Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2544
  -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 {#2391 …}
}

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

App\Twig\Components\ListePanier {#2621
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2624 …}
  -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 {#2623 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +listePanier: null
  +listeModal: true
  +paysForme: null
  +paysSelectionne: null
  +selectedPays: null
  +fraisLivraison: 17.5
  +montantTotal: 35.0
  +tempsLivraison: 0
  +quantite: 0
  +categorieProduitEnum: [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
  -formView: Symfony\Component\Form\FormView {#2660 …}
  -form: Symfony\Component\Form\Form {#2810 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1841
    -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 {#1885 …}
    -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
      ]
      [
        "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 {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …}
    -enregistreLe: DateTime @1563777559 {#1896
      date: 2019-07-22 06:39:19.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762986273 {#1889
      date: 2025-11-12 22:24:33.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-b-52-s-mobile-fidelity-sound-lab-mofi-1-004"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3085
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#1841
    -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 {#1885 …}
    -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
      ]
      [
        "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 {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …}
    -enregistreLe: DateTime @1563777559 {#1896
      date: 2019-07-22 06:39:19.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762986273 {#1889
      date: 2025-11-12 22:24:33.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-b-52-s-mobile-fidelity-sound-lab-mofi-1-004"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
}

[
  "produit" => App\Entity\Produit {#2035
    -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 {#1822 …}
    -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 {#2037 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2046 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2039 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2041 …}
    -enregistreLe: DateTime @1602402310 {#2032
      date: 2020-10-11 07:45:10.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762944757 {#2033
      date: 2025-11-12 10:52:37.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2043 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-east-west-mobile-fidelity-sound-lab-mfsl-1-611"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3199
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2035
    -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 {#1822 …}
    -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 …}
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        "nom" => "4. East-West"
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2037 …}
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      date: 2025-11-12 10:52:37.0 UTC (+00:00)
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    -disponible: null
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  }
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
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[
  "produit" => App\Entity\Produit {#2051
    -id: 1440
    -nom: "The Cars"
    -informationComplementaire: "Réédition"
    -description: """
      - Let the Good Times Roll : Mastered from the Original Master Tapes, Vinyl LP Sounds Amazing !\r\n
      - The Cars' Classic 1978 Debut a Veritable Greatest Hits Album: Nearly Every Song a Radio Staple !\r\n
      - "My Best Friend's Girl, ,"Just What I Needed", "You're All I've Got Tonight" Among the Tunes on the Hit Parade !\r\n
      - 1/4" / 15 IPS analog master to analog console to lathe !\r\n
      \r\n
      One of the most successful and enjoyable debuts in history, The Cars' self-titled album doubles as a greatest-hits collection. That's because not one song here is unrecognized or unknown. A huge reason why the Boston quintet became America's most popular new-wave band, The Cars launched eight tracks still regularly heard on radio stations everywhere. Consider the hit list: "You're All I've Got Tonight". "Good Times Roll", "Just What I Needed", "Moving in Stereo", "My Best Friend's Girl", "Don't Cha Stop", If you're a fan of pop music, this album is mandatory. Just call it the best new-wave rock album ever made.\r\n
      \r\n
      Led by Ric Ocasek and Benjamin Orr, the Cars managed to unite then-disparate styles : bubblegum pop melodies, angular art rock, progressive arrangements, and terse minimalism. Orr's low, understated singing and Ocasek's cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by orchestral keyboard flourishes and electronic beats. The brilliant arrangements also benefit from a laidback cool and understated irony that remain uncommon in the over-the-top world of mainstream music. Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced its tunes with delightfully quirky accents country-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses.\r\n
      \r\n
      The results are the sounds of a creative landmark. At once accessible and eccentric, edgy and catchy, The Cars explodes with emotion, energy, and hooks. It's impossible not to get caught up humming and singing along to every song, an appeal that comes courtesy of Roy Thomas Baker's stellar production. The legendary producer, best known for his work with Queen, ensured that the record seamlessly packed a smooth midrange, spacious imaging, and call-and-answer choruses in one tight package. Baker's trademark touches with harmony vocals abound.\r\n
      \r\n
      And now, The Cars sounds better than it has in any previous incarnation. Mastered from the original analog tapes, Mobile Fidelity's numbered-edition LP allows the music's oscillating rhythms, futuristic keyboard passages, panned stereo images, and rippling textures to be experienced like never before. The songs take on a surreal quality, the Cars manipulating the vibrant music at will to mesmerize the listeners' senses and hold them at bay. Mobile Fidelity's pressing epitomizes the sensation of "moving in stereo !".\r\n
      \r\n
      "The MoFi disc is much better than the original in every way. It's more dynamic, much more natural on top, and all three dimensions have a lot bigger space. This disc is great from start to finish, but "Moving in Stereo" will blow you away on a great system in a big room".  - Jeff Dorgay, TONE Audio, Issue 23
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Benjamin Orr (bass, vocals), Ric Ocasek (guitar, vocals), Elliot Easton (lead guitar, backing vocals), Greg Hawkes (keyboards, saxophone, percussion, backing vocals), David Robinson (percussion, drums, backing vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ZTkH1kP_kx4"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-274"
    -titreMorceau: [
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        "ordre" => 0
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        "nom" => "5. Don't Cha Stop "
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      [
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      [
        "nom" => "1. You're All I've Got Tonight "
        "ordre" => 7
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      [
        "nom" => "2. Bye Bye Love "
        "ordre" => 8
      ]
      [
        "nom" => "3. Moving in Stereo "
        "ordre" => 9
      ]
      [
        "nom" => "4. All Mixed Up"
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2062 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2055 …}
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    }
    -modifierLe: DateTime @1762813979 {#2049
      date: 2025-11-10 22:32:59.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2059 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-cars-mobile-fidelity-sound-lab-mfsl-1-274"
  }
  "detaillePage" => false
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App\Twig\Components\GestionPanierFavoriComponents {#3250
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2051
    -id: 1440
    -nom: "The Cars"
    -informationComplementaire: "Réédition"
    -description: """
      - Let the Good Times Roll : Mastered from the Original Master Tapes, Vinyl LP Sounds Amazing !\r\n
      - The Cars' Classic 1978 Debut a Veritable Greatest Hits Album: Nearly Every Song a Radio Staple !\r\n
      - "My Best Friend's Girl, ,"Just What I Needed", "You're All I've Got Tonight" Among the Tunes on the Hit Parade !\r\n
      - 1/4" / 15 IPS analog master to analog console to lathe !\r\n
      \r\n
      One of the most successful and enjoyable debuts in history, The Cars' self-titled album doubles as a greatest-hits collection. That's because not one song here is unrecognized or unknown. A huge reason why the Boston quintet became America's most popular new-wave band, The Cars launched eight tracks still regularly heard on radio stations everywhere. Consider the hit list: "You're All I've Got Tonight". "Good Times Roll", "Just What I Needed", "Moving in Stereo", "My Best Friend's Girl", "Don't Cha Stop", If you're a fan of pop music, this album is mandatory. Just call it the best new-wave rock album ever made.\r\n
      \r\n
      Led by Ric Ocasek and Benjamin Orr, the Cars managed to unite then-disparate styles : bubblegum pop melodies, angular art rock, progressive arrangements, and terse minimalism. Orr's low, understated singing and Ocasek's cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by orchestral keyboard flourishes and electronic beats. The brilliant arrangements also benefit from a laidback cool and understated irony that remain uncommon in the over-the-top world of mainstream music. Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced its tunes with delightfully quirky accents country-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses.\r\n
      \r\n
      The results are the sounds of a creative landmark. At once accessible and eccentric, edgy and catchy, The Cars explodes with emotion, energy, and hooks. It's impossible not to get caught up humming and singing along to every song, an appeal that comes courtesy of Roy Thomas Baker's stellar production. The legendary producer, best known for his work with Queen, ensured that the record seamlessly packed a smooth midrange, spacious imaging, and call-and-answer choruses in one tight package. Baker's trademark touches with harmony vocals abound.\r\n
      \r\n
      And now, The Cars sounds better than it has in any previous incarnation. Mastered from the original analog tapes, Mobile Fidelity's numbered-edition LP allows the music's oscillating rhythms, futuristic keyboard passages, panned stereo images, and rippling textures to be experienced like never before. The songs take on a surreal quality, the Cars manipulating the vibrant music at will to mesmerize the listeners' senses and hold them at bay. Mobile Fidelity's pressing epitomizes the sensation of "moving in stereo !".\r\n
      \r\n
      "The MoFi disc is much better than the original in every way. It's more dynamic, much more natural on top, and all three dimensions have a lot bigger space. This disc is great from start to finish, but "Moving in Stereo" will blow you away on a great system in a big room".  - Jeff Dorgay, TONE Audio, Issue 23
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Benjamin Orr (bass, vocals), Ric Ocasek (guitar, vocals), Elliot Easton (lead guitar, backing vocals), Greg Hawkes (keyboards, saxophone, percussion, backing vocals), David Robinson (percussion, drums, backing vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ZTkH1kP_kx4"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-274"
    -titreMorceau: [
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        "nom" => "Side A : "
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        "nom" => "1. Good Times Roll "
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      ]
      [
        "nom" => "Side B : "
        "ordre" => 6
      ]
      [
        "nom" => "1. You're All I've Got Tonight "
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      ]
      [
        "nom" => "2. Bye Bye Love "
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      [
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      ]
      [
        "nom" => "4. All Mixed Up"
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2062 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2055 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2057 …}
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    -modifierLe: DateTime @1762813979 {#2049
      date: 2025-11-10 22:32:59.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2059 …}
    -disponible: null
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    -slug: "vinyles-the-cars-mobile-fidelity-sound-lab-mfsl-1-274"
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
}

[
  "produit" => App\Entity\Produit {#2067
    -id: 957
    -nom: "Heartbeat City"
    -informationComplementaire: null
    -description: """
