums), Carol Kaye (bass), Glen Campbell (guitar).\r\n
      \r\n
      - The Beach Boys "Pet Sounds" 60th Anniversary !\r\n
      - Double LP 180 gram Vinyl  !\r\n
      - All Tracks on Vinyl for the First Time !\r\n
      - New Liner Notes !\r\n
      - "I'm Waiting for the Day (Vocals Only)" Appears on Both LP 1 & LP 2 !\r\n
      \r\n
      Celebrating the 60th anniversary of the Beach Boys' legendary masterpiece, The Pet Sounds Sessions Highlights (2 LP) 180 gram features selections from the 1997 Grammy®-nominated 4CD box set The Pet Sounds Sessions. It includes 25 Pet Sounds a cappellas, alternate versions and tracking sessions (all on vinyl for the first time), along with new liner notes. Released on May 16, 1966, Pet Sounds was produced and primarily composed by Brian Wilson and is considered a masterpiece of pop music and one of the most influential albums in history. It features the classic singles "God Only Knows," "Sloop John B," and "Wouldn't It Be Nice." Note: "I'm Waiting for the Day (Vocals Only)" is included on both LP1 and LP2.
      """
    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1804 …}
    -musicienOrchestre: "Brian Wilson (bass, keyboards, vocals), Carl Wilson (lead guitar, vocals), Dennis Wilson (drums, vocals), Mike Love (lead vocals), Al Jardine (rhythm guitar, vocals), Bruce Johnston (keyboards, vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 2
    -setBoxMusic: false
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    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=_pO1xeRh0Ro&list=PLndw0FTo-j_Tt6mTAvSXcD36XgBZvZdyV"
    -referenceProduit: "Capitol Records 0141"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
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        "ordre" => 1
        "nom" => "1. Wouldn’t It Be Nice (Vocals Only)"
      ]
      [
        "ordre" => 2
        "nom" => "2. You Still Believe in Me (Vocals Only)"
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      [
        "ordre" => 3
        "nom" => "3. I’m Waiting for the Day (Vocals Only)"
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      [
        "ordre" => 4
        "nom" => "4. Sloop John B. (Vocals Only)"
      ]
      [
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        "nom" => "5. God Only Knows (Vocals Only)"
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      [
        "ordre" => 6
        "nom" => "6. Here Today (Vocals Only)"
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      [
        "ordre" => 7
        "nom" => "7. I Just Wasn’t Made for These Times (Vocals Only)"
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        "nom" => "Side B : "
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      [
        "ordre" => 9
        "nom" => "1. Wouldn’t It Be Nice (Stereo Track and Backing Vocals)"
      ]
      [
        "ordre" => 10
        "nom" => "2. Don't Talk (Put Your Head on My Shoulder) (Brian Wilson’s"
      ]
      [
        "ordre" => 11
        "nom" => " Instrumental Demo)"
      ]
      [
        "ordre" => 12
        "nom" => "3. I'm Waiting for the Day (Mike Sings Lead)"
      ]
      [
        "ordre" => 13
        "nom" => "4. Sloop John B. (Carl Sings First Verse)"
      ]
      [
        "ordre" => 14
        "nom" => "5. God Only Knows (Sax Solo, Alternate Version)"
      ]
      [
        "ordre" => 15
        "nom" => "6. Hang on to Your Ego (Alternate Mix)"
      ]
      [
        "ordre" => 16
        "nom" => "7. Here Today (Alternate Version)"
      ]
      [
        "ordre" => 17
        "nom" => "Side C :"
      ]
      [
        "ordre" => 18
        "nom" => "1. Wouldn't It Be Nice (Highlights from Tracking Date)"
      ]
      [
        "ordre" => 19
        "nom" => "2. Trombone Dixie (Highlights from Tracking Date)"
      ]
      [
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        "nom" => "3. Don't Talk (Put Your Head on My Shoulder) (Vocal Snippet)"
      ]
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        "nom" => "4. Don't Talk (Put Your Head on My Shoulder) (Vocals Only)"
      ]
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        "nom" => "5. That's Not Me (Highlights from Tracking Date)"
      ]
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        "nom" => "6. Here Today (Stereo Backing Track)"
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        "nom" => "Side D : "
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        "nom" => "1. I'm Waiting for the Day (Vocals Only)"
      ]
      [
        "ordre" => 26
        "nom" => "2. Caroline, No (Stereo Mix, Original Speed)"
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        "nom" => "3. God Only Knows (Highlights from Tracking Date)"
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      [
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        "nom" => "4. Good Vibrations (Highlights from Tracking Date)"
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        "nom" => "5. Good Vibrations (Stereo Backing Track)"
      ]
      [
        "ordre" => 30
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2130 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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    -slug: "vinyles-the-pet-sounds-sessions-highlights-capitol-records-0141"
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  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2681 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1884 …}
  +produit: App\Entity\Produit {#2128
    -id: 3051
    -nom: "The Pet Sounds Sessions Highlights"
    -informationComplementaire: "Plongez au cœur de "Pet Sounds", l’album mythique qui a redéfini la pop moderne. Harmonies envoûtantes, arrangements audacieux et innovations sonores au service d’une œuvre unique."
    -description: """
      The Pet Sounds Sessions Highlights de The Beach Boys offre une plongée captivante dans l’un des albums les plus influents de l’histoire de la musique. Porté par la vision créative de Brian Wilson, à la fois compositeur, producteur et chanteur, ce projet met en lumière la richesse des harmonies vocales et l’innovation sonore qui ont redéfini la pop des années 1960.\r\n
      \r\n
      Entouré des membres du groupe, Carl Wilson, Dennis Wilson, Mike Love, Al Jardine et Bruce Johnston et soutenu par les talentueux musiciens de The Wrecking Crew, "Pet Sounds" se distingue par des arrangements audacieux, des textures inédites et une sensibilité émotionnelle rare.\r\n
      \r\n
      Cette sélection de moments forts révèle les coulisses d’un chef-d’œuvre intemporel, entre expérimentations en studio et perfectionnisme artistique.\r\n
      \r\n
      Musicians : \r\n
      Brian Wilson (bass, keyboards, vocals), Carl Wilson (lead guitar, vocals), Dennis Wilson (drums, vocals), Mike Love (lead vocals), Al Jardine (rhythm guitar, vocals), Bruce Johnston (keyboards, vocals), The Wrecking Crew : Hal Blaine (drums), Carol Kaye (bass), Glen Campbell (guitar).\r\n
      \r\n
      - The Beach Boys "Pet Sounds" 60th Anniversary !\r\n
      - Double LP 180 gram Vinyl  !\r\n
      - All Tracks on Vinyl for the First Time !\r\n
      - New Liner Notes !\r\n
      - "I'm Waiting for the Day (Vocals Only)" Appears on Both LP 1 & LP 2 !\r\n
      \r\n
      Celebrating the 60th anniversary of the Beach Boys' legendary masterpiece, The Pet Sounds Sessions Highlights (2 LP) 180 gram features selections from the 1997 Grammy®-nominated 4CD box set The Pet Sounds Sessions. It includes 25 Pet Sounds a cappellas, alternate versions and tracking sessions (all on vinyl for the first time), along with new liner notes. Released on May 16, 1966, Pet Sounds was produced and primarily composed by Brian Wilson and is considered a masterpiece of pop music and one of the most influential albums in history. It features the classic singles "God Only Knows," "Sloop John B," and "Wouldn't It Be Nice." Note: "I'm Waiting for the Day (Vocals Only)" is included on both LP1 and LP2.
      """
    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1804 …}
    -musicienOrchestre: "Brian Wilson (bass, keyboards, vocals), Carl Wilson (lead guitar, vocals), Dennis Wilson (drums, vocals), Mike Love (lead vocals), Al Jardine (rhythm guitar, vocals), Bruce Johnston (keyboards, vocals)..."
    -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=_pO1xeRh0Ro&list=PLndw0FTo-j_Tt6mTAvSXcD36XgBZvZdyV"
    -referenceProduit: "Capitol Records 0141"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
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        "ordre" => 1
        "nom" => "1. Wouldn’t It Be Nice (Vocals Only)"
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        "nom" => "6. Here Today (Vocals Only)"
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        "nom" => "7. I Just Wasn’t Made for These Times (Vocals Only)"
      ]
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        "nom" => "Side B : "
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      [
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        "nom" => "1. Wouldn’t It Be Nice (Stereo Track and Backing Vocals)"
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      [
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        "nom" => "2. Don't Talk (Put Your Head on My Shoulder) (Brian Wilson’s"
      ]
      [
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        "nom" => " Instrumental Demo)"
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      [
        "ordre" => 12
        "nom" => "3. I'm Waiting for the Day (Mike Sings Lead)"
      ]
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        "nom" => "4. Sloop John B. (Carl Sings First Verse)"
      ]
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      ]
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        "nom" => "6. Hang on to Your Ego (Alternate Mix)"
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        "nom" => "7. Here Today (Alternate Version)"
      ]
      [
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        "nom" => "Side C :"
      ]
      [
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        "nom" => "1. Wouldn't It Be Nice (Highlights from Tracking Date)"
      ]
      [
        "ordre" => 19
        "nom" => "2. Trombone Dixie (Highlights from Tracking Date)"
      ]
      [
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        "nom" => "3. Don't Talk (Put Your Head on My Shoulder) (Vocal Snippet)"
      ]
      [
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        "nom" => "4. Don't Talk (Put Your Head on My Shoulder) (Vocals Only)"
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        "nom" => "2. Caroline, No (Stereo Mix, Original Speed)"
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        "nom" => "4. Good Vibrations (Highlights from Tracking Date)"
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2130 …}
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[
  "produit" => App\Entity\Produit {#2149
    -id: 3047
    -nom: "The Unreleased Berlin Recordings  (Numbered Limited Edition)"
    -informationComplementaire: "Un enregistrement rare des années 60. Lorin Maazel dirige le Radio-Symphonie-Orchester Berlin dans un programme puissant réunissant Ludwig van Beethoven, Claude Debussy et Béla Bartók. Un témoignage orchestral intense, entre précision, énergie et poésie."
