Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2403
  -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 {#2250 …}
}

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

App\Twig\Components\ListePanier {#2480
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2483 …}
  -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 {#2482 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#2056 …}
  +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 {#2250 …}
  -formView: Symfony\Component\Form\FormView {#2519 …}
  -form: Symfony\Component\Form\Form {#2669 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1885
    -id: 3034
    -nom: "Keep on Moving"
    -informationComplementaire: "Avec Keep On Moving, The Butterfield Blues Band élargit son horizon, entre tradition et modernité : "un son plus chaud, des cuivres éclatants et une énergie contagieuse". Un blues en mouvement, entre racines et groove."
    -description: """
      Sorti en 1969, "Keep On Moving" marque un tournant décisif dans la carrière de The Butterfield Blues Band. Loin du blues électrique brut de leurs débuts, le groupe adopte ici une approche plus riche et sophistiquée, mêlant blues, soul et R&B, avec une section de cuivres qui devient centrale dans leur son.\r\n
      \r\n
      Porté par la voix et l’harmonica toujours expressifs de Paul Butterfield, l’album déploie une énergie collective plus orchestrée. Les arrangements sont plus amples, les grooves plus souples, et l’ensemble respire une influence soul clairement assumée, dans l’esprit des grandes productions de la fin des années 60.\r\n
      \r\n
      Des titres comme “Keep On Moving” ou “Love March” illustrent parfaitement cette évolution, un blues qui s’ouvre, se colore, et gagne en puissance grâce aux cuivres et aux rythmiques plus dansantes. Cet album témoigne d’un groupe en pleine mutation, prêt à élargir son langage musical sans renier ses racines.\r\n
      \r\n
      - The Butterfield Blues Band Leans into R&B Fervor on the Brassy Keep on Moving : Album Features a Horn Section with David Sanborn and Prioritizes the Art of the Groove !\r\n
      \r\n
      - Hear the 1969 Record in Audiophile Sound for the First Time: Strictly Limited to 3000 Numbered Copies, Mobile Fidelity’s 180 gram Vinyl LP Plays with Dynamic Liveliness and Involving Presence !\r\n
      \r\n
      - 1/4” / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      And then there was one. Paul Butterfield stands as the last remaining original member of his namesake collective on Keep on Moving. It’s hard to imagine it being any other way. Picking up where it left off on In My Own Dream, the Butterfield Blues Band wholly embraces R&B fervor and indirectly dares any horn-accompanied ensemble of the era to match its energy, pulse, tightness, and flair. While going all-in on soul with a crack support cast on this 1969 set, Butterfield would pull the plug on the band just two years later.\r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton jacket, and strictly limited to 3000 numbered copies, Mobile Fidelity’s 180 gram LP makes Keep on Moving available in audiophile quality for the first time. Open, clear, and balanced, it underlines the dynamic liveliness and organic feel of Jerry Ragovoy’s production. As well as the palpable chemistry of the sessions recorded at his then-brand-new Hit Factory studio in New York. This reissue’s quiet surfaces and black backgrounds also expose key details, accents, and textures germane to the music. Not to mention Butterfield and company’s pervasive interplay.\r\n
      \r\n
      The prominence and positioning of the formidable horn section comprised of a young David Sanborn, Gene Dinwiddie, Trevor Lawrence, Keith Johnson, and Steve Madaio particularly benefit from the newfound transparency and presence. Separation between the instrumentalists is such that you can distinguish tenor, baritone, and alto parts. You can sense the air between brassy shades, pauses, and swells. Butterfield and Howard “Buzz” Feiten’s guitars register with a similar sense of realism and directness, with everything from the in-the-room tones to the wiry snap of their strings emerging with dimensional body. The imaging, pacing, and naturalism further help frame Keep on Moving as a far better album than many critics of the time believed. \r\n
      \r\n
