Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2569
  -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 {#2416 …}
}

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

App\Twig\Components\ListePanier {#2646
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2649 …}
  -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 {#2648 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +listePanier: null
  +listeModal: true
  +paysForme: null
  +paysSelectionne: null
  +selectedPays: null
  +fraisLivraison: 17.5
  +montantTotal: 35.0
  +tempsLivraison: 0
  +quantite: 0
  +categorieProduitEnum: [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2416 …}
  -formView: Symfony\Component\Form\FormView {#2685 …}
  -form: Symfony\Component\Form\Form {#2835 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1820
    -id: 977
    -nom: "Face Value"
    -informationComplementaire: null
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - Face Value Phil Collin's smash solo album featuring "In The Air Tonight" !\r\n
      - 180 gram 45 RPM double LP release !\r\n
      - Mastered by Chris Bellman at Bernie Grundman Mastering and cut to lacquer from a 1/4" EQ'd Dolby tape copy of the original master tape !\r\n
      - Pressed at Quality Record Pressings and RTI !\r\n
      - Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing !\r\n
      \r\n
      For a YouTube comparison of the Atlantic 75 Series edition with the original click here.\r\n
      \r\n
      The 5x platinum-selling album in the U.S., Face Value, was the debut solo album released by Genesis drummer and singer-songwriter Phil Collins, released in February 1981 by Virgin Records. The album was recorded from mid-1980 to early 1981 with Collins and Hugh Padgham as producers. Additional musicians include the Phenix Horns, Alphonso Johnson, and Eric Clapton.\r\n
      \r\n
      Face Value was an instant commercial success and reached No. 1 on the U.K. Albums Chart for three weeks and No. 7 on the U.S. Billboard 200. It has since sold more than 5 million copies in the U.S. and more than 1.5 million in the U.K. The album received widespread praise from critics. Its lead single "In the Air Tonight," released in January 1981, reached No. 2 on the U.K. Singles Chart and became known for its drum arrangement and use of gated reverb.\r\n
      \r\n
      This Analogue Productions (Atlantic Series) reissue of Face Value has the essential elements that make it a standout for your collection. First, we turned to Chris Bellman at Bernie Grundman Mastering to cut lacquers from a 1/4" EQ'd Dolby tape copy of the original master. Pressing is by Quality Record Pressings and RTI, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.\r\n
      \r\n
      Like "Misunderstanding" (one of Genesis's best songs), Face Value is pop music about personal turmoil: in this case, the dissolution of Collins' marriage. Rolling Stone wrote: "At times, the singer's broken heart is too clearly on his sleeve, and musical missteps abound: the annoying Munchkin-like Vocoder effects in 'I'm Not Moving,' some rote horn charts, a batch of indistinguishable ballads and a flaccid cover version of the Beatles' 'Tomorrow Never Knows.'\r\n
      \r\n
      "But Collins hits more often than not, adeptly blending moody keyboard trills and bone-crunching drumbeats in 'In the Air Tonight' and shifting with surprising sure-footedness from the Eno-esque repetition of 'Droned' through the percussive horn blasts of 'Hand in Hand' to the persuasive intimacy of 'If Leaving Me Is Easy'".\r\n
      \r\n
      AllMusic gave the album 5 stars, with reviewer Tim Sendra writing: "Phil Collins' first solo album, 1981's Face Value, was a long time coming, but it proved worth the wait, both for the Genesis drummer/vocalist himself and fans of thoughtful, emotionally charged pop... (He made)an album that stands as a classic moment of '80s pop/rock... Collins felt driven to make this album to help him heal. It's not a career move or a cash grab; it's a transmission from a wounded soul delivered with a soft touch and sensitivity".