    -description: """
      - Enregistrements rares issus d’archives berlinoises !\r\n
      - Un Lorin Maazel au sommet de sa jeunesse artistique !\r\n
      - Un témoignage sonore du Berlin musical des années 60 !\r\n
      - Un programme riche : Beethoven, Debussy, Bartók !\r\n
      \r\n
      Ce double enregistrement issu des archives berlinoises des années 1960 met en lumière un Lorin Maazel jeune mais déjà magistral, dirigeant avec une autorité impressionnante et une sensibilité remarquable.\r\n
      \r\n
      La Symphonie N° 4 en si bémol majeur, Op. 60 de Ludwig van Beethoven y déploie toute son élégance classique, entre énergie vive et lyrisme maîtrisé. Maazel y révèle une lecture claire et incisive, soulignant la modernité de cette œuvre souvent sous-estimée.\r\n
      \r\n
      Avec La Mer, L. 109 de Claude Debussy, l’orchestre berlinois explore une palette sonore d’une richesse exceptionnelle. Les textures orchestrales évoquent tour à tour la lumière, le mouvement et la puissance des éléments naturels.\r\n
      \r\n
      L’album se conclut par la Danse Suite, SZ. 77 de Béla Bartók, œuvre rythmique et colorée, où se mêlent influences folkloriques et modernité orchestrale.\r\n
      \r\n
      - Lorin Maazel "The Unreleased Berlin Recordings" !\r\n
      - Recorded at the Concertgebouw, Amsterdam on Apri 15, 1980 !\r\n
      - 180 gram mono (2 LP) 33 1/3 RPM limited to 3000 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
      "When I first discovered Maazel's recordings conducting the Berlin Radio Symphony Orchestra, I was completely captivated by his singular artistic choices, particularly in Beethoven's 4th Symphony. It is only at the end of the Finale, that the listener has the feeling of having experienced a unique reading, truthful and as inspired as it is organic. The version of La Mer sparkles with a thousand lights and one could not imagine more authentic Bartók. Maazel is definitely a conductor of the highest range and these recordings are simply fascinating". - Frédéric D'ORIA-NICOLAS, Musical Treasure Hunter\r\n
      \r\n
      Many musicians feared Maazel's chilly authoritarianism, his inability to make concessions. Unfailingly demanding, he insisted that the orchestras show him blind obedience and that the boards in charge run operations smoothly. His temper was legendary.\r\n
      \r\n
      But if he was demanding, it was first and foremost of himself. "Little Lorin", as the former child prodigy was known then, was first asked to lead a professional orchestra when he was nine years old and already a violin virtuoso. When he was eleven, Toscanini invited him to take the baton of the NBC orchestra in New York.\r\n
      \r\n
      Maazel had phenomenal gifts. These, coupled with his sheer hard work and exceptional resilience, resulted in a career of 72 years that encompassed more than 7000 performances with the most prestigious orchestras worldwide. His repertoire was seemingly boundless. During the 1960s and 1970s, when he was at the helm of the Sinfonie Orchester Berlin, Maazel proved himself to be a maestro of style, a magician of sound gifted with not only a perfect sense of line and color, but also infallible technique.\r\n
      \r\n
      The Lost Recordings found these hitherto unpublished recordings, made in October 1969 in Studio 1 of Berlin Radio. Here Maazel's inspiration takes him to the very summit of refinement and expressive intensity.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1804 …}
    -musicienOrchestre: "Lorin Maazel conducts the Berlin Radio Symphony Orchestra"
    -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=2cCLuN3coro&t=195s"
    -referenceProduit: "The Lost Recordings 3063"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Ludwig Van Beethoven : Symphony N° 4 in B-flat major, Op. 60"
      ]
      [
        "ordre" => 2
        "nom" => "I. Adagio - Allegro vivace"
      ]
      [
        "ordre" => 3
        "nom" => "II. Adagio"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "III. Allegro vivace - Trio"
      ]
      [
        "ordre" => 6
        "nom" => "IV. Allegro ma non troppo"
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Claude Debussy : La Mer, Trois Esquisses Symphoniques pour"
      ]
      [
        "ordre" => 9
        "nom" => "Orchestre, L 109"
      ]
      [
        "ordre" => 10
        "nom" => "I. De l'aube à midi sur la mer (From Dawn till Noon on the Sea)"
      ]
      [
        "ordre" => 11
        "nom" => "II. Jeux de vagues (Play of the Waves)"
      ]
      [
        "ordre" => 12
        "nom" => "III. Dialogue du vent et de la mer (Dialogue of the Wind and the Sea)"
      ]
      [
        "ordre" => 13
        "nom" => "Side D : "
      ]
      [
        "ordre" => 14
        "nom" => "2. Bela Bartók : Danse Suite, SZ. 77"
      ]
      [
        "ordre" => 15
        "nom" => "I. Moderato"
      ]
      [
        "ordre" => 16
        "nom" => "II. Allegro molto"
      ]
      [
        "ordre" => 17
        "nom" => "III. Allegro vivace"
      ]
      [
        "ordre" => 18
        "nom" => "IV. Molto tranquillo"
      ]
      [
        "ordre" => 19
        "nom" => "V. Comodo"
      ]
      [
        "ordre" => 20
        "nom" => "VI. Finale"
      ]
      [
        "ordre" => 21
        "nom" => ""
      ]
      [
        "ordre" => 22
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2151 …}
    -label: Proxies\__CG__\App\Entity\Label {#1913 …}
    -style: App\Entity\Style {#1438 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2155 …}
    -enregistreLe: DateTime @1775401485 {#2145
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    }
    -modifierLe: DateTime @1775401730 {#2144
      date: 2026-04-05 15:08:50.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2157 …}
    -disponible: null
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App\Twig\Components\GestionPanierFavoriComponents {#3511
  -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 {#2681 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1884 …}
  +produit: App\Entity\Produit {#2149
    -id: 3047
    -nom: "The Unreleased Berlin Recordings  (Numbered Limited Edition)"
    -informationComplementaire: "Un enregistrement rare des années 60. Lorin Maazel dirige le Radio-Symphonie-Orchester Berlin dans un programme puissant réunissant Ludwig van Beethoven, Claude Debussy et Béla Bartók. Un témoignage orchestral intense, entre précision, énergie et poésie."
