Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2541
  -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 {#2388 …}
}

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

App\Twig\Components\ListePanier {#2618
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2621 …}
  -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 {#2620 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +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 {#2388 …}
  -formView: Symfony\Component\Form\FormView {#2657 …}
  -form: Symfony\Component\Form\Form {#2807 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1820
    -id: 2237
    -nom: "I Robot (Box Set 2 LP) 45 RPM - UltraDisc One-Step"
    -informationComplementaire: null
    -description: """
      MASTERED FROM THE ORIGINAL MASTER TAPES: ULTRADISC ONE-STEP SET IS THE ULTIMATE ANALOG VERSION OF 1977 AUDIOPHILE STANDARD !\r\n
      \r\n
      Audiophiles don't need any introduction to the Alan Parsons Project's I Robot. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist. Not surprisingly, it's been issued myriad times. Can it be improved ? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180 gram 45 RPM (2 LP) box set and the question becomes irrelevant.\r\n
      \r\n
      Mastered from the original master tapes, pressed at RTI on MoFi SuperVinyl, and afforded the luxurious groove space of 45 RPM LPs, I Robot comes to life like never before on this numbered, limited-edition reissue. Boasting a nearly undetectable noise floor, immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems.\r\n
      \r\n
      Put simply, there's more music, more information, more detail, more nuance, more of everything you want. Mobile Fidelity's transcendent UD1S 45 RPM edition invites you to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, these LPs are demonstration records for the ages—the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.\r\n
      \r\n
      The beautiful presentation of the numbered, limited-edition UD1S I Robot pressing speaks to the music's merit. Housed in a deluxe box, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. Parsons' most iconic record deserves nothing less.\r\n
      \r\n
      Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons' pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior and their relationship to increasing robotic supremacy in everyday life. Parsons musically reflects the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.\r\n
      \r\n
      The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons utilizes a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show". The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32".\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1856 …}
    -musicienOrchestre: "Eric Woolfson, Alan Parsons, Duncan Mackay (claviers), David Paton (bass & acoustic guitar), Ian Bairnson (electric & acoustic guitar), BJ. Cole (steel guitar), Allan Clarke, Jack Harris, Peter Straker, Steve & Dave Towsend, (vocals), Stuart Tosh (drums)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=p6Fpllm1Iy8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S 040"
    -titreMorceau: [
      [
        "nom" => "1. I Robot"
        "ordre" => 0
      ]
      [
        "nom" => "2. I Wouldn't Want to Be Like You"
        "ordre" => 1
      ]
      [
        "nom" => "3. Some Other Time"
        "ordre" => 2
      ]
      [
        "nom" => "4. Breakdown"
        "ordre" => 3
      ]
      [
        "nom" => "5. Don't Let It Show"
        "ordre" => 4
      ]
      [
        "nom" => "6. The Voice"
        "ordre" => 5
      ]
      [
        "nom" => "7. Nucleus"
        "ordre" => 6
      ]
      [
        "nom" => "8. Day After Day (The Show Must Go On)"
        "ordre" => 7
      ]
      [
        "nom" => "9. Total Eclipse"
        "ordre" => 8
      ]
      [
        "nom" => "10. Genesis Ch. 1 V. 32"
        "ordre" => 9
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1896 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2027 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1901 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2015 …}
    -enregistreLe: DateTime @1654104262 {#1875
      date: 2022-06-01 17:24:22.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763018515 {#1868
      date: 2025-11-13 07:21:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2021 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-i-robot-box-set-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-mfsl-45ud1s-040"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3082
  -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 {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#1820
    -id: 2237
    -nom: "I Robot (Box Set 2 LP) 45 RPM - UltraDisc One-Step"
    -informationComplementaire: null
    -description: """
      MASTERED FROM THE ORIGINAL MASTER TAPES: ULTRADISC ONE-STEP SET IS THE ULTIMATE ANALOG VERSION OF 1977 AUDIOPHILE STANDARD !\r\n
      \r\n
      Audiophiles don't need any introduction to the Alan Parsons Project's I Robot. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist. Not surprisingly, it's been issued myriad times. Can it be improved ? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180 gram 45 RPM (2 LP) box set and the question becomes irrelevant.\r\n
      \r\n
      Mastered from the original master tapes, pressed at RTI on MoFi SuperVinyl, and afforded the luxurious groove space of 45 RPM LPs, I Robot comes to life like never before on this numbered, limited-edition reissue. Boasting a nearly undetectable noise floor, immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems.\r\n
      \r\n
      Put simply, there's more music, more information, more detail, more nuance, more of everything you want. Mobile Fidelity's transcendent UD1S 45 RPM edition invites you to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, these LPs are demonstration records for the ages—the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.\r\n
      \r\n
      The beautiful presentation of the numbered, limited-edition UD1S I Robot pressing speaks to the music's merit. Housed in a deluxe box, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. Parsons' most iconic record deserves nothing less.\r\n
      \r\n
      Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons' pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior and their relationship to increasing robotic supremacy in everyday life. Parsons musically reflects the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.\r\n
      \r\n
      The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons utilizes a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show". The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32".\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1856 …}
    -musicienOrchestre: "Eric Woolfson, Alan Parsons, Duncan Mackay (claviers), David Paton (bass & acoustic guitar), Ian Bairnson (electric & acoustic guitar), BJ. Cole (steel guitar), Allan Clarke, Jack Harris, Peter Straker, Steve & Dave Towsend, (vocals), Stuart Tosh (drums)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=p6Fpllm1Iy8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S 040"
    -titreMorceau: [
      [
        "nom" => "1. I Robot"
        "ordre" => 0
      ]
      [
        "nom" => "2. I Wouldn't Want to Be Like You"
        "ordre" => 1
      ]
      [
        "nom" => "3. Some Other Time"
        "ordre" => 2
      ]
      [
        "nom" => "4. Breakdown"
        "ordre" => 3
      ]
      [
        "nom" => "5. Don't Let It Show"
        "ordre" => 4
      ]
      [
        "nom" => "6. The Voice"
        "ordre" => 5
      ]
      [
        "nom" => "7. Nucleus"
        "ordre" => 6
      ]
      [
        "nom" => "8. Day After Day (The Show Must Go On)"
        "ordre" => 7
      ]
      [
        "nom" => "9. Total Eclipse"
        "ordre" => 8
      ]
      [
        "nom" => "10. Genesis Ch. 1 V. 32"
        "ordre" => 9
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1896 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2027 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1901 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2015 …}
    -enregistreLe: DateTime @1654104262 {#1875
      date: 2022-06-01 17:24:22.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763018515 {#1868
      date: 2025-11-13 07:21:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2021 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-i-robot-box-set-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-mfsl-45ud1s-040"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …}
}

[
  "produit" => App\Entity\Produit {#2044
    -id: 2187
    -nom: "I Robot - UltraDisc One-Step (Box Set 1 LP) 33 RPM"
    -informationComplementaire: null
    -description: """
      MASTERED FROM THE ORIGINAL MASTER TAPES: ULTRADISC ONE-STEP SET IS THE ULTIMATE ANALOG VERSION OF 1977 AUDIOPHILE STANDARD !\r\n
      \r\n
      Audiophiles don't need any introduction to the Alan Parsons Project's I Robot. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist. Not surprisingly, it's been issued myriad times. Can it be improved ? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 45RPM 2LP box set and the question becomes irrelevant.\r\n
      \r\n
      Mastered from the original master tapes, pressed at RTI on MoFi SuperVinyl, and afforded the luxurious groove space of 45 RPM LPs, I Robot comes to life like never before on this numbered, limited-edition reissue. Boasting a nearly undetectable noise floor, immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems.\r\n
      \r\n
      Put simply, there's more music, more information, more detail, more nuance, more of everything you want. Mobile Fidelity's transcendent UD1S 45RPM edition invites you to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, these LPs are demonstration records for the ages the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.\r\n
      \r\n
      The beautiful presentation of the numbered, limited-edition UD1S I Robot pressing speaks to the music's merit. Housed in a deluxe box, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. Parsons' most iconic record deserves nothing less.\r\n
      \r\n
      Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons' pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior and their relationship to increasing robotic supremacy in everyday life. Parsons musically reflects the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.\r\n
      \r\n
      The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons utilizes a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show". The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron", devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32".
      """
    -prixVente: "179.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Eric Woolfson, Alan Parsons, Duncan Mackay (claviers), David Paton (bass & acoustic guitar), Ian Bairnson (electric & acoustic guitar), BJ. Cole (steel guitar), Allan Clarke, Jack Harris, Peter Straker, Steve & Dave Towsend, (vocals), Stuart Tosh (drums)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ROS-288KSnQ"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-040"
    -titreMorceau: [
      [
        "nom" => "1. I Robot"
        "ordre" => 0
      ]
      [
        "nom" => "2. I Wouldn't Want to Be Like You"
        "ordre" => 1
      ]
      [
        "nom" => "3. Some Other Time"
        "ordre" => 2
      ]
      [
        "nom" => "4. Breakdown"
        "ordre" => 3
      ]
      [
        "nom" => "5. Don't Let It Show"
        "ordre" => 4
      ]
      [
        "nom" => "6. The Voice"
        "ordre" => 5
      ]
      [
        "nom" => "7. Nucleus"
        "ordre" => 6
      ]
      [
        "nom" => "8. Day After Day (The Show Must Go On)"
        "ordre" => 7
      ]
      [
        "nom" => "9. Total Eclipse"
        "ordre" => 8
      ]
      [
        "nom" => "10. Genesis Ch. 1 V. 32"
        "ordre" => 9
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1896 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2052 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2045 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2047 …}
    -enregistreLe: DateTime @1641036928 {#2041
      date: 2022-01-01 11:35:28.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763018096 {#2042
      date: 2025-11-13 07:14:56.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2049 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3198
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  +produit: App\Entity\Produit {#2044
    -id: 2187
    -nom: "I Robot - UltraDisc One-Step (Box Set 1 LP) 33 RPM"
    -informationComplementaire: null
    -description: """
      MASTERED FROM THE ORIGINAL MASTER TAPES: ULTRADISC ONE-STEP SET IS THE ULTIMATE ANALOG VERSION OF 1977 AUDIOPHILE STANDARD !\r\n
      \r\n
      Audiophiles don't need any introduction to the Alan Parsons Project's I Robot. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist. Not surprisingly, it's been issued myriad times. Can it be improved ? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 45RPM 2LP box set and the question becomes irrelevant.\r\n
      \r\n
      Mastered from the original master tapes, pressed at RTI on MoFi SuperVinyl, and afforded the luxurious groove space of 45 RPM LPs, I Robot comes to life like never before on this numbered, limited-edition reissue. Boasting a nearly undetectable noise floor, immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems.\r\n
      \r\n
      Put simply, there's more music, more information, more detail, more nuance, more of everything you want. Mobile Fidelity's transcendent UD1S 45RPM edition invites you to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, these LPs are demonstration records for the ages the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.\r\n
      \r\n
      The beautiful presentation of the numbered, limited-edition UD1S I Robot pressing speaks to the music's merit. Housed in a deluxe box, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. Parsons' most iconic record deserves nothing less.\r\n
      \r\n
      Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons' pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior and their relationship to increasing robotic supremacy in everyday life. Parsons musically reflects the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.\r\n
      \r\n
      The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons utilizes a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show". The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron", devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32".