      Loaded With Recognizable Hits : "Drive", "You Might Think", "Magic", "Hello Again", and "Why Can't I Have You" All Top 40 Singles !\r\n
      \r\n
      1984 will always be remembered for the debut of the Macintosh computer, the Summer Olympics in Los Angeles, and the ascent of MTV as the most powerful cultural medium of the era. The year is also recognized for the Cars' savvy contributions not only to the burgeoning music-video channel but to pop itself. Released in April, the four-times platinum Heartbeat City ultimately spawned five Top 40 singles four of them landing in the Top 20, two in the Top 10 and serve as the final memorable record from the Boston group, which disbanded in 1987.\r\n
      \r\n
      Signifying the first time the set has been available on vinyl in nearly three decades, this reissue opens up the soundstages, decongests the low frequencies, and shines a spotlight on Mutt Lange's pinpoint balances and glossy hooks. Indeed, the now-household-name producer would make a lasting mark with Heartbeat City, whose radio-friendly sound, multi-layered textures, and smooth, suave, synth-heavy pulses set a precedent for the period's hit-making pop.\r\n
      \r\n
      Overflowing with a surfeit of finger-snapping beats, electro-pop effects, streamlined guitar notes, and bright melodies, Heartbeat City trades in efficiency, catchiness, and to-the-point craftiness. Unlike most mid-80s records, the electronic effects and sleek tonalities aren't dated due to both the focused production and irresistible songwriting. Leader Ric Ocasek penned all ten tunes, and while a mind-boggling five charted in the Top 40, what makes Heartbeat City such a staple is the fact that it's easy to imagine every song on it crashing the Billboard Hot 100. Call it the new-wave version of Thriller.\r\n
      \r\n
      Indeed, the record's track list automatically triggers a mental jukebox. The spare simplicity and hopefulness of "Magic". The simultaneously sad longing and soothing somberness of the Benjamin Orr-sung "Drive". The shimmer and shuffling riff of "You Might Think". The ping-pong bounce and futuristic paranoia of "Hello Again". The atmospheric, arty title track. Heartbeat City is a veritable lesson in pop tunesmithship.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
    -musicienOrchestre: "Elliot Easton (lead guitar, backing vocals), Benjamin Orr (bass, lead vocals), Ric Ocasek (guitar, synthesizer, lead vocals), Greg Hawkes (keyboards, backing vocals), David Robinson (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=gKIJVKzgoSc"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-442"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Hello Again"
        "ordre" => 1
      ]
      [
        "nom" => "2. Looking for Love"
        "ordre" => 2
      ]
      [
        "nom" => "3. Magic"
        "ordre" => 3
      ]
      [
        "nom" => "4. Drive"
        "ordre" => 4
      ]
      [
        "nom" => "5. Stranger Eyes"
        "ordre" => 5
      ]
      [
        "nom" => "Side B :"
        "ordre" => 6
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      [
        "nom" => "1. You Might Think"
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      ]
      [
        "nom" => "2. It’s Not the Night"
        "ordre" => 8
      ]
      [
        "nom" => "3. Why Can’t I Have You"
        "ordre" => 9
      ]
      [
        "nom" => "4. I Refuse"
        "ordre" => 10
      ]
      [
        "nom" => "5. Heartbeat City"
        "ordre" => 11
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …}
    -label: App\Entity\Label {#1063 …}
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    -morceauMP3: Doctrine\ORM\PersistentCollection {#2068 …}
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    -modifierLe: DateTime @1762813664 {#2065
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3303
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2067
    -id: 957
    -nom: "Heartbeat City"
    -informationComplementaire: null
    -description: """
      Loaded With Recognizable Hits : "Drive", "You Might Think", "Magic", "Hello Again", and "Why Can't I Have You" All Top 40 Singles !\r\n
      \r\n
      1984 will always be remembered for the debut of the Macintosh computer, the Summer Olympics in Los Angeles, and the ascent of MTV as the most powerful cultural medium of the era. The year is also recognized for the Cars' savvy contributions not only to the burgeoning music-video channel but to pop itself. Released in April, the four-times platinum Heartbeat City ultimately spawned five Top 40 singles four of them landing in the Top 20, two in the Top 10 and serve as the final memorable record from the Boston group, which disbanded in 1987.\r\n
      \r\n
      Signifying the first time the set has been available on vinyl in nearly three decades, this reissue opens up the soundstages, decongests the low frequencies, and shines a spotlight on Mutt Lange's pinpoint balances and glossy hooks. Indeed, the now-household-name producer would make a lasting mark with Heartbeat City, whose radio-friendly sound, multi-layered textures, and smooth, suave, synth-heavy pulses set a precedent for the period's hit-making pop.\r\n
      \r\n
      Overflowing with a surfeit of finger-snapping beats, electro-pop effects, streamlined guitar notes, and bright melodies, Heartbeat City trades in efficiency, catchiness, and to-the-point craftiness. Unlike most mid-80s records, the electronic effects and sleek tonalities aren't dated due to both the focused production and irresistible songwriting. Leader Ric Ocasek penned all ten tunes, and while a mind-boggling five charted in the Top 40, what makes Heartbeat City such a staple is the fact that it's easy to imagine every song on it crashing the Billboard Hot 100. Call it the new-wave version of Thriller.\r\n
      \r\n
      Indeed, the record's track list automatically triggers a mental jukebox. The spare simplicity and hopefulness of "Magic". The simultaneously sad longing and soothing somberness of the Benjamin Orr-sung "Drive". The shimmer and shuffling riff of "You Might Think". The ping-pong bounce and futuristic paranoia of "Hello Again". The atmospheric, arty title track. Heartbeat City is a veritable lesson in pop tunesmithship.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
    -musicienOrchestre: "Elliot Easton (lead guitar, backing vocals), Benjamin Orr (bass, lead vocals), Ric Ocasek (guitar, synthesizer, lead vocals), Greg Hawkes (keyboards, backing vocals), David Robinson (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=gKIJVKzgoSc"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-442"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Hello Again"
        "ordre" => 1
      ]
      [
        "nom" => "2. Looking for Love"
        "ordre" => 2
      ]
      [
        "nom" => "3. Magic"
        "ordre" => 3
      ]
      [
        "nom" => "4. Drive"
        "ordre" => 4
      ]
      [
        "nom" => "5. Stranger Eyes"
        "ordre" => 5
      ]
      [
        "nom" => "Side B :"
        "ordre" => 6
      ]
      [
        "nom" => "1. You Might Think"
        "ordre" => 7
      ]
      [
        "nom" => "2. It’s Not the Night"
        "ordre" => 8
      ]
      [
        "nom" => "3. Why Can’t I Have You"
        "ordre" => 9
      ]
      [
        "nom" => "4. I Refuse"
        "ordre" => 10
      ]
      [
        "nom" => "5. Heartbeat City"
        "ordre" => 11
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2075 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2068 …}
    -typeMasterTape: null
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    -caracteristique: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2070 …}
    -enregistreLe: DateTime @1467403572 {#2064
      date: 2016-07-01 20:06:12.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762813664 {#2065
      date: 2025-11-10 22:27:44.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2072 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-heartbeat-city-mobile-fidelity-sound-lab-mfsl-1-442"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
}

[
  "produit" => App\Entity\Produit {#2080
    -id: 2709
    -nom: "Minute by Minute"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Michael McDonald (keyboards, synthesizers,  lead & backing vocals), Patrick Simmons (guitars, lead & backing vocals), Jeff "Skunk" Baxter (guitars, pedal steel guitar), Tiran Porter (bass guitar, backing vocals), John Hartman (drums, percussion), Keith Knudsen (drums, backing vocals), Bobby LaKind (congas, backing vocals), Novi Novog (viola), Herb Pedersen (banjo), Ted Templeman (percussion, background vocals), Chet McCracken (drums).\r\n
      \r\n
      - The Doobie Brothers Create the Template for Yacht Rock : Grammy-Winning Smash Minute by Minute Features “What a Fool Believes”, Superb Harmonies, and Soulful Melodies !\r\n
      - Sourced from the Original Analog Master Tapes and Given Extra Groove Space: Mobile Fidelity’s Numbered-Edition 180 gram 45 RPM (2 LP) Set of 1978 Album Plays with Incredible Openness and Depth !\r\n
      - 1/4" / 15 IPS / Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Minute by Minute saved the Doobie Brothers even as it nearly broke the band. Created when the group felt uncertain of its place in the music world, the album catapulted the sextet to new commercial heights and signaled a distinct change in direction that the mainstream wholeheartedly embraced. Having sold more than three million copies and stayed on the charts for more than a year, the four-time Grammy-winning Minute by Minute remains a pop landmark all the more impressive given few initially believed in its potential.\r\n
      \r\n
      Sourced from the original master tapes, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing in California, Mobile Fidelity’s numbered-edition reissue presents the 1978 effort on 180 gram 45 RPM (2 LP) for the first time on what is the definitive-sounding vinyl version of the Rock & Roll Hall of Famers’ biggest-selling record. Produced by Ted Templeman the same year he helmed Van Halen’s breakthrough debut, Minute by Minute features non-congested openness, snappy rhythms, wonderful tonal balance, exceptionally clear vocals, and the right equilibrium of fine polish and bluesy grit.\r\n
      \r\n
      All those facets emerge with previously unrealized definition, transparency, smoothness, and solidity on this audiophile reissue. The levels of separation, dynamics, and imaging help bring the Doobie Brothers onto a wide, depth, multi-dimensional soundstage located feet away from your listening position. Templeton’s knack for capturing the full frequency spectrum in a vibrant, realistic manner pays dividends throughout this collectible version, which also benefits from the extra groove space and dead-quiet vinyl surfaces. As for chief architect Michael McDonald’s elastic, sky-high falsetto ? Experience its range like never before.\r\n
      \r\n
      When the Doobie Brothers laid down the tracks at Warner Bros. Record Studios in Hollywood, CA, it was apparent they would continue to shift from the boogie-infused, country-referencing rock that helped define their successful run of albums from the early to the mid ‘70s. As he does on the ensemble’s prior studio outing, McDonald still the newest recruit again takes center stage. The Steely Dan collaborator uses his versatile baritone, perfectionist-oriented arrangement skills, and penchant for unusual chord stylings to give many songs rich, soulful, jazz-tinted foundations.\r\n
      \r\n
      Nowhere is that strategy more apparent than on “What a Fool Believes,” the easygoing No. 1 smash that won the Grammy Awards for Song of the Year and Record of the Year and which Rolling Stone named the 343rd Greatest Song of All Time. Perhaps the Doobie Brothers didn’t invent “yacht rock” with the warm, hook-laden favorite and the other similarly minded cuts on the radio-friendly Minute by Minute look to the Top 20 title track, relaxed “Open Your Eyes”, and horn-accompanied “Dependin’ on You” for further evidence but the band essentially created the template many others would follow.\r\n
      \r\n
      Save for the pickin’ instrumental “Steamer Lane Breakdown”, they’re practically everywhere. Rising and falling above the twilight organ melody on “You Never Change”. Interwoven amid the catchy piano riffs and bass-guided rhythms of the opening “Here to Love You”, which establishes a romantic, mellow albeit adult-oriented mood that never lets up. Breezing through the feel-good emotions of “Sweet Feelin’", a comforting collaboration with Nicolette Larson.\r\n
      \r\n
      Everything happens naturally, and as a result of the Doobie Brothers wanting to rebound from the slightly disappointing reception of their preceding LP. Credit the band for trusting its instincts. Early feedback on the laidback, R&B-laced fare from friends and record executives wasn’t positive, and even a few band members liked the pop sound but wondered about the album and how it would be received.\r\n
      \r\n
      The rest, as they say, is history.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Michael McDonald (keyboards, synthesizers,  lead & backing vocals), Patrick Simmons (guitars, lead & backing vocals), Jeff "Skunk" Baxter (guitars, pedal steel guitar)..."