      Anyone expecting the Butterfield Blues Band to repeat the moves of its first two albums might be inclined to close their mind to what the guitarist-vocalist spearheads on this album, which climbed into the Billboard Top 200 and marked the leader’s final collaboration with Art Ensemble of Chicago co-founder and drummer Phillip Wilson. The direction the group takes is obvious from the first bars of the aptly named opening “Love March.” Distinguished with fanfare complete with horn taps and hup-two cadences, the zig-zagging and psychedelic-leaning piece places the group amid the Age of Aquarius. It even finds Butterfield briefly trading his six-string for a flute.\r\n
      \r\n
      The remainder of the record pursues funky, bluesy paths carved by rolling bass lines, stacked horns, buttoned-up rhythms, and signature harmonica blasts. Walls of brass border “Morning Sunrise”, a slippery rave-up with Butterfield’s unhinged vocals contrasting with the measured playing of his horn section. Akin to most of the tracks on the Keep on Moving if you’re not tempted to get out of your chair and dance by the time this feel-good cut wraps up, check your pulse it leans into catchy R&B disciplines and prioritizes grooves over riffs.  \r\n
      \r\n
      That approach and momentum carry over to the swaggering “All in a Day”, marked by Feiten stepping up to the microphone for his lone lead vocal and a quivering Butterfield harmonica solo that Chicago legend Junior Wells would surely appreciate. “Love Disease” shouts with punchy brass shots, stammers with wet snare drums, and threatens to go into the red via infatuated, emotional singing. For the standout “Buddy’s Advice”, the group places a piano front and center, summons hand-clapped beats, and welcomes the saxophones to stroll downtown as Latin-tinged percussion rattles in the background. \r\n
      \r\n
      Butterfield doesn’t completely abandon his blues roots. When he wants, he commands his guitar to scream with the kind of raw electricity and no-frills purpose it did during the mid-60s in his hometown’s rough-and-tumble clubs. Check the down-and-out lament “Losing Hand”, as soulful and deep as anything in the band’s catalog and sent up with a shivering harmonica spot and sparking guitar lines that interlace with the horns. See, too, the ramble-tamble “Walking by Myself”, which gets down with smoky country-blues flavors, welcoming hooks, and hip-swiveling vibes that, to quote the great Buddy Guy, are “so funky you can smell” ‘em.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1809 …}
    -musicienOrchestre: "Paul Butterfield (harmonica, vocals), Elvin Bishop (guitar), Gene Dinwiddie (saxophone, keyboards), Trevor Lawrence (saxophone),  Keith Johnson (trumpet), Rod Hicks (bass), Buzzy Feiten (guitar), Phil Wilson (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=_oeLJmh6YA0&list=RD_oeLJmh6YA0&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-611"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Love March"
      ]
      [
        "ordre" => 2
        "nom" => "2. No Amount of Loving"
      ]
      [
        "ordre" => 3
        "nom" => "3. Morning Sunrise"
      ]
      [
        "ordre" => 4
        "nom" => "4. Losing Hand"
      ]
      [
        "ordre" => 5
        "nom" => "5. Walking by Myself"
      ]
      [
        "ordre" => 6
        "nom" => "6. Except You"
      ]
      [
        "ordre" => 7
        "nom" => "Side B : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Love Disease"
      ]
      [
        "ordre" => 9
        "nom" => "2. Where Did My Baby Go"
      ]
      [
        "ordre" => 10
        "nom" => "3. All in a Day"
      ]
      [
        "ordre" => 11
        "nom" => "4. So Far So Good"
      ]
      [
        "ordre" => 12
        "nom" => "5. Buddy's Advice"
      ]
      [
        "ordre" => 13
        "nom" => "6. Keep on Moving"
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1880 …}
    -style: App\Entity\Style {#1455 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2009 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1911 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#1997 …}
    -enregistreLe: DateTime @1774370887 {#1890
      date: 2026-03-24 16:48:07.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1774371595 {#1870
      date: 2026-03-24 16:59:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2003 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-keep-on-moving-mobile-fidelity-sound-lab-mfsl-1-611"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#2956
  -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 {#2482 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#2056 …}
  +produit: App\Entity\Produit {#1885
    -id: 3034
    -nom: "Keep on Moving"
    -informationComplementaire: "Avec Keep On Moving, The Butterfield Blues Band élargit son horizon, entre tradition et modernité : "un son plus chaud, des cuivres éclatants et une énergie contagieuse". Un blues en mouvement, entre racines et groove."