      """
    -prixVente: "179.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Eric Woolfson, Alan Parsons, Duncan Mackay (claviers), David Paton (bass & acoustic guitar), Ian Bairnson (electric & acoustic guitar), BJ. Cole (steel guitar), Allan Clarke, Jack Harris, Peter Straker, Steve & Dave Towsend, (vocals), Stuart Tosh (drums)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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[
  "produit" => App\Entity\Produit {#2057
    -id: 866
    -nom: "I Robot"
    -informationComplementaire: null
    -description: """
      Audiophiles needn't any introduction to the Alan Parsons Project's I Robot. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist. Not surprisingly, it's been issued multiple times. Can it be improved ? Relish Mobile Fidelity's stupendous-sounding 180-Gram 45RPM 2LP set and the question becomes irrelevant.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI, and afforded the luxurious groove space of a 45 RPM LP, I Robot comes to life like never before on this numbered limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road, this super-clean edition has been lovingly restored by Mobile Fidelity engineers with the intention of demonstrating the full-range capabilities of the world's best stereo systems. Put simply, there's more music, more information, more detail, more nuance, more everything.\r\n
      \r\n
      Savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, the analog masterwork is a demonstration record for the ages – the likes of which are no longer being made. Longtime fans can finally rest assured knowing they don't have to pony up hundreds of dollars for older pressings – including three prior Mobile Fidelity versions on LP and CD. This is the very reason you own and invest in high-end audio gear.\r\n
      \r\n
      Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record increasingly relevant in the 21st century. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Sonically, Parsons reflects the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.\r\n
      \r\n
      I Robot's absorbing tunes also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons utilizes a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show". The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron", devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as an aptly frightening track that presages the climactic "Genesis Ch. 1 V. 32".\r\n
      \r\n
      Does man or machine win in the end ? Decide with Parsons as you get lost in Mobile Fidelity's definitive pressing.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Eric Woolfson, Alan Parsons, Duncan Mackay (claviers), David Paton (bass & acoustic guitar), Ian Bairnson (electric & acoustic guitar), BJ. Cole (steel guitar), Allan Clarke, Jack Harris, Peter Straker, Steve & Dave Towsend, (vocals), Stuart Tosh (drums)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=ROS-288KSnQ"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-455"
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        "nom" => "2. Genesis Ch. 1 V. 32"
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      ]
    ]
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App\Twig\Components\GestionPanierFavoriComponents {#3246
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  +produit: App\Entity\Produit {#2057
    -id: 866
    -nom: "I Robot"
    -informationComplementaire: null
    -description: """
      Audiophiles needn't any introduction to the Alan Parsons Project's I Robot. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist. Not surprisingly, it's been issued multiple times. Can it be improved ? Relish Mobile Fidelity's stupendous-sounding 180-Gram 45RPM 2LP set and the question becomes irrelevant.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI, and afforded the luxurious groove space of a 45 RPM LP, I Robot comes to life like never before on this numbered limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road, this super-clean edition has been lovingly restored by Mobile Fidelity engineers with the intention of demonstrating the full-range capabilities of the world's best stereo systems. Put simply, there's more music, more information, more detail, more nuance, more everything.\r\n
      \r\n
      Savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, the analog masterwork is a demonstration record for the ages – the likes of which are no longer being made. Longtime fans can finally rest assured knowing they don't have to pony up hundreds of dollars for older pressings – including three prior Mobile Fidelity versions on LP and CD. This is the very reason you own and invest in high-end audio gear.\r\n
      \r\n
      Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record increasingly relevant in the 21st century. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Sonically, Parsons reflects the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.\r\n
      \r\n
      I Robot's absorbing tunes also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons utilizes a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show". The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron", devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as an aptly frightening track that presages the climactic "Genesis Ch. 1 V. 32".\r\n
      \r\n
      Does man or machine win in the end ? Decide with Parsons as you get lost in Mobile Fidelity's definitive pressing.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Eric Woolfson, Alan Parsons, Duncan Mackay (claviers), David Paton (bass & acoustic guitar), Ian Bairnson (electric & acoustic guitar), BJ. Cole (steel guitar), Allan Clarke, Jack Harris, Peter Straker, Steve & Dave Towsend, (vocals), Stuart Tosh (drums)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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[
  "produit" => App\Entity\Produit {#2070
    -id: 320
    -nom: "Wild Planet"
    -informationComplementaire: null
    -description: """
      Party out of bounds ! Not only is this sentiment one of the B-52's directives on their ceaselessly fun sophomore album, it's one of the record's hit songs, and perfectly summarizes the spirit and intent behind this new-wave classic. Completely up to task in following up their kitschy debut, the B-52's step everything up a notch : Songwriting, humor, exaggeration, melodies, hooks and group interplay. Wild Planet also finds the band embracing stronger psychedelic accents that seamlessly mesh with its lava-lamp colors and textures. What an album. \r\n
      \r\n
      Rollicking, rousing and riotous, Wild Planet soars on vocal efforts put forth by the delightfully campy chanteuses Cindy Wilson and Kate Pierson, whose innocent girly tonalities wonderfully match up with Fred Schneider's effeminate deliveries and manic presentations. While the sheer exuberance and giddy nature of the music tends to make them an afterthought, the trio's harmonies are utterly amazing. Add in Ricky Wilson's propulsive beach-bound guitar riffs, random squealing synthesizers and a surfeit of danceable rhythms and you have nothing less than a 1980s masterpiece that, due to its optimistic vibes and buoyant grooves, only gets better with time.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1856 …}
    -musicienOrchestre: "Kate Pierson (vocals, keyboards), Fred Schneider (vocals, percussion), Ricky Wilson (guitars), Cindy Wilson (vocals, percussion), Keith Strickland (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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        "ordre" => 0
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App\Twig\Components\GestionPanierFavoriComponents {#3292
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  +produit: App\Entity\Produit {#2070
    -id: 320
    -nom: "Wild Planet"
    -informationComplementaire: null
    -description: """
      Party out of bounds ! Not only is this sentiment one of the B-52's directives on their ceaselessly fun sophomore album, it's one of the record's hit songs, and perfectly summarizes the spirit and intent behind this new-wave classic. Completely up to task in following up their kitschy debut, the B-52's step everything up a notch : Songwriting, humor, exaggeration, melodies, hooks and group interplay. Wild Planet also finds the band embracing stronger psychedelic accents that seamlessly mesh with its lava-lamp colors and textures. What an album. \r\n
      \r\n
      Rollicking, rousing and riotous, Wild Planet soars on vocal efforts put forth by the delightfully campy chanteuses Cindy Wilson and Kate Pierson, whose innocent girly tonalities wonderfully match up with Fred Schneider's effeminate deliveries and manic presentations. While the sheer exuberance and giddy nature of the music tends to make them an afterthought, the trio's harmonies are utterly amazing. Add in Ricky Wilson's propulsive beach-bound guitar riffs, random squealing synthesizers and a surfeit of danceable rhythms and you have nothing less than a 1980s masterpiece that, due to its optimistic vibes and buoyant grooves, only gets better with time.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1856 …}
    -musicienOrchestre: "Kate Pierson (vocals, keyboards), Fred Schneider (vocals, percussion), Ricky Wilson (guitars), Cindy Wilson (vocals, percussion), Keith Strickland (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
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        "nom" => "1. Devil In My Car"
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        "nom" => "2. Quiche Lorraine"
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        "nom" => "4. 53 Miles West Of Venus"
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2072 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2076 …}
    -enregistreLe: DateTime @1278690877 {#2067
      date: 2010-07-09 15:54:37.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762986650 {#2068
      date: 2025-11-12 22:30:50.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2078 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-wild-planet-mobile-fidelity-sound-lab-mofi-1-014"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …}
}

[
  "produit" => App\Entity\Produit {#2086
    -id: 1714
    -nom: "The B-52's"
    -informationComplementaire: null
    -description: """
      Ranked at #152 on Rolling Stone's List of the 500 Greatest Albums of All Time !\r\n
      \r\n
      Boffo! Beehive hairdos, goofy sci-fi humor, lava-lamp kitsch, thrift-store fashions, party-starting tunes, unconventional perspectives, and the unique blending of the underground aesthetic with mainstream accessibility: The B-52's mix all this and more into a dizzying cocktail on their self-titled debut, which remains one of the most ahead-of-its-time, endlessly enjoyable, and vividly colorful albums ever released.\r\n
      \r\n
      Ranked at #152 on Rolling Stone's list of the 500 Greatest Albums of All Time, The B-52's has its roots in the band's improbable genesis, itself reflective of the record's gleeful moods and quirky charms. The five members first played after sharing a tropical alcoholic beverage at a Chinese restaurant, the ironic silliness and spontaneous irreverence indicative of the music on its breakthrough record. Not to mention how it mirrors the unusual hodgepodge of instrumentation: organs, walkie talkies, bongos, glockenspiels, tambourines, toy pianos, smoke alarms, and more !\r\n
      \r\n
      Musically, the band proves just as adventurous and whimsical. Using pleasant harmonies as a backdrop and Kate Pierson's squealing organ as a starting point, the B-52's draw upon surf-rock grooves, beach-bound soul-pop, herky-jerky funk riffs, minimalist rhythms, and Ricky Wilson's unusual guitar lines to craft songs that tower above the sarcastic suggestiveness and campy declarations. Of course, the latter are plenty entertaining on their own, but there's no denying the dance-bound persuasiveness and melodic shimmy associated with the classic cult single "Rock Lobster" and splendid cover of the ubiquitous Petula Clark standard "Downtown." You've never heard anything like this.\r\n
      \r\n
      Indeed, the B-52s were about a decade ahead of the alt-rock revolution when they recorded this delightfully campy, intentionally goofy, lyrically tawdry, and undeniably harmonic 1979 new-wave set that comes off as the best dance party you might ever hear. This is 40 minutes of nothing but a good time.\r\n
      \r\n