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1904 …}
    -musicienOrchestre: "Phil Collins (keyboards, percussion, drums, vocals), Don Myrick, Ronnie Scott (tenor saxophone), Michael Harris, Rahmlee Michael Davis (trumpet), Louis Satterfield (trombone), Shankar (violin, tambura), Daryl Stuermer (banjo), Eric Clapton (guitar)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=MN3x-kAbgFU"
    -referenceProduit: "AAPA 003-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. In The Air Tonight  "
      ]
      [
        "ordre" => 1
        "nom" => "2. This Must Be Love  "
      ]
      [
        "ordre" => 2
        "nom" => "3. Behind The Lines  "
      ]
      [
        "ordre" => 3
        "nom" => "4. The Roof Is Leaking  "
      ]
      [
        "ordre" => 4
        "nom" => "5. Droned  "
      ]
      [
        "ordre" => 5
        "nom" => "6. Hand In Hand "
      ]
      [
        "ordre" => 6
        "nom" => "7. I Missed Again "
      ]
      [
        "ordre" => 7
        "nom" => "8. You Know What I Mean "
      ]
      [
        "ordre" => 8
        "nom" => "9. Thunder And Lightning"
      ]
      [
        "ordre" => 9
        "nom" => "10. I'm Not Moving "
      ]
      [
        "ordre" => 10
        "nom" => "11. If Leaving Me Is Easy "
      ]
      [
        "ordre" => 11
        "nom" => "12. Tomorrow Never Knows"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1896 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2027 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1901 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2015 …}
    -enregistreLe: DateTime @1468570926 {#1875
      date: 2016-07-15 08:22:06.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1770043559 {#1868
      date: 2026-02-02 14:45:59.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2021 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-face-value-aapa-003-45"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3110
  -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 {#2648 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#1820
    -id: 977
    -nom: "Face Value"
    -informationComplementaire: null
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - Face Value Phil Collin's smash solo album featuring "In The Air Tonight" !\r\n
      - 180 gram 45 RPM double LP release !\r\n
      - Mastered by Chris Bellman at Bernie Grundman Mastering and cut to lacquer from a 1/4" EQ'd Dolby tape copy of the original master tape !\r\n
      - Pressed at Quality Record Pressings and RTI !\r\n
      - Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing !\r\n
      \r\n
      For a YouTube comparison of the Atlantic 75 Series edition with the original click here.\r\n
      \r\n
      The 5x platinum-selling album in the U.S., Face Value, was the debut solo album released by Genesis drummer and singer-songwriter Phil Collins, released in February 1981 by Virgin Records. The album was recorded from mid-1980 to early 1981 with Collins and Hugh Padgham as producers. Additional musicians include the Phenix Horns, Alphonso Johnson, and Eric Clapton.\r\n
      \r\n
      Face Value was an instant commercial success and reached No. 1 on the U.K. Albums Chart for three weeks and No. 7 on the U.S. Billboard 200. It has since sold more than 5 million copies in the U.S. and more than 1.5 million in the U.K. The album received widespread praise from critics. Its lead single "In the Air Tonight," released in January 1981, reached No. 2 on the U.K. Singles Chart and became known for its drum arrangement and use of gated reverb.\r\n
      \r\n
      This Analogue Productions (Atlantic Series) reissue of Face Value has the essential elements that make it a standout for your collection. First, we turned to Chris Bellman at Bernie Grundman Mastering to cut lacquers from a 1/4" EQ'd Dolby tape copy of the original master. Pressing is by Quality Record Pressings and RTI, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.\r\n
      \r\n
      Like "Misunderstanding" (one of Genesis's best songs), Face Value is pop music about personal turmoil: in this case, the dissolution of Collins' marriage. Rolling Stone wrote: "At times, the singer's broken heart is too clearly on his sleeve, and musical missteps abound: the annoying Munchkin-like Vocoder effects in 'I'm Not Moving,' some rote horn charts, a batch of indistinguishable ballads and a flaccid cover version of the Beatles' 'Tomorrow Never Knows.'\r\n
      \r\n
      "But Collins hits more often than not, adeptly blending moody keyboard trills and bone-crunching drumbeats in 'In the Air Tonight' and shifting with surprising sure-footedness from the Eno-esque repetition of 'Droned' through the percussive horn blasts of 'Hand in Hand' to the persuasive intimacy of 'If Leaving Me Is Easy'".\r\n
      \r\n
      AllMusic gave the album 5 stars, with reviewer Tim Sendra writing: "Phil Collins' first solo album, 1981's Face Value, was a long time coming, but it proved worth the wait, both for the Genesis drummer/vocalist himself and fans of thoughtful, emotionally charged pop... (He made)an album that stands as a classic moment of '80s pop/rock... Collins felt driven to make this album to help him heal. It's not a career move or a cash grab; it's a transmission from a wounded soul delivered with a soft touch and sensitivity".