    -description: """
      - Enregistrements rares issus d’archives berlinoises !\r\n
      - Un Lorin Maazel au sommet de sa jeunesse artistique !\r\n
      - Un témoignage sonore du Berlin musical des années 60 !\r\n
      - Un programme riche : Beethoven, Debussy, Bartók !\r\n
      \r\n
      Ce double enregistrement issu des archives berlinoises des années 1960 met en lumière un Lorin Maazel jeune mais déjà magistral, dirigeant avec une autorité impressionnante et une sensibilité remarquable.\r\n
      \r\n
      La Symphonie N° 4 en si bémol majeur, Op. 60 de Ludwig van Beethoven y déploie toute son élégance classique, entre énergie vive et lyrisme maîtrisé. Maazel y révèle une lecture claire et incisive, soulignant la modernité de cette œuvre souvent sous-estimée.\r\n
      \r\n
      Avec La Mer, L. 109 de Claude Debussy, l’orchestre berlinois explore une palette sonore d’une richesse exceptionnelle. Les textures orchestrales évoquent tour à tour la lumière, le mouvement et la puissance des éléments naturels.\r\n
      \r\n
      L’album se conclut par la Danse Suite, SZ. 77 de Béla Bartók, œuvre rythmique et colorée, où se mêlent influences folkloriques et modernité orchestrale.\r\n
      \r\n
      - Lorin Maazel "The Unreleased Berlin Recordings" !\r\n
      - Recorded at the Concertgebouw, Amsterdam on Apri 15, 1980 !\r\n
      - 180 gram mono (2 LP) 33 1/3 RPM limited to 3000 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
      "When I first discovered Maazel's recordings conducting the Berlin Radio Symphony Orchestra, I was completely captivated by his singular artistic choices, particularly in Beethoven's 4th Symphony. It is only at the end of the Finale, that the listener has the feeling of having experienced a unique reading, truthful and as inspired as it is organic. The version of La Mer sparkles with a thousand lights and one could not imagine more authentic Bartók. Maazel is definitely a conductor of the highest range and these recordings are simply fascinating". - Frédéric D'ORIA-NICOLAS, Musical Treasure Hunter\r\n
      \r\n
      Many musicians feared Maazel's chilly authoritarianism, his inability to make concessions. Unfailingly demanding, he insisted that the orchestras show him blind obedience and that the boards in charge run operations smoothly. His temper was legendary.\r\n
      \r\n
      But if he was demanding, it was first and foremost of himself. "Little Lorin", as the former child prodigy was known then, was first asked to lead a professional orchestra when he was nine years old and already a violin virtuoso. When he was eleven, Toscanini invited him to take the baton of the NBC orchestra in New York.\r\n
      \r\n
      Maazel had phenomenal gifts. These, coupled with his sheer hard work and exceptional resilience, resulted in a career of 72 years that encompassed more than 7000 performances with the most prestigious orchestras worldwide. His repertoire was seemingly boundless. During the 1960s and 1970s, when he was at the helm of the Sinfonie Orchester Berlin, Maazel proved himself to be a maestro of style, a magician of sound gifted with not only a perfect sense of line and color, but also infallible technique.\r\n
      \r\n
      The Lost Recordings found these hitherto unpublished recordings, made in October 1969 in Studio 1 of Berlin Radio. Here Maazel's inspiration takes him to the very summit of refinement and expressive intensity.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1804 …}
    -musicienOrchestre: "Lorin Maazel conducts the Berlin Radio Symphony Orchestra"
    -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=2cCLuN3coro&t=195s"
    -referenceProduit: "The Lost Recordings 3063"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
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      [
        "ordre" => 1
        "nom" => "1. Ludwig Van Beethoven : Symphony N° 4 in B-flat major, Op. 60"
      ]
      [
        "ordre" => 2
        "nom" => "I. Adagio - Allegro vivace"
      ]
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        "ordre" => 3
        "nom" => "II. Adagio"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
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        "ordre" => 5
        "nom" => "III. Allegro vivace - Trio"
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        "ordre" => 6
        "nom" => "IV. Allegro ma non troppo"
      ]
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        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Claude Debussy : La Mer, Trois Esquisses Symphoniques pour"
      ]
      [
        "ordre" => 9
        "nom" => "Orchestre, L 109"
      ]
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        "ordre" => 10
        "nom" => "I. De l'aube à midi sur la mer (From Dawn till Noon on the Sea)"
      ]
      [
        "ordre" => 11
        "nom" => "II. Jeux de vagues (Play of the Waves)"
      ]
      [
        "ordre" => 12
        "nom" => "III. Dialogue du vent et de la mer (Dialogue of the Wind and the Sea)"
      ]
      [
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        "nom" => "Side D : "
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        "nom" => "2. Bela Bartók : Danse Suite, SZ. 77"
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        "nom" => "V. Comodo"
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        "nom" => "VI. Finale"
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        "nom" => ""
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2151 …}
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2449 …}
}

[
  "produit" => App\Entity\Produit {#2171
    -id: 3006
    -nom: "Mother Ship"
    -informationComplementaire: "Un vaisseau sonore en orbite entre tradition et exploration, "Mother Ship" embarque l’auditeur dans un voyage cosmique où l’orgue de Larry Young défie les lois du jazz classique, porté par une énergie mystique et une liberté rare."
    -description: """
      Sorti en 1969 sur le mythique label Blue Note Records, "Mother Ship" de Larry Young est une œuvre fascinante à la croisée du jazz modal, du hard bop et des premières explorations électriques. L’organiste, déjà reconnu pour son approche novatrice du Hammond B-3, s’éloigne ici des formats traditionnels pour proposer un son plus libre, presque cosmique.\r\n
      \r\n
      Entouré de musiciens d’exception comme Lee Morgan à la trompette et Herbie Hancock au piano, Larry Young construit un univers dense et spirituel. Les compositions, telles que "Mother Ship" ou "Street Scene", oscillent entre grooves hypnotiques, harmonies audacieuses et élans improvisés d’une grande intensité.\r\n
      \r\n
      L’album se distingue par :\r\n
      \r\n
      - Une utilisation inventive de l’orgue, loin des clichés soul-jazz\r\n
      - Des structures ouvertes inspirées du jazz modal\r\n
      - Une ambiance presque spatiale, annonçant certaines tendances du jazz fusion\r\n
      \r\n
      "Mother Ship" est souvent considéré comme l’un des disques les plus ambitieux de Larry Young, capturant un moment charnière où le jazz regarde résolument vers l’avenir.\r\n
      \r\n
      - Larry Young "Mother Ship" 180 gram mono LP !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      - Plated and pressed at RTI !\r\n
      \r\n
      The Blue Note Tone Poet Series was born out of Blue Note President Don Was' admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley (from Music Matters), a.k.a. the "Tone Poet", on board to curate and supervise a series of reissues from the Blue Note family of labels.\r\n
      \r\n
      1969's Mother Ship, the final Blue Note album by visionary organist Larry Young, was the culmination of a tremendous run of records albums that redefined the sonic possibilities of the Hammond B3 organ. On his highly regarded 1965 album Unity, Young pushed the limits of his instrument into the far reaches of post-bop exploration. First released in 1980 as part of the LT Series, Mother Ship featured Lee Morgan on trumpet, Herbert Morgan on tenor saxophone, and Eddie Gladden on drums. The album bristles with unbridled kinetic energy while still delivering soulful grooves on a set of Young originals from the avant-garde tinged excursions of the title track and "Trip Merchant" to the in-the-pocket soul jazz of "Street Scene", "Visions", and "Love Drops".\r\n
      \r\n
      This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray (Cohearent Audio) from the original analog master tapes, pressed on 180 gram vinyl at Record Technology Inc. (RTI), and packaged in a deluxe gatefold tip-on jacket.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1706 …}
    -musicienOrchestre: "Larry Young (organ), Herbert Morgan (tenor saxophone), Lee Morgan (trumpet), Eddie Gladden (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=KgfQVgGmlEA&list=RDKgfQVgGmlEA&start_radio=1"
    -referenceProduit: "Blue Note Tone Poet Series 9547"
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        "nom" => "Side A :"
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        "nom" => "1. Mother Ship"
      ]
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        "nom" => "2. Street Scene"
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        "nom" => "3. Visions "
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        "nom" => "Side B : "
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        "nom" => "1. Trip Merchant"
      ]
      [
        "ordre" => 6
        "nom" => "2. Love Drops"
      ]
      [
        "ordre" => 7
        "nom" => ""
      ]
      [
        "ordre" => 8
        "nom" => ""
      ]
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        "ordre" => 9
        "nom" => ""
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        "nom" => ""
      ]
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        "nom" => ""
      ]
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        "ordre" => 12
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2173 …}
    -label: Proxies\__CG__\App\Entity\Label {#2176 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2180 …}
    -enregistreLe: DateTime @1771778468 {#2163
      date: 2026-02-22 16:41:08.0 UTC (+00:00)
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    -modifierLe: DateTime @1775115455 {#2162
      date: 2026-04-02 07:37:35.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2182 …}
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    -slug: "vinyles-mother-ship-blue-note-tone-poet-series-9547"
  }
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App\Twig\Components\GestionPanierFavoriComponents {#3562
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2681 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1884 …}
  +produit: App\Entity\Produit {#2171
    -id: 3006
    -nom: "Mother Ship"
    -informationComplementaire: "Un vaisseau sonore en orbite entre tradition et exploration, "Mother Ship" embarque l’auditeur dans un voyage cosmique où l’orgue de Larry Young défie les lois du jazz classique, porté par une énergie mystique et une liberté rare."
    -description: """
      Sorti en 1969 sur le mythique label Blue Note Records, "Mother Ship" de Larry Young est une œuvre fascinante à la croisée du jazz modal, du hard bop et des premières explorations électriques. L’organiste, déjà reconnu pour son approche novatrice du Hammond B-3, s’éloigne ici des formats traditionnels pour proposer un son plus libre, presque cosmique.\r\n
      \r\n
      Entouré de musiciens d’exception comme Lee Morgan à la trompette et Herbie Hancock au piano, Larry Young construit un univers dense et spirituel. Les compositions, telles que "Mother Ship" ou "Street Scene", oscillent entre grooves hypnotiques, harmonies audacieuses et élans improvisés d’une grande intensité.\r\n
      \r\n
      L’album se distingue par :\r\n
      \r\n
      - Une utilisation inventive de l’orgue, loin des clichés soul-jazz\r\n
      - Des structures ouvertes inspirées du jazz modal\r\n
      - Une ambiance presque spatiale, annonçant certaines tendances du jazz fusion\r\n
      \r\n
      "Mother Ship" est souvent considéré comme l’un des disques les plus ambitieux de Larry Young, capturant un moment charnière où le jazz regarde résolument vers l’avenir.\r\n
      \r\n
      - Larry Young "Mother Ship" 180 gram mono LP !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      - Plated and pressed at RTI !\r\n
      \r\n
      The Blue Note Tone Poet Series was born out of Blue Note President Don Was' admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley (from Music Matters), a.k.a. the "Tone Poet", on board to curate and supervise a series of reissues from the Blue Note family of labels.\r\n
      \r\n
      1969's Mother Ship, the final Blue Note album by visionary organist Larry Young, was the culmination of a tremendous run of records albums that redefined the sonic possibilities of the Hammond B3 organ. On his highly regarded 1965 album Unity, Young pushed the limits of his instrument into the far reaches of post-bop exploration. First released in 1980 as part of the LT Series, Mother Ship featured Lee Morgan on trumpet, Herbert Morgan on tenor saxophone, and Eddie Gladden on drums. The album bristles with unbridled kinetic energy while still delivering soulful grooves on a set of Young originals from the avant-garde tinged excursions of the title track and "Trip Merchant" to the in-the-pocket soul jazz of "Street Scene", "Visions", and "Love Drops".\r\n
      \r\n
      This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray (Cohearent Audio) from the original analog master tapes, pressed on 180 gram vinyl at Record Technology Inc. (RTI), and packaged in a deluxe gatefold tip-on jacket.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1706 …}
    -musicienOrchestre: "Larry Young (organ), Herbert Morgan (tenor saxophone), Lee Morgan (trumpet), Eddie Gladden (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
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    -setBoxMusic: false
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=KgfQVgGmlEA&list=RDKgfQVgGmlEA&start_radio=1"
    -referenceProduit: "Blue Note Tone Poet Series 9547"
    -titreMorceau: [
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2173 …}
    -label: Proxies\__CG__\App\Entity\Label {#2176 …}
    -style: App\Entity\Style {#1449 …}
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    }
    -modifierLe: DateTime @1775115455 {#2162
      date: 2026-04-02 07:37:35.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2182 …}
    -disponible: null
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    -slug: "vinyles-mother-ship-blue-note-tone-poet-series-9547"
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2449 …}
}

[
  "produit" => App\Entity\Produit {#2194
    -id: 3005
    -nom: "Hootin' N' Tootin'"
    -informationComplementaire: "Un groove brûlant, un saxophone habité, "Hootin’ N’ Tootin’" de Fred Jackson capture toute l’énergie du jazz soul des sixties en quelques notes inoubliables."