      Mastered on our world-renowned mastering system and pressed at RTI (America's best record plant), Silver Label numbered edition LP presents the B-52's brilliant debut in a fidelity it's never previously enjoyed. So detailed and realistic are the timbres, accents, and harmonies, you'll think the band's bright outfits are appearing right in front of you. Plus, the LP is worth the cost alone for the iconic album cover, which spotlights those bouffant 'dos.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Kate Pierson (organ, keyboard bass, 2nd guitar, vocals), Fred Schneider (walkie talkie, toy piano, keyboard bass, vocals), Cindy Wilson (bongoes, 2nd guitar, tambourine, vocals), Ricky Wilson (guitars, smoke alarm), Keith Strickland (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=47YAcpCa5dM"
    -referenceProduit: "Mobile Fidelity Sound Lab MOFI 1-004"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Planet Claire"
        "ordre" => 1
      ]
      [
        "nom" => "2. 52 Girls"
        "ordre" => 2
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      [
        "nom" => "3. Dance This Mess Around"
        "ordre" => 3
      ]
      [
        "nom" => "4.Rock Lobster"
        "ordre" => 4
      ]
      [
        "nom" => "Side B : "
        "ordre" => 5
      ]
      [
        "nom" => "1. Lava"
        "ordre" => 6
      ]
      [
        "nom" => "2. There's a Moon in the Sky (Called the Moon)"
        "ordre" => 7
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      [
        "nom" => "3. Hero Worship"
        "ordre" => 8
      ]
      [
        "nom" => "4. 6060-842 "
        "ordre" => 9
      ]
      [
        "nom" => "5. Downtown"
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2072 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1063 …}
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    -morceauMP3: Doctrine\ORM\PersistentCollection {#2087 …}
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    }
    -modifierLe: DateTime @1762986273 {#2084
      date: 2025-11-12 22:24:33.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2091 …}
    -disponible: null
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    -slug: "vinyles-the-b-52-s-mobile-fidelity-sound-lab-mofi-1-004"
  }
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App\Twig\Components\GestionPanierFavoriComponents {#3345
  -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 {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2086
    -id: 1714
    -nom: "The B-52's"
    -informationComplementaire: null
    -description: """
      Ranked at #152 on Rolling Stone's List of the 500 Greatest Albums of All Time !\r\n
      \r\n
      Boffo! Beehive hairdos, goofy sci-fi humor, lava-lamp kitsch, thrift-store fashions, party-starting tunes, unconventional perspectives, and the unique blending of the underground aesthetic with mainstream accessibility: The B-52's mix all this and more into a dizzying cocktail on their self-titled debut, which remains one of the most ahead-of-its-time, endlessly enjoyable, and vividly colorful albums ever released.\r\n
      \r\n
      Ranked at #152 on Rolling Stone's list of the 500 Greatest Albums of All Time, The B-52's has its roots in the band's improbable genesis, itself reflective of the record's gleeful moods and quirky charms. The five members first played after sharing a tropical alcoholic beverage at a Chinese restaurant, the ironic silliness and spontaneous irreverence indicative of the music on its breakthrough record. Not to mention how it mirrors the unusual hodgepodge of instrumentation: organs, walkie talkies, bongos, glockenspiels, tambourines, toy pianos, smoke alarms, and more !\r\n
      \r\n
      Musically, the band proves just as adventurous and whimsical. Using pleasant harmonies as a backdrop and Kate Pierson's squealing organ as a starting point, the B-52's draw upon surf-rock grooves, beach-bound soul-pop, herky-jerky funk riffs, minimalist rhythms, and Ricky Wilson's unusual guitar lines to craft songs that tower above the sarcastic suggestiveness and campy declarations. Of course, the latter are plenty entertaining on their own, but there's no denying the dance-bound persuasiveness and melodic shimmy associated with the classic cult single "Rock Lobster" and splendid cover of the ubiquitous Petula Clark standard "Downtown." You've never heard anything like this.\r\n
      \r\n
      Indeed, the B-52s were about a decade ahead of the alt-rock revolution when they recorded this delightfully campy, intentionally goofy, lyrically tawdry, and undeniably harmonic 1979 new-wave set that comes off as the best dance party you might ever hear. This is 40 minutes of nothing but a good time.\r\n
      \r\n
      Mastered on our world-renowned mastering system and pressed at RTI (America's best record plant), Silver Label numbered edition LP presents the B-52's brilliant debut in a fidelity it's never previously enjoyed. So detailed and realistic are the timbres, accents, and harmonies, you'll think the band's bright outfits are appearing right in front of you. Plus, the LP is worth the cost alone for the iconic album cover, which spotlights those bouffant 'dos.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Kate Pierson (organ, keyboard bass, 2nd guitar, vocals), Fred Schneider (walkie talkie, toy piano, keyboard bass, vocals), Cindy Wilson (bongoes, 2nd guitar, tambourine, vocals), Ricky Wilson (guitars, smoke alarm), Keith Strickland (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=47YAcpCa5dM"
    -referenceProduit: "Mobile Fidelity Sound Lab MOFI 1-004"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
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        "nom" => "1. Planet Claire"
        "ordre" => 1
      ]
      [
        "nom" => "2. 52 Girls"
        "ordre" => 2
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      [
        "nom" => "3. Dance This Mess Around"
        "ordre" => 3
      ]
      [
        "nom" => "4.Rock Lobster"
        "ordre" => 4
      ]
      [
        "nom" => "Side B : "
        "ordre" => 5
      ]
      [
        "nom" => "1. Lava"
        "ordre" => 6
      ]
      [
        "nom" => "2. There's a Moon in the Sky (Called the Moon)"
        "ordre" => 7
      ]
      [
        "nom" => "3. Hero Worship"
        "ordre" => 8
      ]
      [
        "nom" => "4. 6060-842 "
        "ordre" => 9
      ]
      [
        "nom" => "5. Downtown"
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2072 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2094 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2087 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2089 …}
    -enregistreLe: DateTime @1563777559 {#2083
      date: 2019-07-22 06:39:19.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762986273 {#2084
      date: 2025-11-12 22:24:33.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2091 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-b-52-s-mobile-fidelity-sound-lab-mofi-1-004"
  }
  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …}
}

[
  "produit" => App\Entity\Produit {#2099
    -id: 1934
    -nom: "East-West"
    -informationComplementaire: "AVAILABILITY : 30/11/2025 (subject Mobile Fidelity Sound Lab)"
    -description: """
      - The Butterfield Blues Band Blows Open the Doors of Possibility: Recorded at Chess Studios, East-West Sows the Seeds for Acid-Rock and Features Monster Performances from Mike Bloomfield and More !\r\n
      - Experience the 1966 Effort in Definitive Sound : Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM Mono LP Makes the Album Available in Its Original Mono Mix for the First Time in Nearly 60 Years !\r\n
      - 1/4” / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      The Butterfield Blues Band might be most famous for serving as the backing group for Bob Dylan’s famous electrified show at the Newport Folk Festival, but the collective earned a spot in the Rock and Roll Hall of Fame due to East-West. Though it remains a footnote in many historical narratives, the 1966 record changed the shape of popular music, sowed the seeds for acid-rock, and further demonstrated the visionary abilities and virtuosic skills of a sextet that took the blues in novel directions.\r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton jacket, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP presents East-West in definitive sound and in the original mono mix for the first time in nearly 60 years. East-West was pressed in mono from 1966 to 1968, after which the stereo version (a revised copy of the mono original) became the only option. Featuring quiet surfaces and black backgrounds that expose critical details, dynamics, and tones, this collectible reissue exhibits elevated levels of directness, coherency, and spaciousness. You’ll experience the prized acoustics and dimensions of Chicago’s famous Chess Studios at 2120 S. Michigan Avenue, where the set was recorded. \r\n
      \r\n
      Playing with incredible naturalism, revealing openness, and in-the-room liveliness, Paul Butterfield and Co.’s creations unfurl here with previously unheard definition, richness, and presence. Every aspect of the album benefits from newfound balance, symmetry, and airiness. Butterfield’s strong lead vocals and signature harmonica; Elvin Bishop’s fusion of gospel, R&B, and country threads; Jerome Arnold’s in-the-pocket bass; Billy Davenport’s bossanova-derived drumming; Mark Naftalin’s illuminating piano and organ; and of course, Mike Bloomfield’s zinging electric guitar. All come across with emotion-triggering realism and responsiveness.\r\n
      \r\n
      Carrying over most of the same personnel responsible for its stellar eponymous debut, the Butterfield Blues Band made one key change for East-West by inviting drummer Davenport into the fold. His impact on the group’s approaches proved immense. Showcasing refined, delicate, and articulate techniques, and able to underpin the songs with a jazz-driven sense of movement, Davenport allowed the band to improvise. His rhythmic shading, coloring, and control blew open the doors of possibility that other blues ensembles never knew.  \r\n
      \r\n
      East-West also signifies one other important evolution. Spearheaded by its namesake leader, the group became a more democratic outlet in which every member enjoyed meaningful input. Benefitting from such freedom and trust, the instrumentalists turn in peak performances that display the hallmarks of exceptional interplay, chemistry, and communication. Listen to how they glide, sweep, and sway during a melancholic rendition of the traditional blues “I Got a Mind to Give Up Living” and how they swing, skate, and shake on a greasy interpretation of Muddy Waters’ “Two Trains Running”.\r\n
      \r\n
      Throughout the effort, Bloomfield, Bishop, and friends sock it to ‘em, exploding with energy and raising (and lowering) the temperature at will. The band is equally adept on slow, despondent ballads and husky burners. Pleading and pleading, Bishop takes the vocal lead on “Never Say No”, the closest a song may have ever come to capturing the desperate feeling of a lonely, liquor-soaked 2AM phone call placed to a lover from a bar. On an insistent run through Allen Tousaaint’s “Get Out of My Life, Woman”, the group heads in the opposite direction by pairing soulful, New Oreleans-based proto-funk with street-corner grit and Butterfield’s outstanding singing. \r\n
      \r\n
      And yet the most recognizable signposts of East-West don’t involve any words. Blowing, shuffling, and kicking, the band hints at unexplored landscapes on a sizzling cover of Nat Adderley and Oscar Brown’s “Work Blues”. Its fusion of disciplines and trade-offs between instrumental leads foreshadows experimentation Miles Davis would soon further, while the dialog between Butterfield’s harmonica and Naftalin’s organ makes for spicy conversation. \r\n
      \r\n
      The album-closing title track escalates the expansiveness and excitement to another level still. Based on Indian scales, John Coltrane’s modal pieces, and a four-beat bass pattern owing to Nick Gravenites’ “It’s About Time”, and arranged as a series of sections given over to various modes and moods, the multi-part composition marks arguably the first instance of such blues-rock improvisation on record an extended journey rife with raga droning, deep-end jamming, and off-the-wall cross-talk between Bloomfield and Bishop. Heavy, swirling, and occasionally filtered through distorted lenses, it is where acid-rock begins and the Butterfield Blues Band cemented its status as legends. \r\n
      \r\n
      Many decades later, that east-west journey is still one to be taken again and again.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1801 …}
    -musicienOrchestre: "Paul Butterfield (harmonica, vocals), Jerome Arnold (bass), Elvin Bishop, Mike Bloomfield (guitar, vocals), Mark Naftalin (organ, piano),  Billy Davenport (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=dwMqBvBLJio&list=RDdwMqBvBLJio&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-611"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Walkin' Blues"