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1904 …}
    -musicienOrchestre: "Phil Collins (keyboards, percussion, drums, vocals), Don Myrick, Ronnie Scott (tenor saxophone), Michael Harris, Rahmlee Michael Davis (trumpet), Louis Satterfield (trombone), Shankar (violin, tambura), Daryl Stuermer (banjo), Eric Clapton (guitar)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=MN3x-kAbgFU"
    -referenceProduit: "AAPA 003-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. In The Air Tonight  "
      ]
      [
        "ordre" => 1
        "nom" => "2. This Must Be Love  "
      ]
      [
        "ordre" => 2
        "nom" => "3. Behind The Lines  "
      ]
      [
        "ordre" => 3
        "nom" => "4. The Roof Is Leaking  "
      ]
      [
        "ordre" => 4
        "nom" => "5. Droned  "
      ]
      [
        "ordre" => 5
        "nom" => "6. Hand In Hand "
      ]
      [
        "ordre" => 6
        "nom" => "7. I Missed Again "
      ]
      [
        "ordre" => 7
        "nom" => "8. You Know What I Mean "
      ]
      [
        "ordre" => 8
        "nom" => "9. Thunder And Lightning"
      ]
      [
        "ordre" => 9
        "nom" => "10. I'm Not Moving "
      ]
      [
        "ordre" => 10
        "nom" => "11. If Leaving Me Is Easy "
      ]
      [
        "ordre" => 11
        "nom" => "12. Tomorrow Never Knows"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1896 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2027 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1901 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2015 …}
    -enregistreLe: DateTime @1468570926 {#1875
      date: 2016-07-15 08:22:06.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1770043559 {#1868
      date: 2026-02-02 14:45:59.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2021 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-face-value-aapa-003-45"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2416 …}
}

[
  "produit" => App\Entity\Produit {#2044
    -id: 2471
    -nom: "Hello I Must Be Going !"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Phil Collins (keyboards, bass pedals, percussion, handclaps, timpani, ), trumpet, tambourine, marimba, acoustic piano, drums, vocals), Daryl Stuermer (guitars), John Giblin, Mo Foster (bass guitar), J. Peter Robinson (acoustic piano, vibraphone and glockenspiel), Don Myrick (tenor & alto saxophone), Louis Satterfield (trombone), Michael Harris, Rahmlee Michael Davis (trumpet).\r\n
      \r\n
      - Analogue Productions (Atlantic 75 Series) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - Hello, I Must Be Going ! Phil Collins' second solo studio album !\r\n
      - Featuring "You Can't Hurry Love" and "I Cannot Believe It's True" !\r\n
      - 180 gram 45 RPM double LP release !\r\n
      \r\n
      - Mastered by Chris Bellman at Bernie Grundman Mastering and cut to lacquer from a 1/4" EQ'd Dolby tape copy of the original master tape !\r\n
      \r\n
      - Pressed at Quality Record Pressings and RTI !\r\n
      \r\n
      - Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing !\r\n
      \r\n
      On his first solo album, 1981's Face Value, Genesis drummer-singer Phil Collins showed that he wasn't about to be left behind in the mire of classical-rock sludge. That LP boasted shorter songs and demonstrated that Collins had a true pop sensibility. Hello, I Must Be Going! continues that trend, with some familiar patterns emerging, wrote Rolling Stone's John Milward.\r\n
      \r\n
      "First, there are the dramatic rock dirges that use drums as a lead instrument; 'I Don't Care Anymore,' with Collins' one-man band playing alongside Daryl Stuermer's atmospheric guitars, wins in this category. Then there are the buttery ballads, of which "Don't Let Him Steal Your Heart Away" is the best by virtue of a Beatles-like melody that buoys Collins' anonymously sweet voice. Both of these styles were already Genesis staples; it was Collins' uptempo soul tunes on Face Value and Genesis' Abacab that surprised old fans and found new ones. 'I Cannot Believe It's True', with Earth, Wind and Fire's Phoenix Horns casting out clean lines, clobbers the other soul contenders on Hello, I Must Be Going !, especially his remake of the Supremes' 'You Can't Hurry Love'. Collins took the golden-oldie route on that song and the result isn't soulful, it's superfluous. Despite its trend-bucking boast of an 8 track recording, the album's rich luster is of the old classical-rock school. In fact, the LP sounds like stripped-down Genesis, ornamental but not too ostentatious. John Milward, Rolling Stone (3 Stars)".\r\n
      \r\n
      This Analogue Productions (Atlantic Series) reissue of Hello, I Must Be Going! has the essential elements that make it a standout for your collection. First, we turned to Chris Bellman at Bernie Grundman Mastering to cut lacquers from a 1/4" EQ'd Dolby tape copy of the original master. Pressing on 180 gram vinyl is by Quality Record Pressings and RTI, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.\r\n
      \r\n
      Hello, I Must Be Going! was a triple-platinum-selling hit in the U.S. for Collins in the 1980s and it stayed on the U.K. album charts for more than a year, peaking at N° 2. For the fans it is a drummer's album, a record that expresses rage and desperation as well as loneliness and longing. Not an album for every day, but one that really speaks to you when you need it, wrote Martin Klinkhardt, in a review for genesis-news.com.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Phil Collins (keyboards, bass pedals, percussion, handclaps, timpani, ), trumpet, tambourine, marimba, acoustic piano, drums, vocals), Daryl Stuermer (guitars), John Giblin, Mo Foster (bass 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=IkUSyo5fstw"
    -referenceProduit: "Analogue Productions AAPA 012-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. I Don't Care Anymore"
      ]
      [
        "ordre" => 2
        "nom" => "2. I Cannot Believe It's True"
      ]
      [
        "ordre" => 3
        "nom" => "3. Like China"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Do You Know, Do You Care ?"