    -description: """
      Sorti en 1962 sur le prestigieux label Blue Note Records, "Hootin’ N’ Tootin’" est l’unique album en leader du saxophoniste ténor Fred Jackson, une figure discrète mais remarquable de la scène jazz soul des années 60.\r\n
      \r\n
      Porté par une énergie brute et une approche résolument ancrée dans le groove, l’album navigue entre hard bop et soul jazz avec une spontanéité contagieuse. Entouré d’un casting solide de musiciens issus de l’écurie Blue Note, Jackson privilégie une expression directe : "riffs accrocheurs, phrasés chaleureux et improvisations pleines de caractère".\r\n
      \r\n
      L’ambiance générale est à la fois festive et organique,  un jazz qui se vit autant qu’il s’écoute. Les compositions, souvent construites autour de motifs simples et efficaces, laissent toute la place à l’interaction entre les instruments, notamment l’orgue et les cuivres, qui renforcent cette couleur typiquement "club" du début des sixties.\r\n
      \r\n
      "Hootin’ N’ Tootin’" est aujourd’hui considéré comme un petit trésor caché du catalogue Blue Note, un disque authentique, sans prétention, mais profondément sincère et vibrant.\r\n
      \r\n
      - Fred Jackson "Hootin' N' Tootin'" 180 gram LP !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      - Plated and pressed at RTI !\r\n
      \r\n
      The Blue Note Tone Poet Series was born out of Blue Note President Don Was' admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley (from Music Matters), a.k.a. the "Tone Poet", on board to curate and supervise a series of reissues from the Blue Note family of labels.\r\n
      \r\n
      The brawny tenor saxophonist Fred Jackson first appeared on a Blue Note record with his standout sideman performance on organist Baby Face Willette's Face To Face in 1961 and would later add his full-throttled sound to Big John Patton's Blue Note albums Along Came John and The Way I Feel. In 1962, Jackson recorded his own leader debut for the label with Hootin' ‘N Tootin', a deeply soulful set of hot-blooded originals performed by a muscular 4 piece band with guitarist Willie Jones, drummer Wilbert Hogan, and organist Earl Van Dyke, who would later become part of Motown house band the Funk Brothers.\r\n
      \r\n
      This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray (Cohearent Audio) from the original analog master tapes, pressed on 180 gram vinyl at Record Technology Inc. (RTI), and packaged in a deluxe gatefold tip-on jacket.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1706 …}
    -musicienOrchestre: "Fred Jackson (tenor saxophone), Willie Jones (guitar), Earl Vandyke (organ), Wilbert Hogan (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=rtqv8ATAEZI"
    -referenceProduit: "Blue Note Tone Poet Series 9685"
    -titreMorceau: [
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        "nom" => ""
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        "ordre" => 11
        "nom" => ""
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2196 …}
    -label: Proxies\__CG__\App\Entity\Label {#2176 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2205 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2198 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2200 …}
    -enregistreLe: DateTime @1771749615 {#2187
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    }
    -modifierLe: DateTime @1775114936 {#2188
      date: 2026-04-02 07:28:56.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2202 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-hootin-n-tootin-blue-note-tone-poet-series-9685"
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  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3613
  -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 {#2681 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1884 …}
  +produit: App\Entity\Produit {#2194
    -id: 3005
    -nom: "Hootin' N' Tootin'"
    -informationComplementaire: "Un groove brûlant, un saxophone habité, "Hootin’ N’ Tootin’" de Fred Jackson capture toute l’énergie du jazz soul des sixties en quelques notes inoubliables."
    -description: """
      Sorti en 1962 sur le prestigieux label Blue Note Records, "Hootin’ N’ Tootin’" est l’unique album en leader du saxophoniste ténor Fred Jackson, une figure discrète mais remarquable de la scène jazz soul des années 60.\r\n
      \r\n
      Porté par une énergie brute et une approche résolument ancrée dans le groove, l’album navigue entre hard bop et soul jazz avec une spontanéité contagieuse. Entouré d’un casting solide de musiciens issus de l’écurie Blue Note, Jackson privilégie une expression directe : "riffs accrocheurs, phrasés chaleureux et improvisations pleines de caractère".\r\n
      \r\n
      L’ambiance générale est à la fois festive et organique,  un jazz qui se vit autant qu’il s’écoute. Les compositions, souvent construites autour de motifs simples et efficaces, laissent toute la place à l’interaction entre les instruments, notamment l’orgue et les cuivres, qui renforcent cette couleur typiquement "club" du début des sixties.\r\n
      \r\n
      "Hootin’ N’ Tootin’" est aujourd’hui considéré comme un petit trésor caché du catalogue Blue Note, un disque authentique, sans prétention, mais profondément sincère et vibrant.\r\n
      \r\n
      - Fred Jackson "Hootin' N' Tootin'" 180 gram LP !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      - Plated and pressed at RTI !\r\n
      \r\n
      The Blue Note Tone Poet Series was born out of Blue Note President Don Was' admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley (from Music Matters), a.k.a. the "Tone Poet", on board to curate and supervise a series of reissues from the Blue Note family of labels.\r\n
      \r\n
      The brawny tenor saxophonist Fred Jackson first appeared on a Blue Note record with his standout sideman performance on organist Baby Face Willette's Face To Face in 1961 and would later add his full-throttled sound to Big John Patton's Blue Note albums Along Came John and The Way I Feel. In 1962, Jackson recorded his own leader debut for the label with Hootin' ‘N Tootin', a deeply soulful set of hot-blooded originals performed by a muscular 4 piece band with guitarist Willie Jones, drummer Wilbert Hogan, and organist Earl Van Dyke, who would later become part of Motown house band the Funk Brothers.\r\n
      \r\n
      This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray (Cohearent Audio) from the original analog master tapes, pressed on 180 gram vinyl at Record Technology Inc. (RTI), and packaged in a deluxe gatefold tip-on jacket.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1706 …}
    -musicienOrchestre: "Fred Jackson (tenor saxophone), Willie Jones (guitar), Earl Vandyke (organ), Wilbert Hogan (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=rtqv8ATAEZI"
    -referenceProduit: "Blue Note Tone Poet Series 9685"
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        "nom" => "2. Southern Exposure"
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        "nom" => "3. Preach Brother "
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      [
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        "nom" => "Side B : "
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      [
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        "nom" => "1. Hootin' 'N Tootin'"
      ]
      [
        "ordre" => 6
        "nom" => "2. Easin' On Down"
      ]
      [
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        "nom" => "3. That's Where It's At"
      ]
      [
        "ordre" => 8
        "nom" => "4. Way Down Home"
      ]
      [
        "ordre" => 9
        "nom" => ""
      ]
      [
        "ordre" => 10
        "nom" => ""
      ]
      [
        "ordre" => 11
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2196 …}
    -label: Proxies\__CG__\App\Entity\Label {#2176 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2205 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2198 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2200 …}
    -enregistreLe: DateTime @1771749615 {#2187
      date: 2026-02-22 08:40:15.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775114936 {#2188
      date: 2026-04-02 07:28:56.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2202 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-hootin-n-tootin-blue-note-tone-poet-series-9685"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2449 …}
}

[
  "produit" => App\Entity\Produit {#2212
    -id: 3038
    -nom: "Thelonious Alone In San Francisco"
    -informationComplementaire: "Seul au piano, Thelonious Monk réinvente le silence et transforme chaque note en émotion brute. "Thelonious Alone in San Francisco", c’est le jazz à l’état pur,  intime, audacieux, inoubliable."