        "ordre" => 1
      ]
      [
        "nom" => "2. Get Out Of My Life, Woman"
        "ordre" => 2
      ]
      [
        "nom" => "3. I Got A Mind To Give Up Living"
        "ordre" => 3
      ]
      [
        "nom" => "4. All These Blues"
        "ordre" => 4
      ]
      [
        "nom" => "5. Work Song"
        "ordre" => 5
      ]
      [
        "nom" => "Side B : "
        "ordre" => 6
      ]
      [
        "nom" => "1. Mary, Mary"
        "ordre" => 7
      ]
      [
        "nom" => "2. Two Trains Running"
        "ordre" => 8
      ]
      [
        "nom" => "3. Never Say No"
        "ordre" => 9
      ]
      [
        "nom" => "4. East-West"
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2101 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1063 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2105 …}
    -enregistreLe: DateTime @1602402310 {#2096
      date: 2020-10-11 07:45:10.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762944757 {#2097
      date: 2025-11-12 10:52:37.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2107 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-east-west-mobile-fidelity-sound-lab-mfsl-1-611"
  }
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]

App\Twig\Components\GestionPanierFavoriComponents {#3391
  -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 {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2099
    -id: 1934
    -nom: "East-West"
    -informationComplementaire: "AVAILABILITY : 30/11/2025 (subject Mobile Fidelity Sound Lab)"
    -description: """
      - The Butterfield Blues Band Blows Open the Doors of Possibility: Recorded at Chess Studios, East-West Sows the Seeds for Acid-Rock and Features Monster Performances from Mike Bloomfield and More !\r\n
      - Experience the 1966 Effort in Definitive Sound : Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM Mono LP Makes the Album Available in Its Original Mono Mix for the First Time in Nearly 60 Years !\r\n
      - 1/4” / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      The Butterfield Blues Band might be most famous for serving as the backing group for Bob Dylan’s famous electrified show at the Newport Folk Festival, but the collective earned a spot in the Rock and Roll Hall of Fame due to East-West. Though it remains a footnote in many historical narratives, the 1966 record changed the shape of popular music, sowed the seeds for acid-rock, and further demonstrated the visionary abilities and virtuosic skills of a sextet that took the blues in novel directions.\r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton jacket, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP presents East-West in definitive sound and in the original mono mix for the first time in nearly 60 years. East-West was pressed in mono from 1966 to 1968, after which the stereo version (a revised copy of the mono original) became the only option. Featuring quiet surfaces and black backgrounds that expose critical details, dynamics, and tones, this collectible reissue exhibits elevated levels of directness, coherency, and spaciousness. You’ll experience the prized acoustics and dimensions of Chicago’s famous Chess Studios at 2120 S. Michigan Avenue, where the set was recorded. \r\n
      \r\n
      Playing with incredible naturalism, revealing openness, and in-the-room liveliness, Paul Butterfield and Co.’s creations unfurl here with previously unheard definition, richness, and presence. Every aspect of the album benefits from newfound balance, symmetry, and airiness. Butterfield’s strong lead vocals and signature harmonica; Elvin Bishop’s fusion of gospel, R&B, and country threads; Jerome Arnold’s in-the-pocket bass; Billy Davenport’s bossanova-derived drumming; Mark Naftalin’s illuminating piano and organ; and of course, Mike Bloomfield’s zinging electric guitar. All come across with emotion-triggering realism and responsiveness.\r\n
      \r\n
      Carrying over most of the same personnel responsible for its stellar eponymous debut, the Butterfield Blues Band made one key change for East-West by inviting drummer Davenport into the fold. His impact on the group’s approaches proved immense. Showcasing refined, delicate, and articulate techniques, and able to underpin the songs with a jazz-driven sense of movement, Davenport allowed the band to improvise. His rhythmic shading, coloring, and control blew open the doors of possibility that other blues ensembles never knew.  \r\n
      \r\n
      East-West also signifies one other important evolution. Spearheaded by its namesake leader, the group became a more democratic outlet in which every member enjoyed meaningful input. Benefitting from such freedom and trust, the instrumentalists turn in peak performances that display the hallmarks of exceptional interplay, chemistry, and communication. Listen to how they glide, sweep, and sway during a melancholic rendition of the traditional blues “I Got a Mind to Give Up Living” and how they swing, skate, and shake on a greasy interpretation of Muddy Waters’ “Two Trains Running”.\r\n
      \r\n
      Throughout the effort, Bloomfield, Bishop, and friends sock it to ‘em, exploding with energy and raising (and lowering) the temperature at will. The band is equally adept on slow, despondent ballads and husky burners. Pleading and pleading, Bishop takes the vocal lead on “Never Say No”, the closest a song may have ever come to capturing the desperate feeling of a lonely, liquor-soaked 2AM phone call placed to a lover from a bar. On an insistent run through Allen Tousaaint’s “Get Out of My Life, Woman”, the group heads in the opposite direction by pairing soulful, New Oreleans-based proto-funk with street-corner grit and Butterfield’s outstanding singing. \r\n
      \r\n
      And yet the most recognizable signposts of East-West don’t involve any words. Blowing, shuffling, and kicking, the band hints at unexplored landscapes on a sizzling cover of Nat Adderley and Oscar Brown’s “Work Blues”. Its fusion of disciplines and trade-offs between instrumental leads foreshadows experimentation Miles Davis would soon further, while the dialog between Butterfield’s harmonica and Naftalin’s organ makes for spicy conversation. \r\n
      \r\n
      The album-closing title track escalates the expansiveness and excitement to another level still. Based on Indian scales, John Coltrane’s modal pieces, and a four-beat bass pattern owing to Nick Gravenites’ “It’s About Time”, and arranged as a series of sections given over to various modes and moods, the multi-part composition marks arguably the first instance of such blues-rock improvisation on record an extended journey rife with raga droning, deep-end jamming, and off-the-wall cross-talk between Bloomfield and Bishop. Heavy, swirling, and occasionally filtered through distorted lenses, it is where acid-rock begins and the Butterfield Blues Band cemented its status as legends. \r\n
      \r\n
      Many decades later, that east-west journey is still one to be taken again and again.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1801 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
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        "nom" => "4. East-West"
        "ordre" => 10
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    ]
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[
  "produit" => App\Entity\Produit {#2115
    -id: 754
    -nom: "Waiting For The Sun"
    -informationComplementaire: null
    -description: """
      - Mastered by Doug Sax using an all-tube system. Overseen by Bruce Botnick, The Doors producer / engineer !\r\n
      - Two 45 rpm LPs pressed on 180-gram vinyl at Quality Record Pressings / Also on Hybrid Multichannel SACD !\r\n
      - Part of The Doors reissue series proudly presented by Analogue Productions and Quality Record Pressings !\r\n
      - Waiting For The Sun, The Doors’ third album and its first chart-topper, delivered the N° 1 signature smash “Hello, I Love You” and the Top 40 hit “The Unknown Soldier”.\r\n
      \r\n
      Slant Magazine proclaims that Waiting For The Sun contains some of The Doors’ prettiest, most genial lilts: “Love Street”, a fictionalized sketch of the Bohemian street where Morrison lived with his wife, Pamela Courson; the wistful “Summer's Almost Gone”, which includes the lovely refrain, “Morning found us calmly unaware / Noon burned gold into our hair”; and the placid piano ballad “Yes, The River Knows”. More and more, says Slant, Morrison was starting to emulate one of his idols, Frank Sinatra “after all, they had an insatiable taste for women and alcohol in common”.\r\n
      \r\n
      Waiting For The Sun was also some of The Doors' most combative, political work. "The Unknown Soldier" was a barefaced antiwar attack, a reaction to the Vietnam-era hostilities brewing on the home front.\r\n
      \r\n
      Analogue Productions and Quality Record Pressings are proud to announce that six studio LP titles The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman are featured on 180 gram vinyl, pressed at 45 rpm. All six titles are also available on Multichannel SACD ! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy.\r\n
      \r\n
      A truly authentic reissue project, the masters were recorded on tube equipment, and the tape machine used for the transfer of these releases is a tube machine, as is the cutting system. Tubes baby !\r\n
      \r\n
      This is no time to wallow in the mire. The Doors are on Analogue Productions !\r\n
      \r\n
      Originally released in 1968.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Jim Morrison (vocals), Ray Manzarek (keyboards), Robby Krieger (guitar), John Densmore (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -lpsMusic: 2
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      [
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        "ordre" => 13
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      [
        "nom" => "2. Five To One"
        "ordre" => 14
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2117 …}
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    -modifierLe: DateTime @1762815240 {#2113
      date: 2025-11-10 22:54:00.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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App\Twig\Components\GestionPanierFavoriComponents {#3442
  -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 {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2115
    -id: 754
    -nom: "Waiting For The Sun"
    -informationComplementaire: null
    -description: """
      - Mastered by Doug Sax using an all-tube system. Overseen by Bruce Botnick, The Doors producer / engineer !\r\n
      - Two 45 rpm LPs pressed on 180-gram vinyl at Quality Record Pressings / Also on Hybrid Multichannel SACD !\r\n
      - Part of The Doors reissue series proudly presented by Analogue Productions and Quality Record Pressings !\r\n
      - Waiting For The Sun, The Doors’ third album and its first chart-topper, delivered the N° 1 signature smash “Hello, I Love You” and the Top 40 hit “The Unknown Soldier”.\r\n
      \r\n
      Slant Magazine proclaims that Waiting For The Sun contains some of The Doors’ prettiest, most genial lilts: “Love Street”, a fictionalized sketch of the Bohemian street where Morrison lived with his wife, Pamela Courson; the wistful “Summer's Almost Gone”, which includes the lovely refrain, “Morning found us calmly unaware / Noon burned gold into our hair”; and the placid piano ballad “Yes, The River Knows”. More and more, says Slant, Morrison was starting to emulate one of his idols, Frank Sinatra “after all, they had an insatiable taste for women and alcohol in common”.\r\n
      \r\n
      Waiting For The Sun was also some of The Doors' most combative, political work. "The Unknown Soldier" was a barefaced antiwar attack, a reaction to the Vietnam-era hostilities brewing on the home front.\r\n
      \r\n
      Analogue Productions and Quality Record Pressings are proud to announce that six studio LP titles The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman are featured on 180 gram vinyl, pressed at 45 rpm. All six titles are also available on Multichannel SACD ! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy.\r\n
      \r\n
      A truly authentic reissue project, the masters were recorded on tube equipment, and the tape machine used for the transfer of these releases is a tube machine, as is the cutting system. Tubes baby !\r\n
      \r\n
      This is no time to wallow in the mire. The Doors are on Analogue Productions !\r\n
      \r\n
      Originally released in 1968.