      ]
      [
        "ordre" => 6
        "nom" => "2. You Can't Hurry Love"
      ]
      [
        "ordre" => 7
        "nom" => "Side C : "
      ]
      [
        "ordre" => 8
        "nom" => "1. It Don't Matter To Me"
      ]
      [
        "ordre" => 9
        "nom" => "2. Thru These Walls"
      ]
      [
        "ordre" => 10
        "nom" => "Side D : "
      ]
      [
        "ordre" => 11
        "nom" => "1. Don't Let Him Steal Your Heart Away"
      ]
      [
        "ordre" => 12
        "nom" => "2. The West Side"
      ]
      [
        "ordre" => 13
        "nom" => "3. Why Can't It Wait 'Til Morning"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1896 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2052 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2045 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2047 …}
    -enregistreLe: DateTime @1699864881 {#2041
      date: 2023-11-13 08:41:21.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1770043143 {#2042
      date: 2026-02-02 14:39:03.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2049 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-hello-i-must-be-going-analogue-productions-aapa-012-45"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3226
  -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 {#2648 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2044
    -id: 2471
    -nom: "Hello I Must Be Going !"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Phil Collins (keyboards, bass pedals, percussion, handclaps, timpani, ), trumpet, tambourine, marimba, acoustic piano, drums, vocals), Daryl Stuermer (guitars), John Giblin, Mo Foster (bass guitar), J. Peter Robinson (acoustic piano, vibraphone and glockenspiel), Don Myrick (tenor & alto saxophone), Louis Satterfield (trombone), Michael Harris, Rahmlee Michael Davis (trumpet).\r\n
      \r\n
      - Analogue Productions (Atlantic 75 Series) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - Hello, I Must Be Going ! Phil Collins' second solo studio album !\r\n
      - Featuring "You Can't Hurry Love" and "I Cannot Believe It's True" !\r\n
      - 180 gram 45 RPM double LP release !\r\n
      \r\n
      - Mastered by Chris Bellman at Bernie Grundman Mastering and cut to lacquer from a 1/4" EQ'd Dolby tape copy of the original master tape !\r\n
      \r\n
      - Pressed at Quality Record Pressings and RTI !\r\n
      \r\n
      - Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing !\r\n
      \r\n
      On his first solo album, 1981's Face Value, Genesis drummer-singer Phil Collins showed that he wasn't about to be left behind in the mire of classical-rock sludge. That LP boasted shorter songs and demonstrated that Collins had a true pop sensibility. Hello, I Must Be Going! continues that trend, with some familiar patterns emerging, wrote Rolling Stone's John Milward.\r\n
      \r\n
      "First, there are the dramatic rock dirges that use drums as a lead instrument; 'I Don't Care Anymore,' with Collins' one-man band playing alongside Daryl Stuermer's atmospheric guitars, wins in this category. Then there are the buttery ballads, of which "Don't Let Him Steal Your Heart Away" is the best by virtue of a Beatles-like melody that buoys Collins' anonymously sweet voice. Both of these styles were already Genesis staples; it was Collins' uptempo soul tunes on Face Value and Genesis' Abacab that surprised old fans and found new ones. 'I Cannot Believe It's True', with Earth, Wind and Fire's Phoenix Horns casting out clean lines, clobbers the other soul contenders on Hello, I Must Be Going !, especially his remake of the Supremes' 'You Can't Hurry Love'. Collins took the golden-oldie route on that song and the result isn't soulful, it's superfluous. Despite its trend-bucking boast of an 8 track recording, the album's rich luster is of the old classical-rock school. In fact, the LP sounds like stripped-down Genesis, ornamental but not too ostentatious. John Milward, Rolling Stone (3 Stars)".\r\n
      \r\n
      This Analogue Productions (Atlantic Series) reissue of Hello, I Must Be Going! has the essential elements that make it a standout for your collection. First, we turned to Chris Bellman at Bernie Grundman Mastering to cut lacquers from a 1/4" EQ'd Dolby tape copy of the original master. Pressing on 180 gram vinyl is by Quality Record Pressings and RTI, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.\r\n
      \r\n