    -description: """
      Thelonious Alone in San Francisco est un album emblématique du pianiste et compositeur Thelonious Monk, enregistré en 1959. Entièrement en solo, cet enregistrement capture Monk dans sa forme la plus pure, seul face au piano, sans accompagnement, laissant pleinement s’exprimer son univers singulier.\r\n
      \r\n
      À travers des interprétations dépouillées de ses propres compositions comme "’Round Midnight, Blue Monk ou Ruby, My Dear" l’artiste explore les silences, les dissonances et les rythmes inattendus qui définissent son style. Chaque note semble suspendue, chaque pause devient un élément musical à part entière.\r\n
      \r\n
      Cet album offre une plongée intime dans l’esprit de Monk, révélant à la fois sa rigueur, sa liberté et son génie créatif. Une œuvre essentielle pour comprendre l’essence du jazz moderne.\r\n
      \r\n
      - Thelonious Monk "Thelonious Alone In San Francisco" !\r\n
      - From the Craft Recordings Original Jazz Classics Series !\r\n
      - All-analog mastering from the original tapes by Cohearent Audio !\r\n
      - Pressed on 180 gram vinyl at RTI !\r\n
      - Presented in Stoughton Printing tip-on jackets with Obi strip !\r\n
      \r\n
      Thelonious Alone In San Francisco is the third solo album from legendary jazz pianist Thelonious Monk, following Piano Solo and Thelonious Himself. Recorded at Fugazi Hall without a live audience the album was recorded in October 1959. This new edition of the album is released as part of the Original Jazz Classics Series on 180 gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1706 …}
    -musicienOrchestre: "Thelonious Monk (piano)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=0eGALf5Rp1M&list=RD0eGALf5Rp1M&start_radio=1"
    -referenceProduit: "Concord Craft Recording CR 00948"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Blue Monk"
      ]
      [
        "ordre" => 2
        "nom" => "2. Ruby, My Dear"
      ]
      [
        "ordre" => 3
        "nom" => "3. Round Lights"
      ]
      [
        "ordre" => 4
        "nom" => "4. Everything Happens To Me"
      ]
      [
        "ordre" => 5
        "nom" => "5. You Took The Words Right Out Of My Heart "
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Bluehawk"
      ]
      [
        "ordre" => 8
        "nom" => "2. Pannonica"
      ]
      [
        "ordre" => 9
        "nom" => "3. Remember"
      ]
      [
        "ordre" => 10
        "nom" => "4. There's Danger In Your Eyes, Cherie"
      ]
      [
        "ordre" => 11
        "nom" => "5. Reflections"
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2214 …}
    -label: Proxies\__CG__\App\Entity\Label {#2217 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2226 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2219 …}
    -typeMasterTape: null
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    -adresseInternetTest: null
    -poids: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2221 …}
    -enregistreLe: DateTime @1775114076 {#2208
      date: 2026-04-02 07:14:36.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775114466 {#2207
      date: 2026-04-02 07:21:06.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2223 …}
    -disponible: null
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    -slug: "vinyles-thelonious-alone-in-san-francisco-concord-craft-recording-cr-00948"
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  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3664
  -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 {#2681 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1884 …}
  +produit: App\Entity\Produit {#2212
    -id: 3038
    -nom: "Thelonious Alone In San Francisco"
    -informationComplementaire: "Seul au piano, Thelonious Monk réinvente le silence et transforme chaque note en émotion brute. "Thelonious Alone in San Francisco", c’est le jazz à l’état pur,  intime, audacieux, inoubliable."
    -description: """
      Thelonious Alone in San Francisco est un album emblématique du pianiste et compositeur Thelonious Monk, enregistré en 1959. Entièrement en solo, cet enregistrement capture Monk dans sa forme la plus pure, seul face au piano, sans accompagnement, laissant pleinement s’exprimer son univers singulier.\r\n
      \r\n
      À travers des interprétations dépouillées de ses propres compositions comme "’Round Midnight, Blue Monk ou Ruby, My Dear" l’artiste explore les silences, les dissonances et les rythmes inattendus qui définissent son style. Chaque note semble suspendue, chaque pause devient un élément musical à part entière.\r\n
      \r\n
      Cet album offre une plongée intime dans l’esprit de Monk, révélant à la fois sa rigueur, sa liberté et son génie créatif. Une œuvre essentielle pour comprendre l’essence du jazz moderne.\r\n
      \r\n
      - Thelonious Monk "Thelonious Alone In San Francisco" !\r\n
      - From the Craft Recordings Original Jazz Classics Series !\r\n
      - All-analog mastering from the original tapes by Cohearent Audio !\r\n
      - Pressed on 180 gram vinyl at RTI !\r\n
      - Presented in Stoughton Printing tip-on jackets with Obi strip !\r\n
      \r\n
      Thelonious Alone In San Francisco is the third solo album from legendary jazz pianist Thelonious Monk, following Piano Solo and Thelonious Himself. Recorded at Fugazi Hall without a live audience the album was recorded in October 1959. This new edition of the album is released as part of the Original Jazz Classics Series on 180 gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1706 …}
    -musicienOrchestre: "Thelonious Monk (piano)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=0eGALf5Rp1M&list=RD0eGALf5Rp1M&start_radio=1"
    -referenceProduit: "Concord Craft Recording CR 00948"
    -titreMorceau: [
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        "nom" => "Side A :"
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        "nom" => "3. Round Lights"
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        "nom" => "4. Everything Happens To Me"
      ]
      [
        "ordre" => 5
        "nom" => "5. You Took The Words Right Out Of My Heart "
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
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      [
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        "nom" => "1. Bluehawk"
      ]
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        "nom" => "2. Pannonica"
      ]
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        "nom" => "3. Remember"
      ]
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        "nom" => "4. There's Danger In Your Eyes, Cherie"
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        "nom" => "5. Reflections"
      ]
      [
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        "nom" => ""
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2214 …}
    -label: Proxies\__CG__\App\Entity\Label {#2217 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2226 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2219 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2221 …}
    -enregistreLe: DateTime @1775114076 {#2208
      date: 2026-04-02 07:14:36.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775114466 {#2207
      date: 2026-04-02 07:21:06.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2223 …}
    -disponible: null
    -terminer: null
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    -slug: "vinyles-thelonious-alone-in-san-francisco-concord-craft-recording-cr-00948"
  }
  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2449 …}
}

[
  "produit" => App\Entity\Produit {#2235
    -id: 3037
    -nom: "Marquee Moon - Box Set (2 LP) 45 RPM UltraDisc One-Step"
    -informationComplementaire: "Plongez dans "Marquee Moon", le chef-d’œuvre de Television : une explosion de guitares entrelacées, d’énergie brute et d’élégance sonore. Un album culte qui redéfinit le rock et continue d’inspirer, près de 50 ans après sa sortie."
    -description: """
      Sorti en 1977, Marquee Moon de Television s’impose comme l’un des albums les plus influents de la scène rock new-yorkaise. À contre-courant du punk brut de l’époque, le groupe propose une musique sophistiquée, mêlant énergie nerveuse et finesse instrumentale.\r\n
      \r\n
      Porté par la voix singulière et le jeu de guitare tranchant de Tom Verlaine, l’album se distingue surtout par le dialogue fascinant entre deux guitares. Avec Richard Lloyd, Television développe un style unique fait de lignes mélodiques entrelacées, créant une tension constante et hypnotique. La section rythmique, assurée par Fred Smith à la basse et Billy Ficca à la batterie, apporte une précision presque jazz qui renforce la profondeur sonore de l’ensemble.\r\n
      \r\n
      Le morceau-titre, long de plus de dix minutes, est devenu emblématique pour ses envolées guitaristiques et son atmosphère envoûtante. Marquee Moon est aujourd’hui considéré comme un pilier de l’art rock et une référence incontournable pour des générations de musiciens.\r\n
      \r\n
      - Television Reimagines Guitar Rock on Marquee Moon: Band’s 1977 Debut Is Ranked the 107th Greatest Album of All Time by Rolling Stone and Cited on Virtually Every Major “Best” List\r\n
      \r\n
      - Experience the Pioneering Record in Definitive Sound : Mobile Fidelity’s UltraDisc One-Step 180 gram 45 RPM (2 LP) Box Set Is Strictly Limited to 3000 Numbered Copies and Reveals Brilliant Dynamics, Textures, and Tones\r\n
      \r\n
      - 1/4” / 15 IPS analog master to DSD 256 to analog console to lathe\r\n
      \r\n
      Television’s Marquee Moon reimagines guitar rock in such original, pioneering ways that critics and fans still struggle to describe its essence five decades after its original release. Made after the band cut its teeth for four years amid New York’s thriving arts scene, the 1977 album blends the inimitable interplay of guitarists Tom Verlaine and Richard Lloyd; spontaneous and precise approaches; and winding arrangements that draw as much from classical, jazz, and psychedelia as the punk ethos to which the album is often linked. \r\n
      \r\n
      Available as a 45 RPM edition for the first time, Marquee Moon reaches a new sonic pinnacle on Mobile Fidelity’s UltraDisc One-Step 180 gram (2 LP) box set. Strictly limited to 3000 numbered copies and pressed at Fidelity Record Pressing in California, this deluxe reissue of the effort Pitchfork named the third greatest of the entire 1970s plays with incredible detail, dynamics, and definition. The presence, emotionalism, warmth, and dimensionality of the textures alone make this premium reissue a treat for both listeners who know the record inside-out and for audiophiles embarking on Television’s incomparable journeys for perhaps the first time. \r\n
      \r\n
      Mobile Fidelity Sound Lab’s deluxe, industry-leading packaging adds to the set’s desirability and collectibility. Housed in a gorgeous slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. This keepsake is for those who want to immerse themselves in everything involved with the Marquee Moon from the now-iconic front cover depicting a Xeroxed color print of a Robert Mapplethorpe photo of the quartet to the rear image showcasing what Verlaine described as a “weird spirally shape” that visually captures the inertia, vibe, and patterns of the songs.\r\n
      \r\n
      So distinctive are Television’s styles, arrangements, and chemistry that producer Andy Johns repeatedly had to ask Verlaine and company about their aesthetic. Recording in a small room at A & R Studios, a space selected due to its resemblance to what the band used to rehearse, Johns initially recoiled from the retro setup complete with an all-tube board. Johns also misread Television’s desire for a dry sound at odds with the big, meaty acoustic that carried the day. He spent a day working on the drum kit to engineer effects in line with those he’d achieved with Led Zeppelin and the Rolling Stones. Only to tear it apart once Television expressed a desire for a basic, reverb-free perspective. \r\n