      """
    -prixVente: "99.50"
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    -musicienOrchestre: "Jim Morrison (vocals), Ray Manzarek (keyboards), Robby Krieger (guitar), John Densmore (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2117 …}
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[
  "produit" => App\Entity\Produit {#2134
    -id: 1348
    -nom: "Morrison Hotel"
    -informationComplementaire: null
    -description: """
      - Mastered by Doug Sax and overseen by Bruce Botnick, The Doors producer / engineer !\r\n
      - Two 45 RPM LPs pressed on 180 gram vinyl at Quality Record Pressings !\r\n
      - Part of The Doors reissue series proudly presented by Analogue Productions and Quality Record Pressings !\r\n
      \r\n
      Rolling Stone proclaimed that Morrison Hotel opens “with a powerful blast of raw funk called ‘Roadhouse Blues’. It features jagged barrelhouse piano, fierce guitar, and one of the most convincing raunchy vocals Jim Morrison has ever recorded”.\r\n
      \r\n
      In short, the harsh brilliance of “Roadhouse Blues” was its angry hard rock manner, brought to fore in brooding fashion with a chillingly true Morrison lyric: "I woke up this morning and I got myself a beer / The future's uncertain and the end is always near".\r\n
      \r\n
      Making it one of The Doors’ best-ever tracks, “Roadhouse Blues” was joined as praise-worthy in Rolling Stones’ review by the buoyant catchiness of another Morrison Hotel single, “Land Ho”. “A chanty that sets you rocking and swaying on first listen and never fails to bring a smile every time it's repeated”.\r\n
      \r\n
      Analogue Productions and Quality Record Pressings are proud to announce that six studio LP titles The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman are featured on 180 gram vinyl, pressed at 45 RPM. All six titles are also available on Multichannel SACD ! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy.\r\n
      \r\n
      This is no time to wallow in the mire. The Doors are on Analogue Productions !\r\n
      \r\n
      Originally released in 1970
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Jim Morrison (vocals), Ray Manzarek (piano, organ), Robby Krieger (guitar), John Densmore (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=yV9DJwJKWMw&list=OLAK5uy_nO8nW23t64lmVU3tsx2mhBAGpCC1-03HE&index=1"
    -referenceProduit: "Analogue Productions AAPP 5007-45"
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        "nom" => "Side A :"
        "ordre" => 0
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        "nom" => "1. Peace Frog"
        "ordre" => 5
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        "nom" => "2. Blue Sunday"
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      [
        "nom" => "3. Ship of Fools"
        "ordre" => 7
      ]
      [
        "nom" => "Side C :"
        "ordre" => 8
      ]
      [
        "nom" => "1. Land Ho !"
        "ordre" => 9
      ]
      [
        "nom" => "2. The Spy"
        "ordre" => 10
      ]
      [
        "nom" => "Side D : "
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        "nom" => "1. Queen of the Highway"
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      ]
      [
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2117 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3495
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2620 …}
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  +produit: App\Entity\Produit {#2134
    -id: 1348
    -nom: "Morrison Hotel"
    -informationComplementaire: null
    -description: """
      - Mastered by Doug Sax and overseen by Bruce Botnick, The Doors producer / engineer !\r\n
      - Two 45 RPM LPs pressed on 180 gram vinyl at Quality Record Pressings !\r\n
      - Part of The Doors reissue series proudly presented by Analogue Productions and Quality Record Pressings !\r\n
      \r\n
      Rolling Stone proclaimed that Morrison Hotel opens “with a powerful blast of raw funk called ‘Roadhouse Blues’. It features jagged barrelhouse piano, fierce guitar, and one of the most convincing raunchy vocals Jim Morrison has ever recorded”.\r\n
      \r\n
      In short, the harsh brilliance of “Roadhouse Blues” was its angry hard rock manner, brought to fore in brooding fashion with a chillingly true Morrison lyric: "I woke up this morning and I got myself a beer / The future's uncertain and the end is always near".\r\n
      \r\n
      Making it one of The Doors’ best-ever tracks, “Roadhouse Blues” was joined as praise-worthy in Rolling Stones’ review by the buoyant catchiness of another Morrison Hotel single, “Land Ho”. “A chanty that sets you rocking and swaying on first listen and never fails to bring a smile every time it's repeated”.\r\n
      \r\n
      Analogue Productions and Quality Record Pressings are proud to announce that six studio LP titles The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman are featured on 180 gram vinyl, pressed at 45 RPM. All six titles are also available on Multichannel SACD ! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy.\r\n
      \r\n
      This is no time to wallow in the mire. The Doors are on Analogue Productions !\r\n
      \r\n
      Originally released in 1970
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Jim Morrison (vocals), Ray Manzarek (piano, organ), Robby Krieger (guitar), John Densmore (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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        "nom" => "3. You Make Me Real"
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        "nom" => "1. Peace Frog"
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        "nom" => "3. Ship of Fools"
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        "ordre" => 9
      ]
      [
        "nom" => "2. The Spy"
        "ordre" => 10
      ]
      [
        "nom" => "Side D : "
        "ordre" => 11
      ]
      [
        "nom" => "1. Queen of the Highway"
        "ordre" => 12
      ]
      [
        "nom" => "2. Indian Summer"
        "ordre" => 13
      ]
      [
        "nom" => "3. Maggie M'Gill"
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      [
        "nom" => ""
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2117 …}
    -label: Proxies\__CG__\App\Entity\Label {#2120 …}
    -style: App\Entity\Style {#1063 …}
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    -morceauMP3: Doctrine\ORM\PersistentCollection {#2135 …}
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    }
    -modifierLe: DateTime @1762813190 {#2132
      date: 2025-11-10 22:19:50.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2139 …}
    -disponible: null
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    -slug: "vinyles-morrison-hotel-analogue-productions-aapp-5007-45"
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  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …}
}

[
  "produit" => App\Entity\Produit {#2147
    -id: 1076
    -nom: "The Soft Parade"
    -informationComplementaire: null
    -description: """
      - Mastered by Doug Sax and overseen by Bruce Botnick, The Doors producer / engineer !\r\n
      - Two 45 RPM LPs pressed on 180 gram vinyl at Quality Record Pressings !\r\n
      - Part of The Doors reissue series proudly presented by Analogue Productions and Quality Record Pressings !\r\n
      \r\n
      About Soft Parade, Rolling Stone described two songs written by guitarist Robby Krieger, “Touch Me” and “Follow Me Down” as horn-string showpieces for the resonant baritone of Jim Morrison.\r\n
      \r\n
      Described as among the cleanest, most solid and, above all, most recognizable sounds in rock, the distinctive Doors’ sound was no doubt due to the Morrison power, but the other Doors were equally responsible. Ray Manzarek brought virtuosic keyboard tapestries, Krieger gritty, expressive fretwork, and Densmore dynamically rich percussion grooves. \r\n
      \r\n
      Half of the songs on Soft Parade, The Doors’ fourth LP, were written by Morrison and the other half by guitarist Krieger. “Touch Me” became one of The Doors’ most popular singles. Released as a single in December 1968, the song reached No. 3 on the Billboard Hot 100 and N° 1 in the Cashbox Top 100 in early 1969. It was the band’s third American N° 1 single.\r\n
      \r\n
      Analogue Productions and Quality Record Pressings are proud to announce that six studio LP titles The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman are featured on 180 gram vinyl, pressed at 45 RPM. All six are also available on Multichannel SACD ! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy.\r\n
      \r\n
      This is no time to wallow in the mire. The Doors are on Analogue Productions !\r\n
      \r\n
      Originally released in 1969
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Jim Morrison (vocals), Ray Manzarek (keyboards), Robby Krieger (guitar), John Densmore (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=4YWPhmduSDQ&list=RD4YWPhmduSDQ&start_radio=1"
    -referenceProduit: "Analogue Productions AAPP5005-45"
    -titreMorceau: [
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        "ordre" => 0
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        "nom" => "8. Wishful Sinful"
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        "nom" => "9. The Soft Parade"
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2117 …}
    -label: Proxies\__CG__\App\Entity\Label {#2120 …}
    -style: App\Entity\Style {#1063 …}
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    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2150 …}
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    }
    -modifierLe: DateTime @1762763211 {#2145