    -description: """
      Sorti en 1969, "Keep On Moving" marque un tournant décisif dans la carrière de The Butterfield Blues Band. Loin du blues électrique brut de leurs débuts, le groupe adopte ici une approche plus riche et sophistiquée, mêlant blues, soul et R&B, avec une section de cuivres qui devient centrale dans leur son.\r\n
      \r\n
      Porté par la voix et l’harmonica toujours expressifs de Paul Butterfield, l’album déploie une énergie collective plus orchestrée. Les arrangements sont plus amples, les grooves plus souples, et l’ensemble respire une influence soul clairement assumée, dans l’esprit des grandes productions de la fin des années 60.\r\n
      \r\n
      Des titres comme “Keep On Moving” ou “Love March” illustrent parfaitement cette évolution, un blues qui s’ouvre, se colore, et gagne en puissance grâce aux cuivres et aux rythmiques plus dansantes. Cet album témoigne d’un groupe en pleine mutation, prêt à élargir son langage musical sans renier ses racines.\r\n
      \r\n
      - The Butterfield Blues Band Leans into R&B Fervor on the Brassy Keep on Moving : Album Features a Horn Section with David Sanborn and Prioritizes the Art of the Groove !\r\n
      \r\n
      - Hear the 1969 Record in Audiophile Sound for the First Time: Strictly Limited to 3000 Numbered Copies, Mobile Fidelity’s 180 gram Vinyl LP Plays with Dynamic Liveliness and Involving Presence !\r\n
      \r\n
      - 1/4” / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      And then there was one. Paul Butterfield stands as the last remaining original member of his namesake collective on Keep on Moving. It’s hard to imagine it being any other way. Picking up where it left off on In My Own Dream, the Butterfield Blues Band wholly embraces R&B fervor and indirectly dares any horn-accompanied ensemble of the era to match its energy, pulse, tightness, and flair. While going all-in on soul with a crack support cast on this 1969 set, Butterfield would pull the plug on the band just two years later.\r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton jacket, and strictly limited to 3000 numbered copies, Mobile Fidelity’s 180 gram LP makes Keep on Moving available in audiophile quality for the first time. Open, clear, and balanced, it underlines the dynamic liveliness and organic feel of Jerry Ragovoy’s production. As well as the palpable chemistry of the sessions recorded at his then-brand-new Hit Factory studio in New York. This reissue’s quiet surfaces and black backgrounds also expose key details, accents, and textures germane to the music. Not to mention Butterfield and company’s pervasive interplay.\r\n
      \r\n
      The prominence and positioning of the formidable horn section comprised of a young David Sanborn, Gene Dinwiddie, Trevor Lawrence, Keith Johnson, and Steve Madaio particularly benefit from the newfound transparency and presence. Separation between the instrumentalists is such that you can distinguish tenor, baritone, and alto parts. You can sense the air between brassy shades, pauses, and swells. Butterfield and Howard “Buzz” Feiten’s guitars register with a similar sense of realism and directness, with everything from the in-the-room tones to the wiry snap of their strings emerging with dimensional body. The imaging, pacing, and naturalism further help frame Keep on Moving as a far better album than many critics of the time believed. \r\n
      \r\n
      Anyone expecting the Butterfield Blues Band to repeat the moves of its first two albums might be inclined to close their mind to what the guitarist-vocalist spearheads on this album, which climbed into the Billboard Top 200 and marked the leader’s final collaboration with Art Ensemble of Chicago co-founder and drummer Phillip Wilson. The direction the group takes is obvious from the first bars of the aptly named opening “Love March.” Distinguished with fanfare complete with horn taps and hup-two cadences, the zig-zagging and psychedelic-leaning piece places the group amid the Age of Aquarius. It even finds Butterfield briefly trading his six-string for a flute.\r\n
      \r\n
      The remainder of the record pursues funky, bluesy paths carved by rolling bass lines, stacked horns, buttoned-up rhythms, and signature harmonica blasts. Walls of brass border “Morning Sunrise”, a slippery rave-up with Butterfield’s unhinged vocals contrasting with the measured playing of his horn section. Akin to most of the tracks on the Keep on Moving if you’re not tempted to get out of your chair and dance by the time this feel-good cut wraps up, check your pulse it leans into catchy R&B disciplines and prioritizes grooves over riffs.  \r\n
      \r\n