    -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=Rq-7NgH-hcs&list=RDRq-7NgH-hcs&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-601"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Here to Love You"
        "ordre" => 1
      ]
      [
        "nom" => "2. What a Fool Believes"
        "ordre" => 2
      ]
      [
        "nom" => "3. Minute by Minute"
        "ordre" => 3
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "1. Dependin’ on You"
        "ordre" => 5
      ]
      [
        "nom" => "2. Don’t Stop to Watch the Wheels"
        "ordre" => 6
      ]
      [
        "nom" => "Side C : "
        "ordre" => 7
      ]
      [
        "nom" => "1. Open Your Eyes"
        "ordre" => 8
      ]
      [
        "nom" => "2. Sweet Feelin’"
        "ordre" => 9
      ]
      [
        "nom" => "3. Steamer Lane Breakdown"
        "ordre" => 10
      ]
      [
        "nom" => "Side D : "
        "ordre" => 11
      ]
      [
        "nom" => "1. You Never Change"
        "ordre" => 12
      ]
      [
        "nom" => "2. How Do the Fools Survive ?"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2082 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2091 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2084 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
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    -caracteristique: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2086 …}
    -enregistreLe: DateTime @1754418909 {#2077
      date: 2025-08-05 18:35:09.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762499426 {#2078
      date: 2025-11-07 07:10:26.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2088 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-minute-by-minute-mobile-fidelity-sound-lab-mfsl-2-601"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3349
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2080
    -id: 2709
    -nom: "Minute by Minute"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Michael McDonald (keyboards, synthesizers,  lead & backing vocals), Patrick Simmons (guitars, lead & backing vocals), Jeff "Skunk" Baxter (guitars, pedal steel guitar), Tiran Porter (bass guitar, backing vocals), John Hartman (drums, percussion), Keith Knudsen (drums, backing vocals), Bobby LaKind (congas, backing vocals), Novi Novog (viola), Herb Pedersen (banjo), Ted Templeman (percussion, background vocals), Chet McCracken (drums).\r\n
      \r\n
      - The Doobie Brothers Create the Template for Yacht Rock : Grammy-Winning Smash Minute by Minute Features “What a Fool Believes”, Superb Harmonies, and Soulful Melodies !\r\n
      - Sourced from the Original Analog Master Tapes and Given Extra Groove Space: Mobile Fidelity’s Numbered-Edition 180 gram 45 RPM (2 LP) Set of 1978 Album Plays with Incredible Openness and Depth !\r\n
      - 1/4" / 15 IPS / Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Minute by Minute saved the Doobie Brothers even as it nearly broke the band. Created when the group felt uncertain of its place in the music world, the album catapulted the sextet to new commercial heights and signaled a distinct change in direction that the mainstream wholeheartedly embraced. Having sold more than three million copies and stayed on the charts for more than a year, the four-time Grammy-winning Minute by Minute remains a pop landmark all the more impressive given few initially believed in its potential.\r\n
      \r\n
      Sourced from the original master tapes, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing in California, Mobile Fidelity’s numbered-edition reissue presents the 1978 effort on 180 gram 45 RPM (2 LP) for the first time on what is the definitive-sounding vinyl version of the Rock & Roll Hall of Famers’ biggest-selling record. Produced by Ted Templeman the same year he helmed Van Halen’s breakthrough debut, Minute by Minute features non-congested openness, snappy rhythms, wonderful tonal balance, exceptionally clear vocals, and the right equilibrium of fine polish and bluesy grit.\r\n
      \r\n
      All those facets emerge with previously unrealized definition, transparency, smoothness, and solidity on this audiophile reissue. The levels of separation, dynamics, and imaging help bring the Doobie Brothers onto a wide, depth, multi-dimensional soundstage located feet away from your listening position. Templeton’s knack for capturing the full frequency spectrum in a vibrant, realistic manner pays dividends throughout this collectible version, which also benefits from the extra groove space and dead-quiet vinyl surfaces. As for chief architect Michael McDonald’s elastic, sky-high falsetto ? Experience its range like never before.\r\n
      \r\n
      When the Doobie Brothers laid down the tracks at Warner Bros. Record Studios in Hollywood, CA, it was apparent they would continue to shift from the boogie-infused, country-referencing rock that helped define their successful run of albums from the early to the mid ‘70s. As he does on the ensemble’s prior studio outing, McDonald still the newest recruit again takes center stage. The Steely Dan collaborator uses his versatile baritone, perfectionist-oriented arrangement skills, and penchant for unusual chord stylings to give many songs rich, soulful, jazz-tinted foundations.\r\n
      \r\n
      Nowhere is that strategy more apparent than on “What a Fool Believes,” the easygoing No. 1 smash that won the Grammy Awards for Song of the Year and Record of the Year and which Rolling Stone named the 343rd Greatest Song of All Time. Perhaps the Doobie Brothers didn’t invent “yacht rock” with the warm, hook-laden favorite and the other similarly minded cuts on the radio-friendly Minute by Minute look to the Top 20 title track, relaxed “Open Your Eyes”, and horn-accompanied “Dependin’ on You” for further evidence but the band essentially created the template many others would follow.\r\n
      \r\n
      Save for the pickin’ instrumental “Steamer Lane Breakdown”, they’re practically everywhere. Rising and falling above the twilight organ melody on “You Never Change”. Interwoven amid the catchy piano riffs and bass-guided rhythms of the opening “Here to Love You”, which establishes a romantic, mellow albeit adult-oriented mood that never lets up. Breezing through the feel-good emotions of “Sweet Feelin’", a comforting collaboration with Nicolette Larson.\r\n
      \r\n
      Everything happens naturally, and as a result of the Doobie Brothers wanting to rebound from the slightly disappointing reception of their preceding LP. Credit the band for trusting its instincts. Early feedback on the laidback, R&B-laced fare from friends and record executives wasn’t positive, and even a few band members liked the pop sound but wondered about the album and how it would be received.\r\n
      \r\n
      The rest, as they say, is history.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Michael McDonald (keyboards, synthesizers,  lead & backing vocals), Patrick Simmons (guitars, lead & backing vocals), Jeff "Skunk" Baxter (guitars, pedal steel guitar)..."
    -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=Rq-7NgH-hcs&list=RDRq-7NgH-hcs&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-601"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Here to Love You"
        "ordre" => 1
      ]
      [
        "nom" => "2. What a Fool Believes"
        "ordre" => 2
      ]
      [
        "nom" => "3. Minute by Minute"
        "ordre" => 3
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "1. Dependin’ on You"
        "ordre" => 5
      ]
      [
        "nom" => "2. Don’t Stop to Watch the Wheels"
        "ordre" => 6
      ]
      [
        "nom" => "Side C : "
        "ordre" => 7
      ]
      [
        "nom" => "1. Open Your Eyes"
        "ordre" => 8
      ]
      [
        "nom" => "2. Sweet Feelin’"
        "ordre" => 9
      ]
      [
        "nom" => "3. Steamer Lane Breakdown"
        "ordre" => 10
      ]
      [
        "nom" => "Side D : "
        "ordre" => 11
      ]
      [
        "nom" => "1. You Never Change"
        "ordre" => 12
      ]
      [
        "nom" => "2. How Do the Fools Survive ?"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2082 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2091 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2084 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2086 …}
    -enregistreLe: DateTime @1754418909 {#2077
      date: 2025-08-05 18:35:09.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762499426 {#2078
      date: 2025-11-07 07:10:26.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2088 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-minute-by-minute-mobile-fidelity-sound-lab-mfsl-2-601"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
}

[
  "produit" => App\Entity\Produit {#2096
    -id: 2824
    -nom: "Toulouse Street  (Numbered Limited Edition)"
    -informationComplementaire: null
    -description: """
      - The Doobie Brothers "Toulouse Street" !\r\n
      - 180 gram 45 RPM (2 LP) !\r\n
      - Experience the 1972 album in definitive sound !\r\n
      - 1/4" 15 ips Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      - Pressed at Fidelity Record Pressing !\r\n
      \r\n
      Mobile Fidelity's numbered edition set features extraordinary soundstages, vivid dynamics, and natural, airy openness\r\n
      \r\n
      For all intents and purposes, Toulouse Street functions as the Doobie Brothers' debut. Though it released a self-titled effort in 1971, the band admitted the latter album was rushed and reflected the results of a group that had barely spent any time together. Toulouse Street unfolded amid far more favorable circumstances. Overflowing with feel-good vibes, it also touted key lineup changes that proved crucial to the band's success. And it's how most listeners discovered Tom Johnston and Co., setting the stage for a dominant run during the 1970s that ultimately led to the Doobie Brothers' induction into the Rock and Roll Hall of Fame.\r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton Printing gatefold jacket, Mobile Fidelity's numbered-edition 180 gram 45 RPM (2 LP) of Toulouse Street offers the 1972 set in definitive sound. Given the luxurious room of a 45 RPM version for the first time and benefiting from the wider grooves, the music benefits from extraordinary soundstages, ultra-quiet backgrounds, vivid dynamics, and incredible imaging. Ted Templeman's excellent production shines like never before.\r\n
      \r\n
      Open, airy, and organic: Toulouse Street epitomizes why countless music lovers swear allegiance to '70s recordings. Facets that help make the album so welcoming voices that naturally rise and fall, notes that properly carry and decay, bass lines you can trace from beginning to end, well-placed percussive accents, warm tones, well-defined separation between the players come across on this collectible reissue with involving presence, balance, and realism. Everything sounds crisp and clear. Nothing is overdone or out of place. No wonder Templeman's work earned him a promotion to staff producer at Warner Bros.\r\n
      \r\n
      With all due respect to Templeton's contributions, the Doobie Brothers are really who make Toulouse Street cook. They deserve the highest praise for performing a batch of songs that more than five decades since their debut have lost none of their charm. The arrival of bassist Tiran Porter and second drummer Michael Hossack gave the band a formidable rhythm section (and two-drummer configuration) whose innate chemistry, groove, and flow are evident throughout Toulouse Street and which would form the backbone of the Doobie Brothers for subsequent years.\r\n
      \r\n
      Fresh from ironing out the kinks on the group's debut, vocalist-guitarists Patrick Simmons and Tom Johnston showcase a songwriting depth that elevated the Doobie Brothers into the upper echelon of their era's crowded Southern rock / country-rock field. Two massive singles and platinum certification served as proof, as did rave reviews by the likes of tastemakers such as Rolling Stone. Unimaginative comparisons to Eagles, Little Feat, and Three Dogs Night aside, the Doobie Brothers firmly establish their own distinctive style on Toulouse Street.\r\n
      \r\n
      Drawing on folk, R&B, and gospel disciplines, and marrying them as needed with a foundation of catchy Southern-reared blues, rock, and country, the collective turns in 10 tunes that grab you and refuse to let go. The energetic, wind-in-your-hair, top-down highway ride of the two tracks that open Toulouse Street "Listen to the Music" and "Rockin' Down the Highway" set both the musical and narrative tone that carries throughout the album. Acoustically strummed guitars; back-porch vocals; jangling chords; purring bass lines; a bit of bar-band riffing; high harmonies: They invite you to sink into the grooves as if they were a comfortable sofa.\r\n
      \r\n
      The Doobie Brothers further showcase their knack for hybrid combinations on the soft island reggae of "Mamaloi", mystical balladry of the title track, dual-lead jam "Disciple", and earthy bite of "Snake Man". And they absolutely nail the three smart covers. "Jesus Is Just Alright" hit the Top 40, but a swampy take of Seals & Croft's "Cotton Mouth" and peppy rendition of Sonny Boy Williamson II's classic blues "Don't Start Me to Talkin'" warrant equal attention despite being deep cuts. They also demonstrate the judicious use of auxiliary instruments such as piano, organ, and horns, all arranged with uncanny symmetry.\r\n