      date: 2025-11-10 08:26:51.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2152 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-the-soft-parade-analogue-productions-aapp5005-45"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3543
  -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 {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2147
    -id: 1076
    -nom: "The Soft Parade"
    -informationComplementaire: null
    -description: """
      - Mastered by Doug Sax and overseen by Bruce Botnick, The Doors producer / engineer !\r\n
      - Two 45 RPM LPs pressed on 180 gram vinyl at Quality Record Pressings !\r\n
      - Part of The Doors reissue series proudly presented by Analogue Productions and Quality Record Pressings !\r\n
      \r\n
      About Soft Parade, Rolling Stone described two songs written by guitarist Robby Krieger, “Touch Me” and “Follow Me Down” as horn-string showpieces for the resonant baritone of Jim Morrison.\r\n
      \r\n
      Described as among the cleanest, most solid and, above all, most recognizable sounds in rock, the distinctive Doors’ sound was no doubt due to the Morrison power, but the other Doors were equally responsible. Ray Manzarek brought virtuosic keyboard tapestries, Krieger gritty, expressive fretwork, and Densmore dynamically rich percussion grooves. \r\n
      \r\n
      Half of the songs on Soft Parade, The Doors’ fourth LP, were written by Morrison and the other half by guitarist Krieger. “Touch Me” became one of The Doors’ most popular singles. Released as a single in December 1968, the song reached No. 3 on the Billboard Hot 100 and N° 1 in the Cashbox Top 100 in early 1969. It was the band’s third American N° 1 single.\r\n
      \r\n
      Analogue Productions and Quality Record Pressings are proud to announce that six studio LP titles The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman are featured on 180 gram vinyl, pressed at 45 RPM. All six are also available on Multichannel SACD ! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy.\r\n
      \r\n
      This is no time to wallow in the mire. The Doors are on Analogue Productions !\r\n
      \r\n
      Originally released in 1969
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Jim Morrison (vocals), Ray Manzarek (keyboards), Robby Krieger (guitar), John Densmore (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=4YWPhmduSDQ&list=RD4YWPhmduSDQ&start_radio=1"
    -referenceProduit: "Analogue Productions AAPP5005-45"
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      [
        "nom" => "7. Runnin' Blue"
        "ordre" => 6
      ]
      [
        "nom" => "8. Wishful Sinful"
        "ordre" => 7
      ]
      [
        "nom" => "9. The Soft Parade"
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      ]
      [
        "nom" => ""
        "ordre" => 9
      ]
      [
        "nom" => ""
        "ordre" => 10
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      [
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      ]
      [
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      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2117 …}
    -label: Proxies\__CG__\App\Entity\Label {#2120 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2155 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2148 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2150 …}
    -enregistreLe: DateTime @1479753600 {#2144
      date: 2016-11-21 18:40:00.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762763211 {#2145
      date: 2025-11-10 08:26:51.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2152 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-soft-parade-analogue-productions-aapp5005-45"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …}
}

[
  "produit" => App\Entity\Produit {#2160
    -id: 1064
    -nom: "The Chirping Crickets  (Mono Version)"
    -informationComplementaire: "This item is Back Ordered and currently unavailable."
    -description: """
      - Rolling Stone's 500 Greatest Albums of All time - N° 420 / 500 !\r\n
      - Country, rockabillly and R&B fused into epochal rock 'n' roll !\r\n
      - Remastered by Kevin Gray at Coherent Audio !\r\n
      - Plating and 180 gram vinyl pressing by Quality Record Pressings !\r\n
      - Old-style tip-on gatefold jacket from Stoughton Printing !\r\n
      \r\n
      One of rock's greatest albums, this is the debut album by the Crickets and the only one featuring Buddy Holly released during his lifetime. The Chirping Crickets contains the group's number one single "That'll Be the Day" and its Top Ten hit "Oh, Boy !". Other Crickets classics include "Not Fade Away", "Maybe Baby", and "I'm Looking for Someone to Love".\r\n
      \r\n
      These are among the best rock 'n' roll songs of the 1950s or ever, making this one of the most significant album debuts in rock 'n' roll history - "ranking with Elvis Presley and Meet the Beatles", writes AllMusic.\r\n
      \r\n
      What has Analogue Productions done to kick this classic album up a notch? For starters, our version features stellar remastering by Keving Gray at Cohearent Audio. Followed by state-of-the-art plating and pressing on 200 gram heavyweight vinyl at Quality Record Pressings, maker of the world's finest-sounding LPs. Stoughton Printing provides a sturdy old-style tip-on jacket to round out the package.\r\n
      \r\n
      Born Charles Hardin Holley on September 7, 1936, in Lubbock, Texas, Holly was nicknamed "Buddy" by his mother. She felt that his given name was too big for her little boy. "Holly", the altered form of his last name, would later result from a misspelling in his first recording contract. Holly learned to play piano and fiddle at an early age, while his older brothers taught him the basics of guitar.\r\n
      \r\n
      In early 1956, Holly and his band began recording demos and singles in Nashville under the name Buddy Holly and the Three Tunes, but the group's lineup was later revised and dubbed The Crickets. Holly wrote and recorded his breakthrough hit, "That'll Be the Day", with The Crickets in 1957. The song's title and refrain are a reference to a line uttered by John Wayne in the 1956 film "The Searchers". Between August 1957 and August 1958, Holly and the Crickets charted seven different Top 40 singles.\r\n
      \r\n
      Composer and singer John Fogerty, of Creedence Clearwater Revival fame, inducted Buddy Holly into the Rock And Roll Hall of Fame at the 1986 Hall of Fame induction ceremony. What Buddy Holly meant to him, Fogerty said, was destiny calling. Fogerty, 12, bought "That'll Be The Day" and soon began dreaming of forming his own combo, like the group of musicians - The Crickets - he saw on the album cover. And in Liverpool, England, "the same thing was going on with four other guys. They named their group The Beatles, because Buddy Holly's group was called The Crickets.\r\n
      \r\n
      "We are, each of us, made up of the people we love and the people we admire", Fogerty, said. "We take those reflections, and hopefully, grow".\r\n
      \r\n
      Holly's talented life was cut short in a plane crash on Feb. 3, 1959, that also claimed the lives of Ritchie Valens and J.P. "The Big Bopper" Richardson. This album is a tribute to what was, and what might have been a lengthy pioneering musical career.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1856 …}
    -musicienOrchestre: "Buddy Holly (acoustic & lead guitar, vocals), Niki Sullivan (rhythm guitar, backing vocals), Joe B. Mauldin (contrabass),Jerry Allison (drums, percussion, backing vocals), Larry Welborn (contrabass), The Picks, Ramona and Gary Tollett (backing vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=5gzmWqAauSI&list=PLL-NbN8uTOigd2fEuBmSgoOm2xV5wVQZr"
    -referenceProduit: "Analogue Productions AAPP 0109"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Oh, Boy!"
        "ordre" => 1
      ]
      [
        "nom" => "2. Not Fade Away"
        "ordre" => 2
      ]
      [
        "nom" => "3. You've Got Love"
        "ordre" => 3
      ]
      [
        "nom" => "4. Maybe Baby"
        "ordre" => 4
      ]
      [
        "nom" => "5. It's Too Late"
        "ordre" => 5
      ]
      [
        "nom" => "6. Tell Me How"
        "ordre" => 6
      ]
      [
        "nom" => "Side B : "
        "ordre" => 7
      ]
      [
        "nom" => "1. That'll Be the Day"
        "ordre" => 8
      ]
      [
        "nom" => "2. I'm Looking For Someone To Love"
        "ordre" => 9
      ]
      [
        "nom" => "3. An Empty Cup (And A Broken Date)"
        "ordre" => 10
      ]
      [
        "nom" => "4. Send Me Some Lovin'"
        "ordre" => 11
      ]
      [
        "nom" => "5. Last Night"
        "ordre" => 12
      ]
      [
        "nom" => "6. Rock Me My Baby"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2162 …}
    -label: Proxies\__CG__\App\Entity\Label {#2120 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2171 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2164 …}
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    }
    -modifierLe: DateTime @1762762509 {#2158
      date: 2025-11-10 08:15:09.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2168 …}
    -disponible: null
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    -slug: "vinyles-the-chirping-crickets-mono-version-analogue-productions-aapp-0109"
  }
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App\Twig\Components\GestionPanierFavoriComponents {#3589
  -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 {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2160
    -id: 1064
    -nom: "The Chirping Crickets  (Mono Version)"
    -informationComplementaire: "This item is Back Ordered and currently unavailable."