      Hello, I Must Be Going! was a triple-platinum-selling hit in the U.S. for Collins in the 1980s and it stayed on the U.K. album charts for more than a year, peaking at N° 2. For the fans it is a drummer's album, a record that expresses rage and desperation as well as loneliness and longing. Not an album for every day, but one that really speaks to you when you need it, wrote Martin Klinkhardt, in a review for genesis-news.com.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
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        "ordre" => 12
        "nom" => "2. The West Side"
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        "nom" => "3. Why Can't It Wait 'Til Morning"
      ]
    ]
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      date: 2026-02-02 14:39:03.0 UTC (+00:00)
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    -disponible: null
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[
  "produit" => App\Entity\Produit {#2057
    -id: 994
    -nom: "Family Style"
    -informationComplementaire: null
    -description: """
      - Mastered from the original tapes by Ryan Smith at Sterling Sound !\r\n
      - 180 gram pressing by Quality Record Pressings !\r\n
      \r\n
      With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock 'n' roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre.\r\n
      \r\n
      Stevie Ray had made music beyond the powers of most musicians but for this 1990 studio collaboration he returned to the things he loved: upbeat music and working with the brother he idolized his whole life. In his early years, Stevie Ray Vaughan often remarked that he would like to do an album with his brother. He fulfilled that wish in his very last studio performance, which was released nearly a month after his death. The liner notes end with "Thanks Mama V. for letting us play". With slick production from Nile Rodgers and employing neither guitarist's band (Double Trouble nor the Fabulous Thunderbirds), this is bluesy, but far from purist. Jimmie makes his vocal debut on "White Boots" and "Good Texan" and the brothers blur the lines between their expected guitar styles - Stevie sometimes going for a less sustained twang, Jimmie moving into Albert King territory.\r\n
      \r\n
      As we did with our vaunted box set reissues, Texas Hurricane, again Analogue Productions is bringing you the finest-sounding Stevie Ray Vaughan collections ever preserved on 200 gram vinyl. Ryan Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at Quality Record Pressings. \r\n
      \r\n
      There's not a link in this chain that wasn't absolute first-rate. The absolute best that money can buy. We're passionate about the blues AND Stevie Ray and the passion shows up here in spades.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Stevie Ray Vaughan (guitar, vocals), Jimmie Vaughan (guitar, vocals), Al Berry, Preston Hubbard (bass), Stan Harrison, Steve Elson (saxophone), Richard Hilton (piano, keyboards), Larry Aberman, Doyle Bramhall (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=DA_V0W3qtMY"
    -referenceProduit: "Analogue Productions AAPP 0100"
    -titreMorceau: [
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        "nom" => "1. Long Way From Home"
      ]
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        "nom" => "2. Tick Tock"
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        "nom" => "3. Telephone Song"
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        "nom" => "4. Baboom/Mama Said"
      ]
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        "ordre" => 11
        "nom" => "5. Brothers"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2059 …}
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      date: 2026-02-02 13:16:47.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -slug: "vinyles-family-style-analogue-productions-aapp-0100"
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  "detaillePage" => false
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App\Twig\Components\GestionPanierFavoriComponents {#3272
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2648 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2057
    -id: 994
    -nom: "Family Style"
    -informationComplementaire: null
    -description: """
      - Mastered from the original tapes by Ryan Smith at Sterling Sound !\r\n
      - 180 gram pressing by Quality Record Pressings !\r\n
      \r\n
      With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock 'n' roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre.\r\n
      \r\n