      \r\n
      It's like the man says: Listen to the music. All the time.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Tom Johnston, Patrick Simmons (guitars, vocals), Tiran Porter (bass, vocals), Bill Payne (keyboards), Sneaky Pete Kleinow (pedal steel guitar), Marc Benno (guitar), Milt Holland (percussion), John Hartman, Michael Hossack (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=U9V8H372_dQ&list=RDU9V8H372_dQ&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab 2-596"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "1. Listen to the Music"
        "ordre" => 1
      ]
      [
        "nom" => "2. Rockin’ Down the Highway"
        "ordre" => 2
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
      [
        "nom" => "1. Mamaloi"
        "ordre" => 4
      ]
      [
        "nom" => "2. Toulouse Street"
        "ordre" => 5
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      [
        "nom" => "3. Cotton Mouth"
        "ordre" => 6
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      [
        "nom" => "Side C :"
        "ordre" => 7
      ]
      [
        "nom" => "1. Don’t Start Me to Talkin’"
        "ordre" => 8
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      [
        "nom" => "2. Jesus Is Just Alright"
        "ordre" => 9
      ]
      [
        "nom" => "3. White Sun"
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      [
        "nom" => "Side D : "
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    ]
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App\Twig\Components\GestionPanierFavoriComponents {#3402
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  +produit: App\Entity\Produit {#2096
    -id: 2824
    -nom: "Toulouse Street  (Numbered Limited Edition)"
    -informationComplementaire: null
    -description: """
      - The Doobie Brothers "Toulouse Street" !\r\n
      - 180 gram 45 RPM (2 LP) !\r\n
      - Experience the 1972 album in definitive sound !\r\n
      - 1/4" 15 ips Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      - Pressed at Fidelity Record Pressing !\r\n
      \r\n
      Mobile Fidelity's numbered edition set features extraordinary soundstages, vivid dynamics, and natural, airy openness\r\n
      \r\n
      For all intents and purposes, Toulouse Street functions as the Doobie Brothers' debut. Though it released a self-titled effort in 1971, the band admitted the latter album was rushed and reflected the results of a group that had barely spent any time together. Toulouse Street unfolded amid far more favorable circumstances. Overflowing with feel-good vibes, it also touted key lineup changes that proved crucial to the band's success. And it's how most listeners discovered Tom Johnston and Co., setting the stage for a dominant run during the 1970s that ultimately led to the Doobie Brothers' induction into the Rock and Roll Hall of Fame.\r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton Printing gatefold jacket, Mobile Fidelity's numbered-edition 180 gram 45 RPM (2 LP) of Toulouse Street offers the 1972 set in definitive sound. Given the luxurious room of a 45 RPM version for the first time and benefiting from the wider grooves, the music benefits from extraordinary soundstages, ultra-quiet backgrounds, vivid dynamics, and incredible imaging. Ted Templeman's excellent production shines like never before.\r\n
      \r\n
      Open, airy, and organic: Toulouse Street epitomizes why countless music lovers swear allegiance to '70s recordings. Facets that help make the album so welcoming voices that naturally rise and fall, notes that properly carry and decay, bass lines you can trace from beginning to end, well-placed percussive accents, warm tones, well-defined separation between the players come across on this collectible reissue with involving presence, balance, and realism. Everything sounds crisp and clear. Nothing is overdone or out of place. No wonder Templeman's work earned him a promotion to staff producer at Warner Bros.\r\n
      \r\n
      With all due respect to Templeton's contributions, the Doobie Brothers are really who make Toulouse Street cook. They deserve the highest praise for performing a batch of songs that more than five decades since their debut have lost none of their charm. The arrival of bassist Tiran Porter and second drummer Michael Hossack gave the band a formidable rhythm section (and two-drummer configuration) whose innate chemistry, groove, and flow are evident throughout Toulouse Street and which would form the backbone of the Doobie Brothers for subsequent years.\r\n
      \r\n
      Fresh from ironing out the kinks on the group's debut, vocalist-guitarists Patrick Simmons and Tom Johnston showcase a songwriting depth that elevated the Doobie Brothers into the upper echelon of their era's crowded Southern rock / country-rock field. Two massive singles and platinum certification served as proof, as did rave reviews by the likes of tastemakers such as Rolling Stone. Unimaginative comparisons to Eagles, Little Feat, and Three Dogs Night aside, the Doobie Brothers firmly establish their own distinctive style on Toulouse Street.\r\n
      \r\n
      Drawing on folk, R&B, and gospel disciplines, and marrying them as needed with a foundation of catchy Southern-reared blues, rock, and country, the collective turns in 10 tunes that grab you and refuse to let go. The energetic, wind-in-your-hair, top-down highway ride of the two tracks that open Toulouse Street "Listen to the Music" and "Rockin' Down the Highway" set both the musical and narrative tone that carries throughout the album. Acoustically strummed guitars; back-porch vocals; jangling chords; purring bass lines; a bit of bar-band riffing; high harmonies: They invite you to sink into the grooves as if they were a comfortable sofa.\r\n
      \r\n
      The Doobie Brothers further showcase their knack for hybrid combinations on the soft island reggae of "Mamaloi", mystical balladry of the title track, dual-lead jam "Disciple", and earthy bite of "Snake Man". And they absolutely nail the three smart covers. "Jesus Is Just Alright" hit the Top 40, but a swampy take of Seals & Croft's "Cotton Mouth" and peppy rendition of Sonny Boy Williamson II's classic blues "Don't Start Me to Talkin'" warrant equal attention despite being deep cuts. They also demonstrate the judicious use of auxiliary instruments such as piano, organ, and horns, all arranged with uncanny symmetry.\r\n
      \r\n
      It's like the man says: Listen to the music. All the time.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Tom Johnston, Patrick Simmons (guitars, vocals), Tiran Porter (bass, vocals), Bill Payne (keyboards), Sneaky Pete Kleinow (pedal steel guitar), Marc Benno (guitar), Milt Holland (percussion), John Hartman, Michael Hossack (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=U9V8H372_dQ&list=RDU9V8H372_dQ&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab 2-596"
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[
  "produit" => App\Entity\Produit {#2109
    -id: 1091
    -nom: "Learning To Crawl"
    -informationComplementaire: null
    -description: """
      1984 Smash the Sound of a Band Overcoming Tragedies and Staggering Odds with Gutsy Performances !\r\n
      \r\n
      What is the sound of a fledgling band dealing with multiple tragedies, coming to terms with drastic changes, digging deep into its consciousness, finding resolution in hurt, and overcoming staggering odds to record a bonafide masterwork ? It's the sound of every note that graces the Pretenders' Learning to Crawl. Still recognized as one of the most emotionally gripping and musically gutsy performances ever made, the smash 1984 album hasn't aged a day. And now, it sounds better than could ever be imagined.\r\n
      \r\n
      Mastered from the original master tapes, Learning to Crawl finally possesses the combination of whisper-in-your-ear intimacy and nerve-checking toughness that it's always demanded on Mobile Fidelity's super-quiet analog LP. Leader Chrissie Hynde's voice is made viscerally apparent, wavering between vigorous determination and solemn reflection, while drummer Martin Chamber's punchy backbeats register with requisite punch. To say nothing of how fresh the effort's hit singles "Middle of the Road", "Back on the Chain Gang" and incredible deep cuts sound.\r\n
      \r\n
      The story behind Learning to Crawl is directly connected to the powerful, moving music within. After releasing two records that swept the world by storm (Pretenders and Pretenders II), the group's fortunes reversed after guitarist James Honeyman-Scott was found dead of a drug overdose in 1982. Shortly thereafter, founding member Pete Fardon, fired just two days before his partner's death, also succumbed to an overdose, leaving the band's state in tatters. Would there still be a Pretenders ?\r\n
      Hynde answers this question with a resounding "yes" on Learning to Crawl, which still contains signs of the band's early, street-wise rawness but also adds new wrinkles, with more streamlined melodies, sensitive ballads, and reflective tones. "Back on the Chain Gang", the Pretenders' most commercially successful hit, functioned as a bittersweet tribute to her ex-mates while the Christmas-themed "2000 Miles" holds rank as one of the most effecting, penetrating love songs of Hynde's career. Throughout the record, the Pretenders are again one.\r\n
      \r\n
      New guitarist Robbie McIntosh supplies simpler, bluesier, basic guitar lines and the foursome know how to all-out rock, with the furious "Middle of the Road" and socially conscious "My City Was Gone" testifying to a stinging, thrilling sensibility that can exist only because of the devastation that the band survived. Call it the rise of the phoenix or triumph of the human will, but any way you see it, Learning to Crawl occupies a rare territory akin to the space referred to on the superb cover of "Thin Line Between Love and Hate" that registers in the pits of the human soul.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Chrissie Hynde, Robbie McIntosh (guitar, vocals), Andrew Bodner, Malcolm Foster (bass guitar, vocals), Tony Butler (bass guitar), Billy Bremner (lead & rhythm guitar, vocals), Paul carrack (piano, vocals), Martin Chambers (drums, vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=-KosB3XJO_s"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-339"
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      [
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      [
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        "ordre" => 9
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      [
        "nom" => "4. I Hurt You"
        "ordre" => 10
      ]
      [
        "nom" => "5. 2000 Miles"
        "ordre" => 11
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2111 …}
    -label: App\Entity\Label {#1063 …}
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      date: 2025-11-05 08:17:37.0 UTC (+00:00)
    }
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App\Twig\Components\GestionPanierFavoriComponents {#3448
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2109
    -id: 1091
    -nom: "Learning To Crawl"
    -informationComplementaire: null
    -description: """
      1984 Smash the Sound of a Band Overcoming Tragedies and Staggering Odds with Gutsy Performances !\r\n
      \r\n
      What is the sound of a fledgling band dealing with multiple tragedies, coming to terms with drastic changes, digging deep into its consciousness, finding resolution in hurt, and overcoming staggering odds to record a bonafide masterwork ? It's the sound of every note that graces the Pretenders' Learning to Crawl. Still recognized as one of the most emotionally gripping and musically gutsy performances ever made, the smash 1984 album hasn't aged a day. And now, it sounds better than could ever be imagined.\r\n
      \r\n
      Mastered from the original master tapes, Learning to Crawl finally possesses the combination of whisper-in-your-ear intimacy and nerve-checking toughness that it's always demanded on Mobile Fidelity's super-quiet analog LP. Leader Chrissie Hynde's voice is made viscerally apparent, wavering between vigorous determination and solemn reflection, while drummer Martin Chamber's punchy backbeats register with requisite punch. To say nothing of how fresh the effort's hit singles "Middle of the Road", "Back on the Chain Gang" and incredible deep cuts sound.\r\n
      \r\n
      The story behind Learning to Crawl is directly connected to the powerful, moving music within. After releasing two records that swept the world by storm (Pretenders and Pretenders II), the group's fortunes reversed after guitarist James Honeyman-Scott was found dead of a drug overdose in 1982. Shortly thereafter, founding member Pete Fardon, fired just two days before his partner's death, also succumbed to an overdose, leaving the band's state in tatters. Would there still be a Pretenders ?\r\n
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      \r\n
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    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -limitedEdition: true
    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=-KosB3XJO_s"