    -description: """
      - Rolling Stone's 500 Greatest Albums of All time - N° 420 / 500 !\r\n
      - Country, rockabillly and R&B fused into epochal rock 'n' roll !\r\n
      - Remastered by Kevin Gray at Coherent Audio !\r\n
      - Plating and 180 gram vinyl pressing by Quality Record Pressings !\r\n
      - Old-style tip-on gatefold jacket from Stoughton Printing !\r\n
      \r\n
      One of rock's greatest albums, this is the debut album by the Crickets and the only one featuring Buddy Holly released during his lifetime. The Chirping Crickets contains the group's number one single "That'll Be the Day" and its Top Ten hit "Oh, Boy !". Other Crickets classics include "Not Fade Away", "Maybe Baby", and "I'm Looking for Someone to Love".\r\n
      \r\n
      These are among the best rock 'n' roll songs of the 1950s or ever, making this one of the most significant album debuts in rock 'n' roll history - "ranking with Elvis Presley and Meet the Beatles", writes AllMusic.\r\n
      \r\n
      What has Analogue Productions done to kick this classic album up a notch? For starters, our version features stellar remastering by Keving Gray at Cohearent Audio. Followed by state-of-the-art plating and pressing on 200 gram heavyweight vinyl at Quality Record Pressings, maker of the world's finest-sounding LPs. Stoughton Printing provides a sturdy old-style tip-on jacket to round out the package.\r\n
      \r\n
      Born Charles Hardin Holley on September 7, 1936, in Lubbock, Texas, Holly was nicknamed "Buddy" by his mother. She felt that his given name was too big for her little boy. "Holly", the altered form of his last name, would later result from a misspelling in his first recording contract. Holly learned to play piano and fiddle at an early age, while his older brothers taught him the basics of guitar.\r\n
      \r\n
      In early 1956, Holly and his band began recording demos and singles in Nashville under the name Buddy Holly and the Three Tunes, but the group's lineup was later revised and dubbed The Crickets. Holly wrote and recorded his breakthrough hit, "That'll Be the Day", with The Crickets in 1957. The song's title and refrain are a reference to a line uttered by John Wayne in the 1956 film "The Searchers". Between August 1957 and August 1958, Holly and the Crickets charted seven different Top 40 singles.\r\n
      \r\n
      Composer and singer John Fogerty, of Creedence Clearwater Revival fame, inducted Buddy Holly into the Rock And Roll Hall of Fame at the 1986 Hall of Fame induction ceremony. What Buddy Holly meant to him, Fogerty said, was destiny calling. Fogerty, 12, bought "That'll Be The Day" and soon began dreaming of forming his own combo, like the group of musicians - The Crickets - he saw on the album cover. And in Liverpool, England, "the same thing was going on with four other guys. They named their group The Beatles, because Buddy Holly's group was called The Crickets.\r\n
      \r\n
      "We are, each of us, made up of the people we love and the people we admire", Fogerty, said. "We take those reflections, and hopefully, grow".\r\n
      \r\n
      Holly's talented life was cut short in a plane crash on Feb. 3, 1959, that also claimed the lives of Ritchie Valens and J.P. "The Big Bopper" Richardson. This album is a tribute to what was, and what might have been a lengthy pioneering musical career.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1856 …}
    -musicienOrchestre: "Buddy Holly (acoustic & lead guitar, vocals), Niki Sullivan (rhythm guitar, backing vocals), Joe B. Mauldin (contrabass),Jerry Allison (drums, percussion, backing vocals), Larry Welborn (contrabass), The Picks, Ramona and Gary Tollett (backing vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=5gzmWqAauSI&list=PLL-NbN8uTOigd2fEuBmSgoOm2xV5wVQZr"
    -referenceProduit: "Analogue Productions AAPP 0109"
    -titreMorceau: [
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        "nom" => "Side A : "
        "ordre" => 0
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        "nom" => "1. Oh, Boy!"
        "ordre" => 1
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        "nom" => "2. Not Fade Away"
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        "nom" => "2. I'm Looking For Someone To Love"
        "ordre" => 9
      ]
      [
        "nom" => "3. An Empty Cup (And A Broken Date)"
        "ordre" => 10
      ]
      [
        "nom" => "4. Send Me Some Lovin'"
        "ordre" => 11
      ]
      [
        "nom" => "5. Last Night"
        "ordre" => 12
      ]
      [
        "nom" => "6. Rock Me My Baby"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2162 …}
    -label: Proxies\__CG__\App\Entity\Label {#2120 …}
    -style: App\Entity\Style {#1063 …}
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    -morceauMP3: Doctrine\ORM\PersistentCollection {#2164 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2166 …}
    -enregistreLe: DateTime @1477552160 {#2157
      date: 2016-10-27 07:09:20.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762762509 {#2158
      date: 2025-11-10 08:15:09.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2168 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-chirping-crickets-mono-version-analogue-productions-aapp-0109"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …}
}

[
  "produit" => App\Entity\Produit {#2176
    -id: 1125
    -nom: "Buddy Holly"
    -informationComplementaire: null
    -description: """
      - Pioneer of rock 'n' roll in his solo album debut !\r\n
      - Remastered by Kevin Gray at Cohearent Audio from the original analog master tapes !\r\n
      - Plating and 180 gram vinyl pressing by Quality Record Pressings !\r\n
      - Old-style tip-on gatefold jacket from Stoughton Printing !\r\n
      \r\n
      Rock 'n' roll legend Buddy Holly produced some of the most distinctive and influential music of his era. Three months after the release of The Chirping Crickets came this self-titled 1958 classic, Buddy's last album released prior to the plane crash in Iowa that struck him down in 1959 at age 22.\r\n
      \r\n
      What has Analogue Productions done to kick this classic album up a notch? For starters, our version features stellar remastering by Kevin Gray at Cohearent Audio from the original analog master tapes. Followed by state-of-the-art plating and pressing on 200 gram heavyweight vinyl at Quality Record Pressings, maker of the world's finest-sounding LPs. Stoughton Printing provides a sturdy old-style tip-on gatefold jacket with added photos to round out the package.\r\n
      \r\n
      Born on Sept. 7, 1936 in Lubbock, Texas, Buddy Holly was well-versed in several music styles and was a seasoned performer by age 16.\r\n
      \r\n
      When Buddy Holly & the Crickets broke through nationally in 1957, they were marketed by Decca Records as two different acts whose records were released on two different Decca subsidiaries - Brunswick for Crickets records, Coral for Holly records. But there was no real musical distinction between the two, except perhaps that the "Crickets" sides had more prominent backup vocals.\r\n
      \r\n
      This reissue marks the debut album credited to Buddy Holly. It features Holly's Top Ten single "Peggy Sue" plus several songs that have turned out to be standards : "I'm Gonna Love You Too", "Listen to Me", "Everyday", "Words of Love", and "Rave On".
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Buddy Holly (guitar, vocals), Joe B. Mauldin (bass), Niki Sullivan (rhythm guitar), Jerry Allison (drums), Norman Petty (organ), Vi Petty (piano, celesta), C.W. Kendall Jr (piano), Al Caiola, Donald Arnone (guitar)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=HtfXBxLzlFU"
    -referenceProduit: "Analogue Productions AAPP 0107"
    -titreMorceau: [
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        "nom" => "Side A : "
        "ordre" => 0
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        "nom" => "1. I'm Gonna Love You Too "
        "ordre" => 1
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      [
        "nom" => "2. Peggy Sue "
        "ordre" => 2
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      [
        "nom" => "3. Look at Me "
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        "nom" => "6. Ready Teddy"
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      [
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      ]
      [
        "nom" => "1. Everyday "
        "ordre" => 8
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      [
        "nom" => "2. Mailman, Bring Me No More Blues "
        "ordre" => 9
      ]
      [
        "nom" => "3. Words of Love "
        "ordre" => 10
      ]
      [
        "nom" => "4. (You're So Square) Baby I Don't Care "
        "ordre" => 11
      ]
      [
        "nom" => "5. Rave On "
        "ordre" => 12
      ]
      [
        "nom" => "6. Little Baby"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2162 …}
    -label: Proxies\__CG__\App\Entity\Label {#2120 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2184 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2177 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2179 …}
    -enregistreLe: DateTime @1487008626 {#2173
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    }
    -modifierLe: DateTime @1762761955 {#2174
      date: 2025-11-10 08:05:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2181 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-buddy-holly-analogue-productions-aapp-0107"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3642
  -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 {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2176
    -id: 1125
    -nom: "Buddy Holly"
    -informationComplementaire: null
    -description: """
      - Pioneer of rock 'n' roll in his solo album debut !\r\n
      - Remastered by Kevin Gray at Cohearent Audio from the original analog master tapes !\r\n
      - Plating and 180 gram vinyl pressing by Quality Record Pressings !\r\n
      - Old-style tip-on gatefold jacket from Stoughton Printing !\r\n
      \r\n
      Rock 'n' roll legend Buddy Holly produced some of the most distinctive and influential music of his era. Three months after the release of The Chirping Crickets came this self-titled 1958 classic, Buddy's last album released prior to the plane crash in Iowa that struck him down in 1959 at age 22.\r\n
      \r\n
      What has Analogue Productions done to kick this classic album up a notch? For starters, our version features stellar remastering by Kevin Gray at Cohearent Audio from the original analog master tapes. Followed by state-of-the-art plating and pressing on 200 gram heavyweight vinyl at Quality Record Pressings, maker of the world's finest-sounding LPs. Stoughton Printing provides a sturdy old-style tip-on gatefold jacket with added photos to round out the package.\r\n
      \r\n
      Born on Sept. 7, 1936 in Lubbock, Texas, Buddy Holly was well-versed in several music styles and was a seasoned performer by age 16.\r\n
      \r\n
      When Buddy Holly & the Crickets broke through nationally in 1957, they were marketed by Decca Records as two different acts whose records were released on two different Decca subsidiaries - Brunswick for Crickets records, Coral for Holly records. But there was no real musical distinction between the two, except perhaps that the "Crickets" sides had more prominent backup vocals.\r\n
      \r\n
      This reissue marks the debut album credited to Buddy Holly. It features Holly's Top Ten single "Peggy Sue" plus several songs that have turned out to be standards : "I'm Gonna Love You Too", "Listen to Me", "Everyday", "Words of Love", and "Rave On".