      \r\n
      You can hear that direct, focused, straight-line sound like never before here, and how it illustrates the clean contours, tones, and shapes of every note committed to tape. And how it relates to the relatively minimal overdubs (piano, vocals) the band laid down after barely a week of main sessions with Johns, whose fanciest implementation involved swinging a vintage microphone like a lasso over his head as Lloyd double-tracked the solo to “Elevation”.\r\n
      \r\n
      Johns returned a few months later to mix. By that point, his take on Marquee Moon had shifted from arms-length curiosity to wholesale adoration. His change of heart is easy to understand. It would dovetail with the opinions of nearly everyone who spent time with the strange, beautiful, seemingly contradictory record shortly after it hit in early 1977. Few albums of that era as well as any before or since combine such high-wire technical prowess, back-to-basics architecture, jam-band improvisation, narrative mysticism, delicate finesse, hook-laden catchiness, and excess-free exploration. \r\n
      \r\n
      Another principal reason Marquee Moon remains distinctive ? Verlaine’s playing and lyrics, sure, but also his interests and background. Unlike archetypal guitar heroes, let alone first-wave punk practitioners, he first fell in love with classical music before gravitating to jazz and the saxophone. Having changed his last name to honor that of the 19th century French poet, Verlaine prized responsiveness and intricacy over density, speed, and volume. He recognized that fills, harmonics, and accents allowed for as many if not more opportunities for communicative colors and commentaries as solos do.  \r\n
      \r\n
      Verlaine’s incisive ingenuity, discipline, and feel emerge throughout Marquee Moon, and are part and parcel of the impressionistic six-string dialogues with Lloyd. Their push-and-pull subverts expectations and creates new, hard-to-decipher languages strung together with vocabularies comprised of wondrous melodies, modes, bridges, scales, vamps, and tunings. Lloyd would aptly describe the duo’s results as analogous to putting together pieces in a jigsaw puzzle. The pair’s exploratory vision and economical nature further accounts for why Marquee Moon defies age and trends. \r\n
      \r\n
      As do the hands-off, syncopated rhythms generated by bassist Fred Smith and jazz-based drummer Billy Ficca. Akin to their mates, each are dialed-in from the extended period of woodshedding Television enjoyed before hitting the studio. Together, the four members achieve blends of virtuosic tightness, chromatism, expressionism, and moodiness that exist in gray areas between garage rock, punk, prog, and free-jazz disciplines. No wonder Marquee Moon proved a major influence on the new wave, experimental rock, art pop, and so-called “alt rock” subgenres that followed.\r\n
      \r\n
      Allergic to bombast, repetition, and convention, all eight songs function as individual highlight reels that simultaneously feed an inter-related, organic whole. And yet everything revolves around the epic title track, Ranked by Rolling Stone as the 173rd Greatest Song of All Time, it’s distinguished by a a double-stop guitar intro, dramatic jam section, and a climactic coda that encapsulates what makes Television unique — and Marquee Moon a landmark of conception, composition, and execution.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1804 …}
    -musicienOrchestre: "Tom Verlaine (lead guitar, vocals), Richard Lloyd (lead guitar, backing vocals), Fred Smith (bass guitar, backing vocals), Billy Ficca (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=g4myghLPLZc&list=RDg4myghLPLZc&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S 2-064"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
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        "nom" => "1. See No Evil"
      ]
      [
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        "nom" => "2. Venus"
      ]
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        "ordre" => 3
        "nom" => "3. Friction "
      ]
      [
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        "nom" => "Side B : "
      ]
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        "nom" => "1. Marquee Moon "
      ]
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        "nom" => "Side C : "
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        "nom" => "1. Elevation"
      ]
      [
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        "nom" => "2. Guiding Light "
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
      [
        "ordre" => 10
        "nom" => "1. Prove It"
      ]
      [
        "ordre" => 11
        "nom" => "2. Torn Curtain"
      ]
      [
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        "nom" => ""
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2237 …}
    -label: Proxies\__CG__\App\Entity\Label {#2093 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2246 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2239 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2241 …}
    -enregistreLe: DateTime @1775112158 {#2228
      date: 2026-04-02 06:42:38.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775112582 {#2229
      date: 2026-04-02 06:49:42.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2243 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-marquee-moon-box-set-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-mfsl-45ud1s-2-064"
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]

App\Twig\Components\GestionPanierFavoriComponents {#3715
  -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 {#2681 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1884 …}
  +produit: App\Entity\Produit {#2235
    -id: 3037
    -nom: "Marquee Moon - Box Set (2 LP) 45 RPM UltraDisc One-Step"
    -informationComplementaire: "Plongez dans "Marquee Moon", le chef-d’œuvre de Television : une explosion de guitares entrelacées, d’énergie brute et d’élégance sonore. Un album culte qui redéfinit le rock et continue d’inspirer, près de 50 ans après sa sortie."
    -description: """
      Sorti en 1977, Marquee Moon de Television s’impose comme l’un des albums les plus influents de la scène rock new-yorkaise. À contre-courant du punk brut de l’époque, le groupe propose une musique sophistiquée, mêlant énergie nerveuse et finesse instrumentale.\r\n
      \r\n
      Porté par la voix singulière et le jeu de guitare tranchant de Tom Verlaine, l’album se distingue surtout par le dialogue fascinant entre deux guitares. Avec Richard Lloyd, Television développe un style unique fait de lignes mélodiques entrelacées, créant une tension constante et hypnotique. La section rythmique, assurée par Fred Smith à la basse et Billy Ficca à la batterie, apporte une précision presque jazz qui renforce la profondeur sonore de l’ensemble.\r\n
      \r\n
      Le morceau-titre, long de plus de dix minutes, est devenu emblématique pour ses envolées guitaristiques et son atmosphère envoûtante. Marquee Moon est aujourd’hui considéré comme un pilier de l’art rock et une référence incontournable pour des générations de musiciens.\r\n
      \r\n
      - Television Reimagines Guitar Rock on Marquee Moon: Band’s 1977 Debut Is Ranked the 107th Greatest Album of All Time by Rolling Stone and Cited on Virtually Every Major “Best” List\r\n
      \r\n
      - Experience the Pioneering Record in Definitive Sound : Mobile Fidelity’s UltraDisc One-Step 180 gram 45 RPM (2 LP) Box Set Is Strictly Limited to 3000 Numbered Copies and Reveals Brilliant Dynamics, Textures, and Tones\r\n
      \r\n
      - 1/4” / 15 IPS analog master to DSD 256 to analog console to lathe\r\n
      \r\n
      Television’s Marquee Moon reimagines guitar rock in such original, pioneering ways that critics and fans still struggle to describe its essence five decades after its original release. Made after the band cut its teeth for four years amid New York’s thriving arts scene, the 1977 album blends the inimitable interplay of guitarists Tom Verlaine and Richard Lloyd; spontaneous and precise approaches; and winding arrangements that draw as much from classical, jazz, and psychedelia as the punk ethos to which the album is often linked. \r\n
      \r\n
      Available as a 45 RPM edition for the first time, Marquee Moon reaches a new sonic pinnacle on Mobile Fidelity’s UltraDisc One-Step 180 gram (2 LP) box set. Strictly limited to 3000 numbered copies and pressed at Fidelity Record Pressing in California, this deluxe reissue of the effort Pitchfork named the third greatest of the entire 1970s plays with incredible detail, dynamics, and definition. The presence, emotionalism, warmth, and dimensionality of the textures alone make this premium reissue a treat for both listeners who know the record inside-out and for audiophiles embarking on Television’s incomparable journeys for perhaps the first time. \r\n
      \r\n
      Mobile Fidelity Sound Lab’s deluxe, industry-leading packaging adds to the set’s desirability and collectibility. Housed in a gorgeous slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. This keepsake is for those who want to immerse themselves in everything involved with the Marquee Moon from the now-iconic front cover depicting a Xeroxed color print of a Robert Mapplethorpe photo of the quartet to the rear image showcasing what Verlaine described as a “weird spirally shape” that visually captures the inertia, vibe, and patterns of the songs.\r\n
      \r\n
      So distinctive are Television’s styles, arrangements, and chemistry that producer Andy Johns repeatedly had to ask Verlaine and company about their aesthetic. Recording in a small room at A & R Studios, a space selected due to its resemblance to what the band used to rehearse, Johns initially recoiled from the retro setup complete with an all-tube board. Johns also misread Television’s desire for a dry sound at odds with the big, meaty acoustic that carried the day. He spent a day working on the drum kit to engineer effects in line with those he’d achieved with Led Zeppelin and the Rolling Stones. Only to tear it apart once Television expressed a desire for a basic, reverb-free perspective. \r\n
      \r\n
      You can hear that direct, focused, straight-line sound like never before here, and how it illustrates the clean contours, tones, and shapes of every note committed to tape. And how it relates to the relatively minimal overdubs (piano, vocals) the band laid down after barely a week of main sessions with Johns, whose fanciest implementation involved swinging a vintage microphone like a lasso over his head as Lloyd double-tracked the solo to “Elevation”.\r\n
      \r\n
      Johns returned a few months later to mix. By that point, his take on Marquee Moon had shifted from arms-length curiosity to wholesale adoration. His change of heart is easy to understand. It would dovetail with the opinions of nearly everyone who spent time with the strange, beautiful, seemingly contradictory record shortly after it hit in early 1977. Few albums of that era as well as any before or since combine such high-wire technical prowess, back-to-basics architecture, jam-band improvisation, narrative mysticism, delicate finesse, hook-laden catchiness, and excess-free exploration. \r\n
      \r\n
      Another principal reason Marquee Moon remains distinctive ? Verlaine’s playing and lyrics, sure, but also his interests and background. Unlike archetypal guitar heroes, let alone first-wave punk practitioners, he first fell in love with classical music before gravitating to jazz and the saxophone. Having changed his last name to honor that of the 19th century French poet, Verlaine prized responsiveness and intricacy over density, speed, and volume. He recognized that fills, harmonics, and accents allowed for as many if not more opportunities for communicative colors and commentaries as solos do.  \r\n
      \r\n