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    -titreMorceau: [
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2111 …}
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      date: 2025-11-05 08:17:37.0 UTC (+00:00)
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[
  "produit" => App\Entity\Produit {#2125
    -id: 2346
    -nom: "Greetings from Asbury Park, N.J. - UltraDisc One-Step (1 LP) 33 RPM Box Set"
    -informationComplementaire: null
    -description: """
      - ULTRADISC ONE-STEP BOX SET OF BRUCE SPRINGSTEEN'S 1973 DEBUT PLAYS WITH AUDIOPHILE SOUND : LIMITED TO 7500 NUMBERED COPIES !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Teeming with identifiable characters, youthful romanticism, vivid narratives, and sophisticated arrangements, Greetings from Asbury Park, N.J. is a personal postcard from the heart, soul, and mind of a rock ’n’ roll lifer bent on discovering his world and what lays beyond it. The 1973 album establishes many of the signature themes and sounds Bruce Springsteen would embrace throughout his unparalleled career. No wonder a majority of the songs “Blinded by the Light”, “Lost in the Flood”, “Spirit in the Night” included remain staples of the New Jersey native’s fabled concerts.\r\n
      \r\n
      Sourced from the original analog master tapes, pressed at RTI on MoFi SuperVinyl, and strictly limited to 7,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180 gram 33 RPM LP set is the definitive-sounding version of Springsteen’s daring debut. Afforded the benefits of SuperVinyl’s nearly non-existent noise floor, Greetings from Asbury Park, N.J. plays with a clarity, directness, and emotionalism that practically whisks you into the New York office in which Springsteen accompanied by then-manager Mike Appel played a few originals for legendary Columbia Records executive John Hammond and earned a record deal.  \r\n
      \r\n
      That solo-centric aspect of Greetings from Asbury Park, N.J. credited only to Springsteen and featuring only a handful of accompanying musicians helps make it unique in his catalog. So do the acoustic-based frameworks, revealed on this pressing with newly exposed detail, nuance, and immediacy. The music emerges with an openness that gives flight to the Boss’ storytelling. His words flow with unbridled, stream-of-conscious pacing and vibrant imagery; they pay homage to and update a tradition established by Bob Dylan, Woody Guthrie, and Jack Kerouac. Equally important, Springsteen’s still-underrated vocal performances can now be appreciated in full-range fidelity. Earnest, transparent, and sincere, his singing comes across with an urgency that distinguishes him from the era’s singer-songwriter mold and a raw energy that underlines his unflinching belief in rock ’n’ roll. \r\n
      \r\n
      Recorded in just three weeks, Greetings from Asbury Park, N.J. also stands out by way of its insightful artwork. Designed by Grammy winner John Berg, the inviting cover is appointed with images of the local landmarks, beachfronts, and geography that provide the backdrops for some of the songs. Those graphics are complemented by the beautiful packaging of Mobile Fidelity’s UD1S edition. Tucked in a sleek slipcase, the LP is housed in a special foil-stamped jacket with faithful-to-the-original graphics. In every way, this reissue is made for listeners who prize sound quality and who want to engage themselves in everything involved with this invigorating album.\r\n
      \r\n
      An aspirational declaration by a then-23-year-old musician who was already a seasoned veteran of the Jersey Shore bar-band scene, Greetings from Asbury Park, N.J. can in many ways be seen as a semi-fictional autobiography released more than four decades before Springsteen penned his official tome. Elaborate, descriptive, and absorbing, Springsteen’s lyrics spark with the enthusiasm and exuberance of a wide-eyed adventurer ready for possibility, excitement, and fun but who is also mindful of loss, pain, and disappointment. Words often tumble and collide like dice spilling from a jar; shaken and fully intact, they pour forth with purpose and without self-conscious concern. \r\n
      \r\n
      One of two songs composed after label president Clive Davis cited the need for a radio-friendly single, the opening “Blinded by the Light” provides an unforgettable introduction. It flares with a blend of confidence, fun, and poetry that helps define Greetings from Asbury Park, N.J. Crackling with wiry guitars, funky chords, Clarence Clemons’ cool-toned saxophone, and action-packed lyrics, the shuffle simultaneously expands and contracts and establishes Springsteen as a master of rhyme, alliteration, and breathless expression. The thread continues on “Growin’ Up”. Steered by ascending piano lines, soulful grooves, and frisky rhythms, the coming-of-age confessional is at once rebellious and controlled, fearless and vulnerable, honest and boastful. It is a tale to which multiple generations still relate. \r\n
      \r\n
      Such universality has always been a Springsteen trademark. It surfaces throughout Greetings from Asbury Park, N.J., as does another Boss hallmark : the importance of friendship and tight bonds. These concepts relate to the fact many of the songs see the feverish “Does This Bus Stop at 82nd Street ?”, strutting “It’s So Hard to Be a Saint in the City”, and tender “For You”, the latter complete with brilliant Hammond organ shading are directly tied to the friends, acquaintances, places, and happenings he knew. “Lost in the Flood”, whose cinematic drama and epic scope hint at the directions Springsteen would pursue on his next LP, extends that familiarity while addressing the kind of socially conscious issues with which he’s forever been associated.\r\n
      \r\n
      Balancing the label’s vision of him as a folk-based singer-songwriter and his own desire to play rock ‘n’ roll with a full band, Springsteen never again made a record like Greetings from Asbury Park, N.J. One of the most captivating debuts in history, it heralds the start of a legacy whose import Springsteen seemingly foretells on “Blinded by the Light” : “He’s gonna make it tonight”. And how.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps : the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl 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: "179.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Bruce Springsteen (electric & acoustic guitar, vocals),  harmonica, congas, bass), Garry Tallent (bass), David Sancious (piano, organ), Clarence Clemmons (saxophone), Vincent "Loper" Lopez (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=7Iaca30QbOo"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL UD1S-055"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Blinded by the Light "
        "ordre" => 1
      ]
      [
        "nom" => "2. Growin’ Up "
        "ordre" => 2
      ]
      [
        "nom" => "3. Mary Queen of Arkansas "
        "ordre" => 3
      ]
      [
        "nom" => "4. Does This Bus Stop at 82nd Street ? "
        "ordre" => 4
      ]
      [
        "nom" => "5. Lost in the Flood"
        "ordre" => 5
      ]
      [
        "nom" => "Side B : "
        "ordre" => 6
      ]
      [
        "nom" => "1. The Angel "
        "ordre" => 7
      ]
      [
        "nom" => "2. For You "
        "ordre" => 8
      ]
      [
        "nom" => "3. Spirit in the Night "
        "ordre" => 9
      ]
      [
        "nom" => "4. It’s Hard to Be a Saint in the City"
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2127 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2136 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2129 …}
    -typeMasterTape: null
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    -produitTestePar: null
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    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2131 …}
    -enregistreLe: DateTime @1672994643 {#2122
      date: 2023-01-06 08:44:03.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762156982 {#2123
      date: 2025-11-03 08:03:02.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2133 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-greetings-from-asbury-park-n-j-ultradisc-one-step-1-lp-33-rpm-box-set-mobile-fidelity-sound-lab-mfsl-ud1s-055"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3499
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2125
    -id: 2346
    -nom: "Greetings from Asbury Park, N.J. - UltraDisc One-Step (1 LP) 33 RPM Box Set"
    -informationComplementaire: null
    -description: """
      - ULTRADISC ONE-STEP BOX SET OF BRUCE SPRINGSTEEN'S 1973 DEBUT PLAYS WITH AUDIOPHILE SOUND : LIMITED TO 7500 NUMBERED COPIES !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Teeming with identifiable characters, youthful romanticism, vivid narratives, and sophisticated arrangements, Greetings from Asbury Park, N.J. is a personal postcard from the heart, soul, and mind of a rock ’n’ roll lifer bent on discovering his world and what lays beyond it. The 1973 album establishes many of the signature themes and sounds Bruce Springsteen would embrace throughout his unparalleled career. No wonder a majority of the songs “Blinded by the Light”, “Lost in the Flood”, “Spirit in the Night” included remain staples of the New Jersey native’s fabled concerts.\r\n
      \r\n
      Sourced from the original analog master tapes, pressed at RTI on MoFi SuperVinyl, and strictly limited to 7,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180 gram 33 RPM LP set is the definitive-sounding version of Springsteen’s daring debut. Afforded the benefits of SuperVinyl’s nearly non-existent noise floor, Greetings from Asbury Park, N.J. plays with a clarity, directness, and emotionalism that practically whisks you into the New York office in which Springsteen accompanied by then-manager Mike Appel played a few originals for legendary Columbia Records executive John Hammond and earned a record deal.  \r\n
      \r\n
      That solo-centric aspect of Greetings from Asbury Park, N.J. credited only to Springsteen and featuring only a handful of accompanying musicians helps make it unique in his catalog. So do the acoustic-based frameworks, revealed on this pressing with newly exposed detail, nuance, and immediacy. The music emerges with an openness that gives flight to the Boss’ storytelling. His words flow with unbridled, stream-of-conscious pacing and vibrant imagery; they pay homage to and update a tradition established by Bob Dylan, Woody Guthrie, and Jack Kerouac. Equally important, Springsteen’s still-underrated vocal performances can now be appreciated in full-range fidelity. Earnest, transparent, and sincere, his singing comes across with an urgency that distinguishes him from the era’s singer-songwriter mold and a raw energy that underlines his unflinching belief in rock ’n’ roll. \r\n
      \r\n
      Recorded in just three weeks, Greetings from Asbury Park, N.J. also stands out by way of its insightful artwork. Designed by Grammy winner John Berg, the inviting cover is appointed with images of the local landmarks, beachfronts, and geography that provide the backdrops for some of the songs. Those graphics are complemented by the beautiful packaging of Mobile Fidelity’s UD1S edition. Tucked in a sleek slipcase, the LP is housed in a special foil-stamped jacket with faithful-to-the-original graphics. In every way, this reissue is made for listeners who prize sound quality and who want to engage themselves in everything involved with this invigorating album.\r\n
      \r\n
      An aspirational declaration by a then-23-year-old musician who was already a seasoned veteran of the Jersey Shore bar-band scene, Greetings from Asbury Park, N.J. can in many ways be seen as a semi-fictional autobiography released more than four decades before Springsteen penned his official tome. Elaborate, descriptive, and absorbing, Springsteen’s lyrics spark with the enthusiasm and exuberance of a wide-eyed adventurer ready for possibility, excitement, and fun but who is also mindful of loss, pain, and disappointment. Words often tumble and collide like dice spilling from a jar; shaken and fully intact, they pour forth with purpose and without self-conscious concern. \r\n
      \r\n
      One of two songs composed after label president Clive Davis cited the need for a radio-friendly single, the opening “Blinded by the Light” provides an unforgettable introduction. It flares with a blend of confidence, fun, and poetry that helps define Greetings from Asbury Park, N.J. Crackling with wiry guitars, funky chords, Clarence Clemons’ cool-toned saxophone, and action-packed lyrics, the shuffle simultaneously expands and contracts and establishes Springsteen as a master of rhyme, alliteration, and breathless expression. The thread continues on “Growin’ Up”. Steered by ascending piano lines, soulful grooves, and frisky rhythms, the coming-of-age confessional is at once rebellious and controlled, fearless and vulnerable, honest and boastful. It is a tale to which multiple generations still relate. \r\n
      \r\n