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Buddy Holly (guitar, vocals), Joe B. Mauldin (bass), Niki Sullivan (rhythm guitar), Jerry Allison (drums), Norman Petty (organ), Vi Petty (piano, celesta), C.W. Kendall Jr (piano), Al Caiola, Donald Arnone (guitar)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=HtfXBxLzlFU"
    -referenceProduit: "Analogue Productions AAPP 0107"
    -titreMorceau: [
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        "ordre" => 0
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        "nom" => "1. I'm Gonna Love You Too "
        "ordre" => 1
      ]
      [
        "nom" => "2. Peggy Sue "
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      [
        "nom" => "3. Look at Me "
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        "ordre" => 4
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      [
        "nom" => "5. Valley of Tears "
        "ordre" => 5
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      [
        "nom" => "6. Ready Teddy"
        "ordre" => 6
      ]
      [
        "nom" => "Side B : "
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      ]
      [
        "nom" => "1. Everyday "
        "ordre" => 8
      ]
      [
        "nom" => "2. Mailman, Bring Me No More Blues "
        "ordre" => 9
      ]
      [
        "nom" => "3. Words of Love "
        "ordre" => 10
      ]
      [
        "nom" => "4. (You're So Square) Baby I Don't Care "
        "ordre" => 11
      ]
      [
        "nom" => "5. Rave On "
        "ordre" => 12
      ]
      [
        "nom" => "6. Little Baby"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2162 …}
    -label: Proxies\__CG__\App\Entity\Label {#2120 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2184 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2177 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2179 …}
    -enregistreLe: DateTime @1487008626 {#2173
      date: 2017-02-13 17:57:06.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762761955 {#2174
      date: 2025-11-10 08:05:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2181 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-buddy-holly-analogue-productions-aapp-0107"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …}
}

[
  "produit" => App\Entity\Produit {#2189
    -id: 2057
    -nom: "Strange Days"
    -informationComplementaire: null
    -description: """
      - Mastered by Doug Sax using an all-tube system. Overseen by Bruce Botnick, The Doors producer / engineer !\r\n
      - Two 45 RPM LPs pressed on 180-gram vinyl at Quality Record Pressings / Also on Hybrid Multichannel SACD !\r\n
      - Part of The Doors reissue series proudly presented by Analogue Productions and Quality Record Pressings !\r\n
      \r\n
      Sinister, beguiling... these were words reviewers used to describe The Door’s melodic psychedelic-era genre-blending sound. A mix of blues, Eastern music, classical and pop fueled hits such as the bluesy “Love Me Two Times” and “People Are Strange” from The Door’s debut follow-up, Strange Days.\r\n
      \r\n
      Strange Days featured a smattering of edgy recitations (“Horse Latitudes”) and smoky rockers (“My Eyes Have Seen You”). Morrison’s rallying cry “We want the world, and we want it now !” from the ambitious extended track, “When the Music’s Over", marked a touchstone for that era’s counterculture movement. Rolling Stone described Strange Days as having “all the power and energy of the first LP, but (it’s) more subtle, more intricate and much more effective”.\r\n
      \r\n
      Analogue Productions and Quality Record Pressings are proud to announce that these six studio LP titles The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman - are featured on 180 gram vinyl, pressed at 45 RPM. Also, all six titles are available on Multichannel SACD ! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best tape copy.\r\n
      \r\n
      A truly authentic reissue project, the masters were recorded on tube equipment, and the tape machine used for the transfer of these releases is a tube machine, as is the cutting system. Tubes baby !\r\n
      \r\n
      This is no time to wallow in the mire. The Doors are on Analogue Productions !\r\n
      \r\n
      "Though it lacks a song as captivating as "Light My Fire", the Doors' second album is nearly as strong as their debut, The Doors, released earlier the same year. A mood of alienation, evident on "Strange Days" and "People Are Strange", carries through to the lengthy closer, "When the Music's Over". - www.rollingstone.com \r\n
      \r\n
      “'Strange Days' was the perfect album for its time. For music lovers at a time when records were the main means by which a generation communicated with its culture, the title, cover art, music and sound resonated with the meaning of the fall of 1967 (even though the album was recorded the previous spring at L.A.’s Sunset Sound). 1967’s 'Summer of Love' with 'Light My Fire' from The Doors’ debut album (recorded the previous summer) as its musical anthem had just passed. It was an innocent, celebratory time. Everyone knew something special had happened that summer and the stirrings of further, perhaps momentus change was in the air". - Michael Fremer, analogplanet, Music 10/11. Sound 10/11
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Jim Morrison (vocals), Ray Manzarek (keyboards), Robby Krieger (guitar), John Densmore (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=-NyC6mrutj0&list=PL2PQ6C9BImBBJwLPcfVbaokcAWyn6JQF1"
    -referenceProduit: "Analogue Productions 4014-45"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "1. Strange Days"
        "ordre" => 1
      ]
      [
        "nom" => "2. You're Lost Little Girl"
        "ordre" => 2
      ]
      [
        "nom" => "3. Love Me Two Times"
        "ordre" => 3
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "1. Unhappy Girl"
        "ordre" => 5
      ]
      [
        "nom" => "2. Horse Latitudes"
        "ordre" => 6
      ]
      [
        "nom" => "3. Moonlight Drive"
        "ordre" => 7
      ]
      [
        "nom" => "Side C :"
        "ordre" => 8
      ]
      [
        "nom" => "1. People Are Strange"
        "ordre" => 9
      ]
      [
        "nom" => "2. My Eyes Have Seen You"
        "ordre" => 10
      ]
      [
        "nom" => "3. I Can't See Your Face in My Mind"
        "ordre" => 11
      ]
      [
        "nom" => "Side D : "
        "ordre" => 12
      ]
      [
        "nom" => "1. When the Music's Over"
        "ordre" => 13
      ]
      [
        "nom" => ""
        "ordre" => 14
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2117 …}
    -label: Proxies\__CG__\App\Entity\Label {#2120 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2197 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2190 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2192 …}
    -enregistreLe: DateTime @1622965338 {#2186
      date: 2021-06-06 07:42:18.0 UTC (+00:00)
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    -modifierLe: DateTime @1762761496 {#2187
      date: 2025-11-10 07:58:16.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2194 …}
    -disponible: null
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    -slug: "vinyles-strange-days-analogue-productions-4014-45"
  }
  "detaillePage" => false
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App\Twig\Components\GestionPanierFavoriComponents {#3690
  -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 {#2620 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2189
    -id: 2057
    -nom: "Strange Days"
    -informationComplementaire: null
    -description: """
      - Mastered by Doug Sax using an all-tube system. Overseen by Bruce Botnick, The Doors producer / engineer !\r\n
      - Two 45 RPM LPs pressed on 180-gram vinyl at Quality Record Pressings / Also on Hybrid Multichannel SACD !\r\n
      - Part of The Doors reissue series proudly presented by Analogue Productions and Quality Record Pressings !\r\n
      \r\n
      Sinister, beguiling... these were words reviewers used to describe The Door’s melodic psychedelic-era genre-blending sound. A mix of blues, Eastern music, classical and pop fueled hits such as the bluesy “Love Me Two Times” and “People Are Strange” from The Door’s debut follow-up, Strange Days.\r\n
      \r\n
      Strange Days featured a smattering of edgy recitations (“Horse Latitudes”) and smoky rockers (“My Eyes Have Seen You”). Morrison’s rallying cry “We want the world, and we want it now !” from the ambitious extended track, “When the Music’s Over", marked a touchstone for that era’s counterculture movement. Rolling Stone described Strange Days as having “all the power and energy of the first LP, but (it’s) more subtle, more intricate and much more effective”.\r\n
      \r\n
      Analogue Productions and Quality Record Pressings are proud to announce that these six studio LP titles The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman - are featured on 180 gram vinyl, pressed at 45 RPM. Also, all six titles are available on Multichannel SACD ! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best tape copy.\r\n
      \r\n
      A truly authentic reissue project, the masters were recorded on tube equipment, and the tape machine used for the transfer of these releases is a tube machine, as is the cutting system. Tubes baby !\r\n
      \r\n
      This is no time to wallow in the mire. The Doors are on Analogue Productions !\r\n
      \r\n
      "Though it lacks a song as captivating as "Light My Fire", the Doors' second album is nearly as strong as their debut, The Doors, released earlier the same year. A mood of alienation, evident on "Strange Days" and "People Are Strange", carries through to the lengthy closer, "When the Music's Over". - www.rollingstone.com \r\n
      \r\n
      “'Strange Days' was the perfect album for its time. For music lovers at a time when records were the main means by which a generation communicated with its culture, the title, cover art, music and sound resonated with the meaning of the fall of 1967 (even though the album was recorded the previous spring at L.A.’s Sunset Sound). 1967’s 'Summer of Love' with 'Light My Fire' from The Doors’ debut album (recorded the previous summer) as its musical anthem had just passed. It was an innocent, celebratory time. Everyone knew something special had happened that summer and the stirrings of further, perhaps momentus change was in the air". - Michael Fremer, analogplanet, Music 10/11. Sound 10/11
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Jim Morrison (vocals), Ray Manzarek (keyboards), Robby Krieger (guitar), John Densmore (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=-NyC6mrutj0&list=PL2PQ6C9BImBBJwLPcfVbaokcAWyn6JQF1"
    -referenceProduit: "Analogue Productions 4014-45"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "1. Strange Days"
        "ordre" => 1
      ]
      [
        "nom" => "2. You're Lost Little Girl"
        "ordre" => 2
      ]
      [
        "nom" => "3. Love Me Two Times"
        "ordre" => 3
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "1. Unhappy Girl"
        "ordre" => 5
      ]
      [
        "nom" => "2. Horse Latitudes"
        "ordre" => 6
      ]
      [
        "nom" => "3. Moonlight Drive"
        "ordre" => 7
      ]
      [
        "nom" => "Side C :"
        "ordre" => 8
      ]
      [
        "nom" => "1. People Are Strange"
        "ordre" => 9
      ]
      [
        "nom" => "2. My Eyes Have Seen You"
        "ordre" => 10
      ]
      [
        "nom" => "3. I Can't See Your Face in My Mind"
        "ordre" => 11
      ]
      [
        "nom" => "Side D : "
        "ordre" => 12
      ]
      [
        "nom" => "1. When the Music's Over"
        "ordre" => 13
      ]
      [
        "nom" => ""
        "ordre" => 14
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2117 …}
    -label: Proxies\__CG__\App\Entity\Label {#2120 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2197 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2190 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2192 …}
    -enregistreLe: DateTime @1622965338 {#2186
      date: 2021-06-06 07:42:18.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762761496 {#2187
      date: 2025-11-10 07:58:16.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2194 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-strange-days-analogue-productions-4014-45"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3886
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3887 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3935 …}
  +isValidated: false
  +validatedFields: []
}