      Verlaine’s incisive ingenuity, discipline, and feel emerge throughout Marquee Moon, and are part and parcel of the impressionistic six-string dialogues with Lloyd. Their push-and-pull subverts expectations and creates new, hard-to-decipher languages strung together with vocabularies comprised of wondrous melodies, modes, bridges, scales, vamps, and tunings. Lloyd would aptly describe the duo’s results as analogous to putting together pieces in a jigsaw puzzle. The pair’s exploratory vision and economical nature further accounts for why Marquee Moon defies age and trends. \r\n
      \r\n
      As do the hands-off, syncopated rhythms generated by bassist Fred Smith and jazz-based drummer Billy Ficca. Akin to their mates, each are dialed-in from the extended period of woodshedding Television enjoyed before hitting the studio. Together, the four members achieve blends of virtuosic tightness, chromatism, expressionism, and moodiness that exist in gray areas between garage rock, punk, prog, and free-jazz disciplines. No wonder Marquee Moon proved a major influence on the new wave, experimental rock, art pop, and so-called “alt rock” subgenres that followed.\r\n
      \r\n
      Allergic to bombast, repetition, and convention, all eight songs function as individual highlight reels that simultaneously feed an inter-related, organic whole. And yet everything revolves around the epic title track, Ranked by Rolling Stone as the 173rd Greatest Song of All Time, it’s distinguished by a a double-stop guitar intro, dramatic jam section, and a climactic coda that encapsulates what makes Television unique — and Marquee Moon a landmark of conception, composition, and execution.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1804 …}
    -musicienOrchestre: "Tom Verlaine (lead guitar, vocals), Richard Lloyd (lead guitar, backing vocals), Fred Smith (bass guitar, backing vocals), Billy Ficca (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=g4myghLPLZc&list=RDg4myghLPLZc&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S 2-064"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. See No Evil"
      ]
      [
        "ordre" => 2
        "nom" => "2. Venus"
      ]
      [
        "ordre" => 3
        "nom" => "3. Friction "
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Marquee Moon "
      ]
      [
        "ordre" => 6
        "nom" => "Side C : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Elevation"
      ]
      [
        "ordre" => 8
        "nom" => "2. Guiding Light "
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
      [
        "ordre" => 10
        "nom" => "1. Prove It"
      ]
      [
        "ordre" => 11
        "nom" => "2. Torn Curtain"
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
      [
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        "nom" => ""
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        "nom" => ""
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      [
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2237 …}
    -label: Proxies\__CG__\App\Entity\Label {#2093 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2246 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2239 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2241 …}
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      date: 2026-04-02 06:42:38.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775112582 {#2229
      date: 2026-04-02 06:49:42.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2243 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-marquee-moon-box-set-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-mfsl-45ud1s-2-064"
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2449 …}
}

[
  "produit" => App\Entity\Produit {#2251
    -id: 3020
    -nom: "Folk Singer  (Mono)"
    -informationComplementaire: "Muddy Waters enregistre Folk Singer en 1963 pour Chess Records, et l’album sort en 1964. C’est un disque particulier dans sa discographie, contrairement à son blues électrique habituel de Chicago, il revient ici à un blues acoustique très dépouillé."
    -description: """
      - Muddy Waters "Folk Singer" (Mono) !\r\n
      - Chess Records 75 Series from Chess Records and Acoustic Sounds !\r\n
      - The only acoustic album that Waters ever recorded !\r\n
      - All-analog mastering by Matthew Lutthans at The Mastering Lab !\r\n
      - 180 gram vinyl pressed at Quality Record Pressings !\r\n
      \r\n
      Folk Singer montre Muddy Waters dans une forme plus brute et traditionnelle, revenant aux racines du blues avec un son acoustique intime. L’album est à la fois historique, musicalement pur et techniquement remarquable, ce qui explique pourquoi il reste une référence majeure du blues.\r\n
      \r\n
      Sorti en 1964 sur le label Chess Records, Folk Singer constitue une œuvre singulière dans la discographie de Muddy Waters. Connu pour avoir contribué à définir le son du Chicago blues électrique dans les années 1950, l’artiste opère ici un retour volontaire vers une esthétique plus dépouillée. L’album s’inscrit dans le contexte du renouveau folk et blues du début des années 1960, période durant laquelle le public redécouvre les racines rurales de la musique afro-américaine. Muddy Waters répond à cet intérêt en proposant un disque entièrement acoustique, qui évoque directement les traditions du Delta blues et du country blues.\r\n
      \r\n
      L’enregistrement se déroule en septembre 1963 dans les studios de Chess à Chicago. Contrairement aux productions blues amplifiées de l’époque, l’objectif est de capter une atmosphère naturelle et chaleureuse, presque intime. La prise de son est particulièrement soignée, les instruments sont enregistrés avec beaucoup d’espace et de précision, laissant respirer chaque nuance de la voix et des guitares. Cette approche explique pourquoi Folk Singer est souvent considéré comme un album de référence pour la qualité de son et figure régulièrement parmi les disques utilisés pour tester des systèmes audio haute fidélité.\r\n
      \r\n
      L’accompagnement musical reste volontairement minimaliste. Muddy Waters assure la guitare acoustique et le chant, entouré de musiciens prestigieux de la scène blues de Chicago. Le bassiste et compositeur Willie Dixon apporte une contrebasse profonde et discrète qui structure les morceaux, tandis que Buddy Guy intervient à la guitare acoustique avec un jeu sensible et précis. La batterie légère de Clifton James complète l’ensemble sans jamais dominer l’espace sonore. Cette instrumentation réduite permet de mettre en avant la dimension expressive de la musique et surtout la voix puissante et rugueuse de Muddy Waters, qui demeure l’élément central de l’album.\r\n
      \r\n
      Sur le plan musical, Folk Singer se caractérise par des tempos généralement lents et une grande sobriété dans les arrangements. Les morceaux reposent sur des structures de blues traditionnelles, mais l’interprétation se distingue par sa profondeur émotionnelle et son sens du groove. La guitare acoustique de Muddy Waters développe un jeu rythmique solide, ponctué de lignes mélodiques simples mais expressives. L’ensemble crée une ambiance à la fois sombre, hypnotique et chaleureuse.\r\n
      \r\n
      Les thèmes abordés dans les chansons reflètent les préoccupations classiques du blues : l’errance, les relations amoureuses compliquées, la solitude ou encore la nostalgie du Sud. Dans "My Home Is in the Delta", Muddy Waters évoque son attachement à la région du Mississippi où il a grandi, rappelant les racines rurales de sa musique. "Long Distance Call" illustre quant à lui un blues lent et intense, construit autour d’une tension émotionnelle qui met en valeur la profondeur de sa voix. D’autres titres comme "Good Morning Little School Girl" apportent une énergie plus directe tout en conservant l’esprit acoustique de l’album.\r\n
      \r\n
      L’importance de Folk Singer dépasse la simple réussite artistique. L’album représente un moment de transition dans l’histoire du blues, reliant les traditions rurales du Delta aux formes urbaines développées à Chicago. En revenant à une formule acoustique à une époque dominée par l’amplification électrique, Muddy Waters rappelle les origines profondes du genre et démontre que la force du blues réside avant tout dans l’émotion et l’interprétation.\r\n
      \r\n
      Avec le temps, Folk Singer s’est imposé comme l’un des grands classiques du blues. Son authenticité, la qualité exceptionnelle de son enregistrement et la performance vocale de Muddy Waters en font un disque à la fois historique et intemporel, souvent cité parmi les albums essentiels pour comprendre l’évolution et l’héritage du blues.\r\n
      \r\n
      Few albums in the blues canon carry the authority and lasting impact of Muddy Waters' "Folk Singer". Originally released in 1964 and presented here in its pure, intimate mono form this is the only all-acoustic recording Muddy ever made. The result is a striking return to the Delta feel that shaped him, transformed into what many consider the first, and still the definitive, blues concept album.\r\n
      \r\n
      Worried that the rising folk boom might pull listeners away from the blues, Chess Records sent Muddy Waters into the studio for an all-acoustic session and the results were nothing short of revelatory. Joined by Willie Dixon and a young Buddy Guy, Waters delivers an "unplugged" performance that stands today as one of the most captivating crossover moments in the genre's history.\r\n
      \r\n
      All-analog mastering by Matthew Lutthans at The Mastering Lab from the mono master, 180 gram vinyl pressed by Quality Record Pressings.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1706 …}
    -musicienOrchestre: "Muddy Waters (guitar, vocals), Buddy Guy (guitar), Willie Dixon (bass), Clifton James (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Y_TJoSf6_z0&list=PLzGotn8LeP0epcgMa6JIwNF664bMnFc24"
    -referenceProduit: "Acoustic Sounds Serie (Chess Records) 8127"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
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      [
        "ordre" => 1
        "nom" => "1. My Home Is In The Delta"
      ]
      [
        "ordre" => 2
        "nom" => "2. Long Distance"
      ]
      [
        "ordre" => 3
        "nom" => "3. My Captain"
      ]
      [
        "ordre" => 4
        "nom" => "4. Good Morning School Girl"
      ]
      [
        "ordre" => 5
        "nom" => "5. You Gonna Need My Help "
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Cold Weather Blues"
      ]
      [
        "ordre" => 8
        "nom" => "2. Big Leg Woman"
      ]
      [
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        "nom" => "3. Country Boy"
      ]
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        "nom" => "4. Feel Like Going Home"
      ]
      [
        "ordre" => 11
        "nom" => ""
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2055 …}
    -label: Proxies\__CG__\App\Entity\Label {#2058 …}
    -style: App\Entity\Style {#1436 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2259 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2252 …}
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    -enregistreLe: DateTime @1773611081 {#2248
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    }
    -modifierLe: DateTime @1774769675 {#2249
      date: 2026-03-29 07:34:35.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2256 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-folk-singer-mono-acoustic-sounds-serie-chess-records-8127"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3768
  -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 {#2681 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1884 …}
  +produit: App\Entity\Produit {#2251
    -id: 3020
    -nom: "Folk Singer  (Mono)"
    -informationComplementaire: "Muddy Waters enregistre Folk Singer en 1963 pour Chess Records, et l’album sort en 1964. C’est un disque particulier dans sa discographie, contrairement à son blues électrique habituel de Chicago, il revient ici à un blues acoustique très dépouillé."