      Such universality has always been a Springsteen trademark. It surfaces throughout Greetings from Asbury Park, N.J., as does another Boss hallmark : the importance of friendship and tight bonds. These concepts relate to the fact many of the songs see the feverish “Does This Bus Stop at 82nd Street ?”, strutting “It’s So Hard to Be a Saint in the City”, and tender “For You”, the latter complete with brilliant Hammond organ shading are directly tied to the friends, acquaintances, places, and happenings he knew. “Lost in the Flood”, whose cinematic drama and epic scope hint at the directions Springsteen would pursue on his next LP, extends that familiarity while addressing the kind of socially conscious issues with which he’s forever been associated.\r\n
      \r\n
      Balancing the label’s vision of him as a folk-based singer-songwriter and his own desire to play rock ‘n’ roll with a full band, Springsteen never again made a record like Greetings from Asbury Park, N.J. One of the most captivating debuts in history, it heralds the start of a legacy whose import Springsteen seemingly foretells on “Blinded by the Light” : “He’s gonna make it tonight”. And how.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps : the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl 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: "179.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Bruce Springsteen (electric & acoustic guitar, vocals),  harmonica, congas, bass), Garry Tallent (bass), David Sancious (piano, organ), Clarence Clemmons (saxophone), Vincent "Loper" Lopez (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=7Iaca30QbOo"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL UD1S-055"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Blinded by the Light "
        "ordre" => 1
      ]
      [
        "nom" => "2. Growin’ Up "
        "ordre" => 2
      ]
      [
        "nom" => "3. Mary Queen of Arkansas "
        "ordre" => 3
      ]
      [
        "nom" => "4. Does This Bus Stop at 82nd Street ? "
        "ordre" => 4
      ]
      [
        "nom" => "5. Lost in the Flood"
        "ordre" => 5
      ]
      [
        "nom" => "Side B : "
        "ordre" => 6
      ]
      [
        "nom" => "1. The Angel "
        "ordre" => 7
      ]
      [
        "nom" => "2. For You "
        "ordre" => 8
      ]
      [
        "nom" => "3. Spirit in the Night "
        "ordre" => 9
      ]
      [
        "nom" => "4. It’s Hard to Be a Saint in the City"
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2127 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2136 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2129 …}
    -typeMasterTape: null
    -marque: null
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    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2131 …}
    -enregistreLe: DateTime @1672994643 {#2122
      date: 2023-01-06 08:44:03.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762156982 {#2123
      date: 2025-11-03 08:03:02.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2133 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-greetings-from-asbury-park-n-j-ultradisc-one-step-1-lp-33-rpm-box-set-mobile-fidelity-sound-lab-mfsl-ud1s-055"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
}

[
  "produit" => App\Entity\Produit {#2141
    -id: 1408
    -nom: "Tapestry"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Carole King (keyboards, piano, vocals), Danny Kootch, James Taylor (acoustic guitar), Terry King (cello), Danny Kootch (guitar, congas), Charles Larkey (double bass "string bass"), Charles Larkey (electric bass), Ralph Schuckett (electric piano), David Campbell (viola), Barry Socher (violin), Joel O'Brien, Russ Kunkel (drums).\r\n
      \r\n
      - Carole King's Tapestry Defined the Singer-Songwriter Movement, Swept Grammy Awards, Spawned Four Hit Singles, and Sold More Than 25 Million Copies Worldwide !\r\n
      - Mobile Fidelity's Numbered Edition 180 gram 33 RPM (1 LP) Is True to Producer's Original Intent: Experience and Feel King's Intimate Deliveries !\r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
      \r\n
      Carole King’s Tapestry is one of the rare albums that immediately plays in your head the moment its title, cover art, or songs are mentioned. Having achieved status of near-mythical proportions, it is the singer-songwriter record you’d likely bring to the proverbial desert island if you were limited to one choice.\r\n
      \r\n
      Renowned for its lifelike production, Tapestry now sounds clearer, richer, and more emotional courtesy of Mobile Fidelity’s numbered-edition 180g LP. Faithful to original album producer Lou Adler’s vision of making King (and not just any pianist player) appear seated and playing in front of listeners, this audiophile reissue plays with stellar transparency, balance, warmth, intimacy, and perhaps most importantly, feeling. \r\n
      \r\n
      The results mirror what went down in the A&M Studios. Lean, simple, direct, and so nakedly real the sonics evoke what might be heard on a professional demo tape, this collectable Mobile Fidelity LP gives what Rolling Stonedeems the 36th Greatest Album of All Time the due it deserves. King's personal singing, her graceful pianism, the integral rhythmic foundation provided by the likes of drummer Russ Kunkel and guitarist Danny Kortchmar, and the symmetrical contributions of guest instrumentalists ranging from saxophonist Curtis Amy to guitarist James Taylor resonate with three-dimensional imaging and cozy realism. Every note, every basic movement, accurately rendered with exquisite detail and full-bodied tonality.\r\n
      \r\n
      Indeed, one reason-apart from the flawless songwriting, earnest deliveries, and eloquent performances Tapestry endures is because of the naturalness of the production and songs. King's unadulterated articulations on love, conviction, friendship, place, sadness, and companionship ring true because there's no doubting their meaning, intent, or sincerity. Tapestry makes you feel, and compels you to get closer to the music, and the musicians performing. It is an album of organic nuances, suggestive intents, and engaging melodies.\r\n
      \r\n
      Thematically, classics such as "You've Got a Friend", "I Feel the Earth Move", "Will You Love Me Tomorrow", and "(You Make Me Feel Like) a Natural Woman" resonate because they address universal sensibilities and the human condition. They, like all of Tapestry, are relaxed yet emancipating, strong yet mellow, comfortable yet terrifically beautiful and lastingly unique. Four major Grammy Awards, four Top 10 singles, sales of more than 25 million copies, and one of the first albums chosen for inclusion in the National Recording Registry just seem like icing on the cake.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Carole King (keyboards, piano, vocals), Danny Kootch, James Taylor (acoustic guitar), Terry King (cello), Danny Kootch (guitar, congas), Charles Larkey (double bass "string bass"), Charles Larkey (electric bass), Ralph Schuckett (electric piano)…"
    -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=6913KnbMpHM"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-414"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. I Feel the Earth Move "
        "ordre" => 1
      ]
      [
        "nom" => "2. So Far Away "
        "ordre" => 2
      ]
      [
        "nom" => "3. Its Too Late "
        "ordre" => 3
      ]
      [
        "nom" => "4. Home Again  "
        "ordre" => 4
      ]
      [
        "nom" => "5. Beautiful "
        "ordre" => 5
      ]
      [
        "nom" => "6. Way Over Yonder "
        "ordre" => 6
      ]
      [
        "nom" => "Side B : "
        "ordre" => 7
      ]
      [
        "nom" => "1. You've Got a Friend "
        "ordre" => 8
      ]
      [
        "nom" => "2. Where You Lead"
        "ordre" => 9
      ]
      [
        "nom" => "3. Will You Love Me Tomorrow ?"
        "ordre" => 10
      ]
      [
        "nom" => "4. Smackwater Jack"
        "ordre" => 11
      ]
      [
        "nom" => "5. Tapestry"
        "ordre" => 12
      ]
      [
        "nom" => "6. (You Make Me Feel Like) A Natural Woman"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2143 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2152 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2145 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2147 …}
    -enregistreLe: DateTime @1541316385 {#2138
      date: 2018-11-04 07:26:25.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1761688133 {#2139
      date: 2025-10-28 21:48:53.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2149 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-tapestry-mobile-fidelity-sound-lab-mfsl-1-414"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3550
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2141
    -id: 1408
    -nom: "Tapestry"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Carole King (keyboards, piano, vocals), Danny Kootch, James Taylor (acoustic guitar), Terry King (cello), Danny Kootch (guitar, congas), Charles Larkey (double bass "string bass"), Charles Larkey (electric bass), Ralph Schuckett (electric piano), David Campbell (viola), Barry Socher (violin), Joel O'Brien, Russ Kunkel (drums).\r\n
      \r\n
      - Carole King's Tapestry Defined the Singer-Songwriter Movement, Swept Grammy Awards, Spawned Four Hit Singles, and Sold More Than 25 Million Copies Worldwide !\r\n
      - Mobile Fidelity's Numbered Edition 180 gram 33 RPM (1 LP) Is True to Producer's Original Intent: Experience and Feel King's Intimate Deliveries !\r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
      \r\n
      Carole King’s Tapestry is one of the rare albums that immediately plays in your head the moment its title, cover art, or songs are mentioned. Having achieved status of near-mythical proportions, it is the singer-songwriter record you’d likely bring to the proverbial desert island if you were limited to one choice.\r\n
      \r\n
      Renowned for its lifelike production, Tapestry now sounds clearer, richer, and more emotional courtesy of Mobile Fidelity’s numbered-edition 180g LP. Faithful to original album producer Lou Adler’s vision of making King (and not just any pianist player) appear seated and playing in front of listeners, this audiophile reissue plays with stellar transparency, balance, warmth, intimacy, and perhaps most importantly, feeling. \r\n
      \r\n
      The results mirror what went down in the A&M Studios. Lean, simple, direct, and so nakedly real the sonics evoke what might be heard on a professional demo tape, this collectable Mobile Fidelity LP gives what Rolling Stonedeems the 36th Greatest Album of All Time the due it deserves. King's personal singing, her graceful pianism, the integral rhythmic foundation provided by the likes of drummer Russ Kunkel and guitarist Danny Kortchmar, and the symmetrical contributions of guest instrumentalists ranging from saxophonist Curtis Amy to guitarist James Taylor resonate with three-dimensional imaging and cozy realism. Every note, every basic movement, accurately rendered with exquisite detail and full-bodied tonality.\r\n
      \r\n
      Indeed, one reason-apart from the flawless songwriting, earnest deliveries, and eloquent performances Tapestry endures is because of the naturalness of the production and songs. King's unadulterated articulations on love, conviction, friendship, place, sadness, and companionship ring true because there's no doubting their meaning, intent, or sincerity. Tapestry makes you feel, and compels you to get closer to the music, and the musicians performing. It is an album of organic nuances, suggestive intents, and engaging melodies.\r\n
      \r\n
      Thematically, classics such as "You've Got a Friend", "I Feel the Earth Move", "Will You Love Me Tomorrow", and "(You Make Me Feel Like) a Natural Woman" resonate because they address universal sensibilities and the human condition. They, like all of Tapestry, are relaxed yet emancipating, strong yet mellow, comfortable yet terrifically beautiful and lastingly unique. Four major Grammy Awards, four Top 10 singles, sales of more than 25 million copies, and one of the first albums chosen for inclusion in the National Recording Registry just seem like icing on the cake.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Carole King (keyboards, piano, vocals), Danny Kootch, James Taylor (acoustic guitar), Terry King (cello), Danny Kootch (guitar, congas), Charles Larkey (double bass "string bass"), Charles Larkey (electric bass), Ralph Schuckett (electric piano)…"
    -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=6913KnbMpHM"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-414"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
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      [
        "nom" => "1. I Feel the Earth Move "
        "ordre" => 1
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        "nom" => "2. So Far Away "
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        "nom" => "3. Its Too Late "
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        "nom" => "4. Home Again  "
        "ordre" => 4
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        "nom" => "5. Beautiful "
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        "nom" => "6. Way Over Yonder "
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        "nom" => "Side B : "
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        "nom" => "1. You've Got a Friend "
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      [
        "nom" => "2. Where You Lead"
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        "nom" => "3. Will You Love Me Tomorrow ?"