      That approach and momentum carry over to the swaggering “All in a Day”, marked by Feiten stepping up to the microphone for his lone lead vocal and a quivering Butterfield harmonica solo that Chicago legend Junior Wells would surely appreciate. “Love Disease” shouts with punchy brass shots, stammers with wet snare drums, and threatens to go into the red via infatuated, emotional singing. For the standout “Buddy’s Advice”, the group places a piano front and center, summons hand-clapped beats, and welcomes the saxophones to stroll downtown as Latin-tinged percussion rattles in the background. \r\n
      \r\n
      Butterfield doesn’t completely abandon his blues roots. When he wants, he commands his guitar to scream with the kind of raw electricity and no-frills purpose it did during the mid-60s in his hometown’s rough-and-tumble clubs. Check the down-and-out lament “Losing Hand”, as soulful and deep as anything in the band’s catalog and sent up with a shivering harmonica spot and sparking guitar lines that interlace with the horns. See, too, the ramble-tamble “Walking by Myself”, which gets down with smoky country-blues flavors, welcoming hooks, and hip-swiveling vibes that, to quote the great Buddy Guy, are “so funky you can smell” ‘em.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1809 …}
    -musicienOrchestre: "Paul Butterfield (harmonica, vocals), Elvin Bishop (guitar), Gene Dinwiddie (saxophone, keyboards), Trevor Lawrence (saxophone),  Keith Johnson (trumpet), Rod Hicks (bass), Buzzy Feiten (guitar), Phil Wilson (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=_oeLJmh6YA0&list=RD_oeLJmh6YA0&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-611"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Love March"
      ]
      [
        "ordre" => 2
        "nom" => "2. No Amount of Loving"
      ]
      [
        "ordre" => 3
        "nom" => "3. Morning Sunrise"
      ]
      [
        "ordre" => 4
        "nom" => "4. Losing Hand"
      ]
      [
        "ordre" => 5
        "nom" => "5. Walking by Myself"
      ]
      [
        "ordre" => 6
        "nom" => "6. Except You"
      ]
      [
        "ordre" => 7
        "nom" => "Side B : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Love Disease"
      ]
      [
        "ordre" => 9
        "nom" => "2. Where Did My Baby Go"
      ]
      [
        "ordre" => 10
        "nom" => "3. All in a Day"
      ]
      [
        "ordre" => 11
        "nom" => "4. So Far So Good"
      ]
      [
        "ordre" => 12
        "nom" => "5. Buddy's Advice"
      ]
      [
        "ordre" => 13
        "nom" => "6. Keep on Moving"
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1880 …}
    -style: App\Entity\Style {#1455 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2009 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1911 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#1997 …}
    -enregistreLe: DateTime @1774370887 {#1890
      date: 2026-03-24 16:48:07.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1774371595 {#1870
      date: 2026-03-24 16:59:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2003 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-keep-on-moving-mobile-fidelity-sound-lab-mfsl-1-611"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2250 …}
}

[
  "produit" => App\Entity\Produit {#2026
    -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 {#1809 …}
    -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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    -extraitYoutube: "https://www.youtube.com/watch?v=dwMqBvBLJio&list=RDdwMqBvBLJio&start_radio=1"
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        "ordre" => 0
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        "nom" => "1. Walkin' Blues"
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      [
        "nom" => "4. East-West"
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    -artiste: App\Entity\Artiste {#1063 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3047
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  +produit: App\Entity\Produit {#2026
    -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 {#1809 …}
    -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 …}
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[
  "produit" => App\Entity\Produit {#2039
    -id: 2623
    -nom: "The Resurrection of Pigboy Crabshaw"
    -informationComplementaire: "AVAILABILITY : 30/11/2025 (subject Speakers Corner Records)"
    -description: """