    -description: """
      - Muddy Waters "Folk Singer" (Mono) !\r\n
      - Chess Records 75 Series from Chess Records and Acoustic Sounds !\r\n
      - The only acoustic album that Waters ever recorded !\r\n
      - All-analog mastering by Matthew Lutthans at The Mastering Lab !\r\n
      - 180 gram vinyl pressed at Quality Record Pressings !\r\n
      \r\n
      Folk Singer montre Muddy Waters dans une forme plus brute et traditionnelle, revenant aux racines du blues avec un son acoustique intime. L’album est à la fois historique, musicalement pur et techniquement remarquable, ce qui explique pourquoi il reste une référence majeure du blues.\r\n
      \r\n
      Sorti en 1964 sur le label Chess Records, Folk Singer constitue une œuvre singulière dans la discographie de Muddy Waters. Connu pour avoir contribué à définir le son du Chicago blues électrique dans les années 1950, l’artiste opère ici un retour volontaire vers une esthétique plus dépouillée. L’album s’inscrit dans le contexte du renouveau folk et blues du début des années 1960, période durant laquelle le public redécouvre les racines rurales de la musique afro-américaine. Muddy Waters répond à cet intérêt en proposant un disque entièrement acoustique, qui évoque directement les traditions du Delta blues et du country blues.\r\n
      \r\n
      L’enregistrement se déroule en septembre 1963 dans les studios de Chess à Chicago. Contrairement aux productions blues amplifiées de l’époque, l’objectif est de capter une atmosphère naturelle et chaleureuse, presque intime. La prise de son est particulièrement soignée, les instruments sont enregistrés avec beaucoup d’espace et de précision, laissant respirer chaque nuance de la voix et des guitares. Cette approche explique pourquoi Folk Singer est souvent considéré comme un album de référence pour la qualité de son et figure régulièrement parmi les disques utilisés pour tester des systèmes audio haute fidélité.\r\n
      \r\n
      L’accompagnement musical reste volontairement minimaliste. Muddy Waters assure la guitare acoustique et le chant, entouré de musiciens prestigieux de la scène blues de Chicago. Le bassiste et compositeur Willie Dixon apporte une contrebasse profonde et discrète qui structure les morceaux, tandis que Buddy Guy intervient à la guitare acoustique avec un jeu sensible et précis. La batterie légère de Clifton James complète l’ensemble sans jamais dominer l’espace sonore. Cette instrumentation réduite permet de mettre en avant la dimension expressive de la musique et surtout la voix puissante et rugueuse de Muddy Waters, qui demeure l’élément central de l’album.\r\n
      \r\n
      Sur le plan musical, Folk Singer se caractérise par des tempos généralement lents et une grande sobriété dans les arrangements. Les morceaux reposent sur des structures de blues traditionnelles, mais l’interprétation se distingue par sa profondeur émotionnelle et son sens du groove. La guitare acoustique de Muddy Waters développe un jeu rythmique solide, ponctué de lignes mélodiques simples mais expressives. L’ensemble crée une ambiance à la fois sombre, hypnotique et chaleureuse.\r\n
      \r\n
      Les thèmes abordés dans les chansons reflètent les préoccupations classiques du blues : l’errance, les relations amoureuses compliquées, la solitude ou encore la nostalgie du Sud. Dans "My Home Is in the Delta", Muddy Waters évoque son attachement à la région du Mississippi où il a grandi, rappelant les racines rurales de sa musique. "Long Distance Call" illustre quant à lui un blues lent et intense, construit autour d’une tension émotionnelle qui met en valeur la profondeur de sa voix. D’autres titres comme "Good Morning Little School Girl" apportent une énergie plus directe tout en conservant l’esprit acoustique de l’album.\r\n
      \r\n
      L’importance de Folk Singer dépasse la simple réussite artistique. L’album représente un moment de transition dans l’histoire du blues, reliant les traditions rurales du Delta aux formes urbaines développées à Chicago. En revenant à une formule acoustique à une époque dominée par l’amplification électrique, Muddy Waters rappelle les origines profondes du genre et démontre que la force du blues réside avant tout dans l’émotion et l’interprétation.\r\n
      \r\n
      Avec le temps, Folk Singer s’est imposé comme l’un des grands classiques du blues. Son authenticité, la qualité exceptionnelle de son enregistrement et la performance vocale de Muddy Waters en font un disque à la fois historique et intemporel, souvent cité parmi les albums essentiels pour comprendre l’évolution et l’héritage du blues.\r\n
      \r\n
      Few albums in the blues canon carry the authority and lasting impact of Muddy Waters' "Folk Singer". Originally released in 1964 and presented here in its pure, intimate mono form this is the only all-acoustic recording Muddy ever made. The result is a striking return to the Delta feel that shaped him, transformed into what many consider the first, and still the definitive, blues concept album.\r\n
      \r\n
      Worried that the rising folk boom might pull listeners away from the blues, Chess Records sent Muddy Waters into the studio for an all-acoustic session and the results were nothing short of revelatory. Joined by Willie Dixon and a young Buddy Guy, Waters delivers an "unplugged" performance that stands today as one of the most captivating crossover moments in the genre's history.\r\n
      \r\n
      All-analog mastering by Matthew Lutthans at The Mastering Lab from the mono master, 180 gram vinyl pressed by Quality Record Pressings.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1706 …}
    -musicienOrchestre: "Muddy Waters (guitar, vocals), Buddy Guy (guitar), Willie Dixon (bass), Clifton James (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Y_TJoSf6_z0&list=PLzGotn8LeP0epcgMa6JIwNF664bMnFc24"
    -referenceProduit: "Acoustic Sounds Serie (Chess Records) 8127"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. My Home Is In The Delta"
      ]
      [
        "ordre" => 2
        "nom" => "2. Long Distance"
      ]
      [
        "ordre" => 3
        "nom" => "3. My Captain"
      ]
      [
        "ordre" => 4
        "nom" => "4. Good Morning School Girl"
      ]
      [
        "ordre" => 5
        "nom" => "5. You Gonna Need My Help "
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Cold Weather Blues"
      ]
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        "nom" => "2. Big Leg Woman"
      ]
      [
        "ordre" => 9
        "nom" => "3. Country Boy"
      ]
      [
        "ordre" => 10
        "nom" => "4. Feel Like Going Home"
      ]
      [
        "ordre" => 11
        "nom" => ""
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2055 …}
    -label: Proxies\__CG__\App\Entity\Label {#2058 …}
    -style: App\Entity\Style {#1436 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2259 …}
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    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2254 …}
    -enregistreLe: DateTime @1773611081 {#2248
      date: 2026-03-15 21:44:41.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1774769675 {#2249
      date: 2026-03-29 07:34:35.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2256 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-folk-singer-mono-acoustic-sounds-serie-chess-records-8127"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2449 …}
}