        "ordre" => 10
      ]
      [
        "nom" => "4. Smackwater Jack"
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        "nom" => "5. Tapestry"
        "ordre" => 12
      ]
      [
        "nom" => "6. (You Make Me Feel Like) A Natural Woman"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2143 …}
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[
  "produit" => App\Entity\Produit {#2157
    -id: 1921
    -nom: "Love Devotion Surrender"
    -informationComplementaire: null
    -description: """
      - Numbered, Limited Edition 180 gram Vinyl LP !\r\n
      - Pressed at Fidelity Record Pressing !\r\n
      - 1973 Meeting of Santana and John McLaughlin Yields Spiritual Transcendence : Love Devotion Surrender Is Inspired by John Coltrane and a Quest for Enlightenment !\r\n
      - Sourced from the Original Master Tapes : Tones, Textures, and Notes Float Amid a Large, Open Soundstage !\r\n
      - 1/4" / 15 IPS Analog Mmaster to DSD 64 to Analog Console to Lathe !\r\n
      \r\n
      Two guitar giants. A band comprised of virtuosic instrumentalists. One shared goal. And one tremendous album. The only meeting of Santana and John McLaughlin on record, Love Devotion Surrender more than lives up to the promise offered by its principal creators. Based in divine faith, religious toleration, meditative intent, and the forward-thinking philosophy that music can take us closer to the truth, it is a spiritual journey. These enlightening concepts are reflected in the inspired playing of Santana and McLaughlin, who repeatedly hit a higher plane on this 1973 set.\r\n
      \r\n
      Sourced from the original analog master tapes, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing in California, Mobile Fidelity's numbered-edition 180 gram LP of Love Devotion Surrender benefits from the reissue label's painstaking engineering efforts. The windows on the record's give-and-take passages, sustained notes, and varied textures are thrown open with palpable transparency and detail. Laden with delicate acoustic touches and gentle piano touches, as well as powerful staccato bursts and fast-paced percussion, Love Devotion Surrender contains a dynamic mix of tempos, tones, and contrasts crucial to its optimal enjoyment. This collectible edition brings those aspects to the fore with extraordinary realism.\r\n
      \r\n
      In addition, the pinpoint imaging Santana primarily on the left, McLaughlin on the right invites you to picture the musicians in the act. You'll sense a newfound freedom and naturalism to the playback, as well as black backgrounds and an openness that allow the widespread array of textures, atmospherics, echoes, and neo-psychedelic shapes to float in the air. Call it jamming guided by a higher power or surreal art brought together by time, circumstance, and purpose; there really is no other album completely like it.\r\n
      \r\n
      Having each become a follower of Indian guru Sri Chinmoy, who wrote the album's extensive liner-note essay and is seen in several jacket photos, Santana and McLaughlin began playing together in 1972. Both legends found themselves in the midst of personal and creative transition. Santana was moving away from rock-based songs in favor of exploratory jazz-rock. A contemporary of Miles Davis, McLaughlin had already achieved fame with the Mahavishnu Orchestra, then on the brink of collapse due to internal disagreements.\r\n
      \r\n
      On Love Devotion Surrender, the duo pools its interests in discovery and transcendence into gorgeous music steeped in improvisational lines, ecstatic chords, and sensitive organ accompaniment courtesy of the record's best-kept secret, Larry Young. The former Blue Note recording artist had already connected with McLaughlin in the Tony Williams Lifeline, which began as a power trio and turned jazz on its head with its groundbreaking 1969 debut. Young's ear for melody and fearless penchant for chasing down adventurous fusion leads — not to mention keeping pace with the headliners, no small feat make him an ideal foil for the proto post-rock happening throughout.\r\n
      \r\n
      Credited under his Muslim name, Khalid Yasin, Young isn't the only standout. Several Santana contemporaries bassist Doug Rauch, drummers Mike Shrieve and Billy Cobham, percussionists Mingo Lewis and Armando Peraza play alongside Mahavishnu Orchestra member Jan Hammer and Tony Williams Lifeline drummer Don Alias, who already had credits on Davis' seminal Bitches Brew and On the Corner. Complemented by Santana and McLaughlin, the ensemble sounds and feels unstoppable.\r\n
      \r\n
      In addition to the band's search for sacred soulfulness, the common denominator throughout is John Coltrane, who engaged in similar pursuits during the 1960s. Two of the five compositions "A Love Supreme", "Naima" are interpretations of Coltrane standards while the lynchpin, a nearly 16-minute investigation into the traditional "Let Us Go Into the House of the Lord", integrates free-form structure, jazz phrasing, gospel mysticism, cross-cut dynamics, and tonal shaping into one of the most uplifting pieces of music you'll ever hear. The same can be said for the entirety of Love Devotion Surrender. Bow down.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Carlos Santana (guitar), Mahavishnu John McLaughlin (guitar, piano), Doug Rauch (bass), Armando Peraza (congas), Khalid Yasin (organ), James ‘’Mingo’’ Lewis (percussion), Billy Cobham, Don Alias, Jan Hammer (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=mmIaubt4NWY&list=PLfJndz0utgOMu3CLIvex71J0gFt0pDtD7"
    -referenceProduit: "Mobile Fidelity Sound Lab 1-536"
    -titreMorceau: [
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        "nom" => "Side A : "
        "ordre" => 0
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        "nom" => "1. A Love Supreme"
        "ordre" => 1
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        "nom" => "2. Naima"
        "ordre" => 2
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      [
        "nom" => "3. The Life Divine"
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      [
        "nom" => "Side B : "
        "ordre" => 4
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      [
        "nom" => "1. Let Us Go Into The House Of The Lord"
        "ordre" => 5
      ]
      [
        "nom" => "2. Meditation"
        "ordre" => 6
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2159 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
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    -modifierLe: DateTime @1761686750 {#2155
      date: 2025-10-28 21:25:50.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -slug: "vinyles-love-devotion-surrender-mobile-fidelity-sound-lab-1-536"
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  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2157
    -id: 1921
    -nom: "Love Devotion Surrender"
    -informationComplementaire: null
    -description: """
      - Numbered, Limited Edition 180 gram Vinyl LP !\r\n
      - Pressed at Fidelity Record Pressing !\r\n
      - 1973 Meeting of Santana and John McLaughlin Yields Spiritual Transcendence : Love Devotion Surrender Is Inspired by John Coltrane and a Quest for Enlightenment !\r\n
      - Sourced from the Original Master Tapes : Tones, Textures, and Notes Float Amid a Large, Open Soundstage !\r\n
      - 1/4" / 15 IPS Analog Mmaster to DSD 64 to Analog Console to Lathe !\r\n
      \r\n
      Two guitar giants. A band comprised of virtuosic instrumentalists. One shared goal. And one tremendous album. The only meeting of Santana and John McLaughlin on record, Love Devotion Surrender more than lives up to the promise offered by its principal creators. Based in divine faith, religious toleration, meditative intent, and the forward-thinking philosophy that music can take us closer to the truth, it is a spiritual journey. These enlightening concepts are reflected in the inspired playing of Santana and McLaughlin, who repeatedly hit a higher plane on this 1973 set.\r\n
      \r\n
      Sourced from the original analog master tapes, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing in California, Mobile Fidelity's numbered-edition 180 gram LP of Love Devotion Surrender benefits from the reissue label's painstaking engineering efforts. The windows on the record's give-and-take passages, sustained notes, and varied textures are thrown open with palpable transparency and detail. Laden with delicate acoustic touches and gentle piano touches, as well as powerful staccato bursts and fast-paced percussion, Love Devotion Surrender contains a dynamic mix of tempos, tones, and contrasts crucial to its optimal enjoyment. This collectible edition brings those aspects to the fore with extraordinary realism.\r\n
      \r\n
      In addition, the pinpoint imaging Santana primarily on the left, McLaughlin on the right invites you to picture the musicians in the act. You'll sense a newfound freedom and naturalism to the playback, as well as black backgrounds and an openness that allow the widespread array of textures, atmospherics, echoes, and neo-psychedelic shapes to float in the air. Call it jamming guided by a higher power or surreal art brought together by time, circumstance, and purpose; there really is no other album completely like it.\r\n
      \r\n
      Having each become a follower of Indian guru Sri Chinmoy, who wrote the album's extensive liner-note essay and is seen in several jacket photos, Santana and McLaughlin began playing together in 1972. Both legends found themselves in the midst of personal and creative transition. Santana was moving away from rock-based songs in favor of exploratory jazz-rock. A contemporary of Miles Davis, McLaughlin had already achieved fame with the Mahavishnu Orchestra, then on the brink of collapse due to internal disagreements.\r\n
      \r\n
      On Love Devotion Surrender, the duo pools its interests in discovery and transcendence into gorgeous music steeped in improvisational lines, ecstatic chords, and sensitive organ accompaniment courtesy of the record's best-kept secret, Larry Young. The former Blue Note recording artist had already connected with McLaughlin in the Tony Williams Lifeline, which began as a power trio and turned jazz on its head with its groundbreaking 1969 debut. Young's ear for melody and fearless penchant for chasing down adventurous fusion leads — not to mention keeping pace with the headliners, no small feat make him an ideal foil for the proto post-rock happening throughout.\r\n
      \r\n
      Credited under his Muslim name, Khalid Yasin, Young isn't the only standout. Several Santana contemporaries bassist Doug Rauch, drummers Mike Shrieve and Billy Cobham, percussionists Mingo Lewis and Armando Peraza play alongside Mahavishnu Orchestra member Jan Hammer and Tony Williams Lifeline drummer Don Alias, who already had credits on Davis' seminal Bitches Brew and On the Corner. Complemented by Santana and McLaughlin, the ensemble sounds and feels unstoppable.\r\n
      \r\n
      In addition to the band's search for sacred soulfulness, the common denominator throughout is John Coltrane, who engaged in similar pursuits during the 1960s. Two of the five compositions "A Love Supreme", "Naima" are interpretations of Coltrane standards while the lynchpin, a nearly 16-minute investigation into the traditional "Let Us Go Into the House of the Lord", integrates free-form structure, jazz phrasing, gospel mysticism, cross-cut dynamics, and tonal shaping into one of the most uplifting pieces of music you'll ever hear. The same can be said for the entirety of Love Devotion Surrender. Bow down.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Carlos Santana (guitar), Mahavishnu John McLaughlin (guitar, piano), Doug Rauch (bass), Armando Peraza (congas), Khalid Yasin (organ), James ‘’Mingo’’ Lewis (percussion), Billy Cobham, Don Alias, Jan Hammer (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=mmIaubt4NWY&list=PLfJndz0utgOMu3CLIvex71J0gFt0pDtD7"
    -referenceProduit: "Mobile Fidelity Sound Lab 1-536"
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        "nom" => "1. A Love Supreme"
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        "nom" => "1. Let Us Go Into The House Of The Lord"
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      ]
      [
        "nom" => "2. Meditation"
        "ordre" => 6
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2159 …}
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      date: 2025-10-28 21:25:50.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2165 …}
    -disponible: null
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    -slug: "vinyles-love-devotion-surrender-mobile-fidelity-sound-lab-1-536"
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[
  "produit" => App\Entity\Produit {#2173
    -id: 868
    -nom: "Bill Withers' Greatest Hits"
    -informationComplementaire: null
    -description: """
      Bill Withers' Smooth Soul Voice, Mellow Grooves, and Gospel Accents Inform Beloved Work : Booker T. Jones, Al Jackson, and Stephen Stills Among Guests !\r\n
      \r\n
      Bill Withers created mellow, downhome-style soul for barely more than a decade before retreating from the industry to pursue craftsman interests. Yet over the course of the handful of albums he made for Sussex and CBS, the Appalachian native struck lasting emotional chords in legends ranging from Booker T. Jones to Stephen Stills – not to mention the millions of listeners that fell under the spell of now-standard tracks such as "Lean on Me", "Use Me", and "Ain't No Sunshine". The antithesis of the sweaty R&B shouter that prowled the edge of stages, Withers dealt in calm and vulnerability, qualities that come to fore on the seminal Bill Withers' Greatest Hits.\r\n
      \r\n
      Pressed at RTI, Mobile Fidelity's vinyl reissue of the 1981 compilation provides a transparent view of Withers' relaxing timbre and the subtle grooves underlining his arrangements. Characteristics ranging from the tension of the guitars, funky bends of the bass, whisper-soft coo of the formal strings, airiness of the backing harmonies, and sharpness of the snare drum emerge with utmost clarity and lifelike presence. Always prized for its naked honesty and pure conviction, Withers' music positively caresses the senses on this LP, the unadulterated production and beautiful soundscapes revealed anew with each listen.\r\n
      \r\n
      Incredibly, Withers almost never got a shot at recording. After receiving a deal from Sussex while laboring as a toilet-seat manufacturer, he landed in the care of Stax bandleader Booker T. Jones, who gathered most of his fellow MG members – along with Stills and Jim Keltner – to assist in Withers' debut. Two takes from those sessions, the Grammy-winning "Ain't No Sunshine" and devotional "Grandma's Hands", are included here, and showcase the vocalist's incredible breath control, folksy drawl, and restrained phrasing. They also indicate his penchant for converting biographical experience into eminently catchy combinations of pop, gospel, blues, and soul.\r\n
      \r\n
      Evidence of Withers' crossover appeal is found not only via his chart successes on both the pop and R&B charts, but in the DNA of his best work. There's not one forgettable moment on Greatest Hits. Covered by the likes of Fiona Apple, Mick Jagger, Isaac Hayes, Alicia Keys, and dozens more, "Use Me" rides a riveting clarinet riff and urban tempo to express the double-edged feelings associated with an edgy relationship. On the loping "Who Is He (And What Is He to You ?)", Withers again splits the bitter and sweet. For the Latin-tinged "Lovely Day", Withers holds a single note for 18 seconds and composed a song that's been sampled and rerecorded countless times by artists spanning Diana Ross to R. Kelly. And with "Lean on Me", the West Virginian devised a masterpiece that's been for more than four decades part of the classic American songbook, an updated hymn carried to immortality by members of the Charles Wright & 103rd Street Rhythm Band.\r\n
      \r\n
      A veritable template for British soul contemporaries like Sam Smith and an extension of the timeless fare explored by Van Morrison, Curtis Mayfield, and Al Green, Bill Withers' Greatest Hits belongs in every music lover's library.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Bill\u{202F}Withers (guitar, keyboards, vocals), Benorce\u{202F}Blackmon (guitar), Ray\u{202F}Jackson (keyboards), Donald “Duck”\u{202F}Dunn, Melvin\u{202F}Dunlap (bass guitar), Stephen\u{202F}Stills (guitar), James\u{202F}Gadson (drums & percussion), Al\u{202F}Jackson\u{202F}Jr. (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=-Oo_opYPc_o&list=PLm4I8tP6UbWYABHG6b6AKGK0t9P5v3irF&index=2"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-445"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "1. Just the Two of Us"
        "ordre" => 1
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      [
        "nom" => "2. Use Me"
        "ordre" => 2
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      [
        "nom" => "3. Ain't No Sunshine"
        "ordre" => 3
      ]
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        "nom" => "4. Lovely Day"
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      [
        "nom" => "5. I Want to Spend the Night"
        "ordre" => 5
      ]
      [
        "nom" => "Side B :"
        "ordre" => 6
      ]
      [
        "nom" => "6. Soul Shadows"
        "ordre" => 7
      ]
      [
        "nom" => "7. Lean on Me"
        "ordre" => 8
      ]
      [
        "nom" => "8. Grandma's Hands"
        "ordre" => 9
      ]
      [
        "nom" => "9. Hello Like Before"
        "ordre" => 10
      ]
      [
        "nom" => "10. Who Is He (And What Is He to You) ?"