      Evil tongues predicted the end of the Paul Butterfield Blues Band when the guitar virtuoso Mike Bloomfield left the group to form Electric Flag. However, the ensemble actually expanded, now including a horn section which added a more jazzy sound, while Chicago blues remained as a basis. Elvin Bishop took on the role of lead guitarist and his nickname was adopted as the name of the album. Butterfield himself played the harmonica and sang, while his band grew together to form one of the most cohesive formations of their time. Butterfield’s best-known song "One More Heartache" opens the album, which in the meantime has undoubtedly become a blues-rock classic with superb harmonica and a catchy beat that is driven onwards by the top-notch horns. "Driftin’ & Driftin’" is a further well-known piece that carries on for over nine minutes; here the brass sob and sigh while Sanborn delivers a brilliant solo performance in the choruses. In addition to cover versions by B. T. Jones "Born Under A Bad Sign", Otis Rush "Double Trouble" and Roosevelt Sykes "Drivin’ Wheel", two compositions by Butterfield are included : "Run Out Of Time" and the somewhat psychedelic "Tollin’ Bells" where Bishop’s guitar and Naftalin’s floating keyboard conjure up a haunting feeling. The stunning pastiche cover, a nod to the flower power era of those times, completes this release, which marks a new phase in the career of the Paul Butterfield Blues Band that would endure for a long time.\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under http://www.pure-analogue.com. All royalties and mechanical rights have been paid.\r\n
      \r\n
      Recording : 1967 by Ray Hagerty\r\n
      Production : John Court
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1809 …}
    -musicienOrchestre: "Paul Butterfield (harmonica, vocals), Elvin Bishop (guitar), Mark Naftalin (keyboards), Bugsy Maugh (bass, vocals), Phil Wilson (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
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    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=KFOLED9VfVQ"
    -referenceProduit: "Speakers Corner Records EKS 74015"
    -titreMorceau: [
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        "ordre" => 0
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        "nom" => "1. One More Heartache"
        "ordre" => 1
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        "nom" => "2. Driftin' and Driftin'"
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      ]
      [
        "nom" => "5. Tollin' Bells"
        "ordre" => 10
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
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    -style: App\Entity\Style {#1455 …}
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    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2047 …}
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    -slug: "vinyles-the-resurrection-of-pigboy-crabshaw-speakers-corner-records-eks-74015"
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App\Twig\Components\GestionPanierFavoriComponents {#3095
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2482 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#2056 …}
  +produit: App\Entity\Produit {#2039
    -id: 2623
    -nom: "The Resurrection of Pigboy Crabshaw"
    -informationComplementaire: "AVAILABILITY : 30/11/2025 (subject Speakers Corner Records)"
    -description: """
      Evil tongues predicted the end of the Paul Butterfield Blues Band when the guitar virtuoso Mike Bloomfield left the group to form Electric Flag. However, the ensemble actually expanded, now including a horn section which added a more jazzy sound, while Chicago blues remained as a basis. Elvin Bishop took on the role of lead guitarist and his nickname was adopted as the name of the album. Butterfield himself played the harmonica and sang, while his band grew together to form one of the most cohesive formations of their time. Butterfield’s best-known song "One More Heartache" opens the album, which in the meantime has undoubtedly become a blues-rock classic with superb harmonica and a catchy beat that is driven onwards by the top-notch horns. "Driftin’ & Driftin’" is a further well-known piece that carries on for over nine minutes; here the brass sob and sigh while Sanborn delivers a brilliant solo performance in the choruses. In addition to cover versions by B. T. Jones "Born Under A Bad Sign", Otis Rush "Double Trouble" and Roosevelt Sykes "Drivin’ Wheel", two compositions by Butterfield are included : "Run Out Of Time" and the somewhat psychedelic "Tollin’ Bells" where Bishop’s guitar and Naftalin’s floating keyboard conjure up a haunting feeling. The stunning pastiche cover, a nod to the flower power era of those times, completes this release, which marks a new phase in the career of the Paul Butterfield Blues Band that would endure for a long time.\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under http://www.pure-analogue.com. All royalties and mechanical rights have been paid.\r\n
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      Recording : 1967 by Ray Hagerty\r\n
      Production : John Court
      """
    -prixVente: "38.00"
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -artiste: App\Entity\Artiste {#1063 …}
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App\Twig\Components\AjoutMailNewsletterComponent {#3287
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2250 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3288 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3336 …}
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}