        "ordre" => 11
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2175 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
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    -produitTestePar: null
    -adresseInternetTest: null
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    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2179 …}
    -enregistreLe: DateTime @1455055257 {#2170
      date: 2016-02-09 22:00:57.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1761122955 {#2171
      date: 2025-10-22 08:49:15.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2181 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-bill-withers-greatest-hits-mobile-fidelity-sound-lab-mfsl-1-445"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3652
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2173
    -id: 868
    -nom: "Bill Withers' Greatest Hits"
    -informationComplementaire: null
    -description: """
      Bill Withers' Smooth Soul Voice, Mellow Grooves, and Gospel Accents Inform Beloved Work : Booker T. Jones, Al Jackson, and Stephen Stills Among Guests !\r\n
      \r\n
      Bill Withers created mellow, downhome-style soul for barely more than a decade before retreating from the industry to pursue craftsman interests. Yet over the course of the handful of albums he made for Sussex and CBS, the Appalachian native struck lasting emotional chords in legends ranging from Booker T. Jones to Stephen Stills – not to mention the millions of listeners that fell under the spell of now-standard tracks such as "Lean on Me", "Use Me", and "Ain't No Sunshine". The antithesis of the sweaty R&B shouter that prowled the edge of stages, Withers dealt in calm and vulnerability, qualities that come to fore on the seminal Bill Withers' Greatest Hits.\r\n
      \r\n
      Pressed at RTI, Mobile Fidelity's vinyl reissue of the 1981 compilation provides a transparent view of Withers' relaxing timbre and the subtle grooves underlining his arrangements. Characteristics ranging from the tension of the guitars, funky bends of the bass, whisper-soft coo of the formal strings, airiness of the backing harmonies, and sharpness of the snare drum emerge with utmost clarity and lifelike presence. Always prized for its naked honesty and pure conviction, Withers' music positively caresses the senses on this LP, the unadulterated production and beautiful soundscapes revealed anew with each listen.\r\n
      \r\n
      Incredibly, Withers almost never got a shot at recording. After receiving a deal from Sussex while laboring as a toilet-seat manufacturer, he landed in the care of Stax bandleader Booker T. Jones, who gathered most of his fellow MG members – along with Stills and Jim Keltner – to assist in Withers' debut. Two takes from those sessions, the Grammy-winning "Ain't No Sunshine" and devotional "Grandma's Hands", are included here, and showcase the vocalist's incredible breath control, folksy drawl, and restrained phrasing. They also indicate his penchant for converting biographical experience into eminently catchy combinations of pop, gospel, blues, and soul.\r\n
      \r\n
      Evidence of Withers' crossover appeal is found not only via his chart successes on both the pop and R&B charts, but in the DNA of his best work. There's not one forgettable moment on Greatest Hits. Covered by the likes of Fiona Apple, Mick Jagger, Isaac Hayes, Alicia Keys, and dozens more, "Use Me" rides a riveting clarinet riff and urban tempo to express the double-edged feelings associated with an edgy relationship. On the loping "Who Is He (And What Is He to You ?)", Withers again splits the bitter and sweet. For the Latin-tinged "Lovely Day", Withers holds a single note for 18 seconds and composed a song that's been sampled and rerecorded countless times by artists spanning Diana Ross to R. Kelly. And with "Lean on Me", the West Virginian devised a masterpiece that's been for more than four decades part of the classic American songbook, an updated hymn carried to immortality by members of the Charles Wright & 103rd Street Rhythm Band.\r\n
      \r\n
      A veritable template for British soul contemporaries like Sam Smith and an extension of the timeless fare explored by Van Morrison, Curtis Mayfield, and Al Green, Bill Withers' Greatest Hits belongs in every music lover's library.
      """
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    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Bill\u{202F}Withers (guitar, keyboards, vocals), Benorce\u{202F}Blackmon (guitar), Ray\u{202F}Jackson (keyboards), Donald “Duck”\u{202F}Dunn, Melvin\u{202F}Dunlap (bass guitar), Stephen\u{202F}Stills (guitar), James\u{202F}Gadson (drums & percussion), Al\u{202F}Jackson\u{202F}Jr. (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=-Oo_opYPc_o&list=PLm4I8tP6UbWYABHG6b6AKGK0t9P5v3irF&index=2"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-445"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "1. Just the Two of Us"
        "ordre" => 1
      ]
      [
        "nom" => "2. Use Me"
        "ordre" => 2
      ]
      [
        "nom" => "3. Ain't No Sunshine"
        "ordre" => 3
      ]
      [
        "nom" => "4. Lovely Day"
        "ordre" => 4
      ]
      [
        "nom" => "5. I Want to Spend the Night"
        "ordre" => 5
      ]
      [
        "nom" => "Side B :"
        "ordre" => 6
      ]
      [
        "nom" => "6. Soul Shadows"
        "ordre" => 7
      ]
      [
        "nom" => "7. Lean on Me"
        "ordre" => 8
      ]
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        "nom" => "8. Grandma's Hands"
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      ]
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        "nom" => "9. Hello Like Before"
        "ordre" => 10
      ]
      [
        "nom" => "10. Who Is He (And What Is He to You) ?"
        "ordre" => 11
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2175 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2184 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2177 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2179 …}
    -enregistreLe: DateTime @1455055257 {#2170
      date: 2016-02-09 22:00:57.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1761122955 {#2171
      date: 2025-10-22 08:49:15.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2181 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-bill-withers-greatest-hits-mobile-fidelity-sound-lab-mfsl-1-445"
  }
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
}

[
  "produit" => App\Entity\Produit {#2189
    -id: 2568
    -nom: "Berlin"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Lou Reed (acoustic guitar, vocals), Jack Bruce (bass), Jon Pierson (bass trombone), Steve Winwood (organ, harmonium), Bob Ezrin (piano, mellotron), Michael Brecker (tenor saxophone), Randy Brecker (trumpet), Bob Ezrin, Dennis Ferrante, Dick Wagner, Elizabeth March, Lou Reed, Steve Hyden (choir), Aynsley Dunbar (drums).\r\n
      \r\n
      AN INTENSE JOURNEY INTO TOXIC RELATIONSHIPS BALANCED WITH GORGEOUS ARRANGEMENTS AND DARK HUMOR: LOU REED’S CONCEPTUAL BERLIN FEATURES A-LIST CAST AND BOB EZRIN PRODUCTION. \r\n
      \r\n
      - Sourced from the Original Master Tapes: Mobile Fidelity’s Numbered-Edition 180 gram Vinyl LP Presents the Singer-Songwriter’s 1973 Album in Audiophile Quality for the First Time, Includes Eight-Page Booklet Insert !\r\n
      - 1/4" / 15 IPS / Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Like the records he made with his first band, Berlin finds Lou Reed decades ahead of the times. Though dismissed upon its original release in 1973, the former Velvet Underground member’s third solo effort ultimately landed on Rolling Stone’s 500 Greatest Albums of All Time and remains one of his most lauded works.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Lou Reed (acoustic guitar, vocals), Jack Bruce (bass), Jon Pierson (bass trombone), Steve Winwood (organ, harmonium), Bob Ezrin (piano, mellotron), Michael Brecker (tenor saxophone), Randy Brecker (trumpet)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=S_1BwtPsgL0"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-555"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Berlin"
        "ordre" => 1
      ]
      [
        "nom" => "2. Lady Day"
        "ordre" => 2
      ]
      [
        "nom" => "3. Men Of Good Fortune"
        "ordre" => 3
      ]
      [
        "nom" => " 4. Caroline Says I"
        "ordre" => 4
      ]
      [
        "nom" => "5. How Do You Think It Feels"
        "ordre" => 5
      ]
      [
        "nom" => "6. Oh, Jim"
        "ordre" => 6
      ]
      [
        "nom" => "Side B : "
        "ordre" => 7
      ]
      [
        "nom" => "1. Caroline Says II"
        "ordre" => 8
      ]
      [
        "nom" => "2. The Kids"
        "ordre" => 9
      ]
      [
        "nom" => "3. The Bed"
        "ordre" => 10
      ]
      [
        "nom" => "4. Sad Song"
        "ordre" => 11
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2191 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2200 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2193 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2195 …}
    -enregistreLe: DateTime @1728137430 {#2186
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    }
    -modifierLe: DateTime @1761038549 {#2187
      date: 2025-10-21 09:22:29.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2197 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-berlin-mobile-fidelity-sound-lab-mfsl-1-555"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3703
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2189
    -id: 2568
    -nom: "Berlin"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Lou Reed (acoustic guitar, vocals), Jack Bruce (bass), Jon Pierson (bass trombone), Steve Winwood (organ, harmonium), Bob Ezrin (piano, mellotron), Michael Brecker (tenor saxophone), Randy Brecker (trumpet), Bob Ezrin, Dennis Ferrante, Dick Wagner, Elizabeth March, Lou Reed, Steve Hyden (choir), Aynsley Dunbar (drums).\r\n
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      \r\n
      - Sourced from the Original Master Tapes: Mobile Fidelity’s Numbered-Edition 180 gram Vinyl LP Presents the Singer-Songwriter’s 1973 Album in Audiophile Quality for the First Time, Includes Eight-Page Booklet Insert !\r\n
      - 1/4" / 15 IPS / Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Like the records he made with his first band, Berlin finds Lou Reed decades ahead of the times. Though dismissed upon its original release in 1973, the former Velvet Underground member’s third solo effort ultimately landed on Rolling Stone’s 500 Greatest Albums of All Time and remains one of his most lauded works.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Lou Reed (acoustic guitar, vocals), Jack Bruce (bass), Jon Pierson (bass trombone), Steve Winwood (organ, harmonium), Bob Ezrin (piano, mellotron), Michael Brecker (tenor saxophone), Randy Brecker (trumpet)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=S_1BwtPsgL0"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-555"
    -titreMorceau: [
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        "ordre" => 4
      ]
      [
        "nom" => "5. How Do You Think It Feels"
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      ]
      [
        "nom" => "6. Oh, Jim"
        "ordre" => 6
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      [
        "nom" => "Side B : "
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      [
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      ]
      [
        "nom" => "3. The Bed"
        "ordre" => 10
      ]
      [
        "nom" => "4. Sad Song"
        "ordre" => 11
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2191 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2200 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2193 …}
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    }
    -modifierLe: DateTime @1761038549 {#2187
      date: 2025-10-21 09:22:29.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2197 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-berlin-mobile-fidelity-sound-lab-mfsl-1-555"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3905
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3906 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3954 …}
  +isValidated: false
  +validatedFields: []
}