      Stevie Ray had made music beyond the powers of most musicians but for this 1990 studio collaboration he returned to the things he loved: upbeat music and working with the brother he idolized his whole life. In his early years, Stevie Ray Vaughan often remarked that he would like to do an album with his brother. He fulfilled that wish in his very last studio performance, which was released nearly a month after his death. The liner notes end with "Thanks Mama V. for letting us play". With slick production from Nile Rodgers and employing neither guitarist's band (Double Trouble nor the Fabulous Thunderbirds), this is bluesy, but far from purist. Jimmie makes his vocal debut on "White Boots" and "Good Texan" and the brothers blur the lines between their expected guitar styles - Stevie sometimes going for a less sustained twang, Jimmie moving into Albert King territory.\r\n
      \r\n
      As we did with our vaunted box set reissues, Texas Hurricane, again Analogue Productions is bringing you the finest-sounding Stevie Ray Vaughan collections ever preserved on 200 gram vinyl. Ryan Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at Quality Record Pressings. \r\n
      \r\n
      There's not a link in this chain that wasn't absolute first-rate. The absolute best that money can buy. We're passionate about the blues AND Stevie Ray and the passion shows up here in spades.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Stevie Ray Vaughan (guitar, vocals), Jimmie Vaughan (guitar, vocals), Al Berry, Preston Hubbard (bass), Stan Harrison, Steve Elson (saxophone), Richard Hilton (piano, keyboards), Larry Aberman, Doyle Bramhall (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -setBoxMusic: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=DA_V0W3qtMY"
    -referenceProduit: "Analogue Productions AAPP 0100"
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        "ordre" => 11
        "nom" => "5. Brothers"
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2059 …}
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      date: 2026-02-02 13:16:47.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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[
  "produit" => App\Entity\Produit {#2076
    -id: 1871
    -nom: "Taking The World By Storm"
    -informationComplementaire: "AVAILABILITY : 31/01/2026 (subject Analogue Productions)"
    -description: """
      Warren Storm, Marc Broussard, John Fogerty (vocals), Eric Adcock (piano), Richard Comeaux (pedal steel guitar), Derek Huston (tenor & bariton saxophone), Chris French (bass), Sonny Landreth (slide guitar), Roddie Romero (electric guitar), Beau Thomas (fiddle), Willie Tee Trahan (tenor saxophone), Gary Usie (drums).\r\n
      \r\n
      - Now a 45 RPM double LP for better tracking, higher-quality sound !\r\n
      - Swamp pop pioneer and Louisiana legend Warren Storm returns !\r\n
      - Louisiana and Texas' Music Hall of Fame inductee !\r\n
      - Mastered by Ryan K. Smith at Sterling Sound from analog tape recording !\r\n
      - Plated and pressed at Quality Record Pressings !\r\n
      - Old-style heavyweight tip-on gatefold jacket from Stoughton Printing !\r\n
      - A Personal Favorite of Acoustic Sounds / APO Records CEO Chad Kassem !\r\n
      - Praise for the 33 1/3 version of 'Taking The World, By Storm' !\r\n
      \r\n
      Taking the world by Storm : Memoir, album showcase swamp pop star Warren Storm - Music - theadvocate.com\r\n
      \r\n
      "At 82 years old, Warren Storm has more history behind him than in front of him. Fortunately, this stop along the way gives the world another chance to take a taste of the swamp pop that he is generally considered to have created- a steamy mixture of country, cajun, zydeco and New Orleans R & B. Think early CCR and you'll be in the right book, if not on the right page. Louisiana musician Yvette Landry coaxed Storm into the studio to revisit some of his career highlights such as 'Mathilda' and 'Prisoner's Song' as well as some takes on classics by others including CCR's John Fogerty who guests on his classic 'Long As I Can See the Light'. With an all-star band including Eric Adcock on piano, Roddie Romero on guitar, Derek Huston on sax, Chris French on bass and Gary Usie on drums plus special guests including Fogerty, Marc Broussard, Sonny Landreth and Willie "Tee" Traham, the stage was set for a fine release and this disc delivers. Storm's voice shows little signs of his aging as revealed by both ballads such as the Bobby Charles penned 'Tennessee Blues' and more upbeat numbers such as the Dave Bartholomew/Fats Domino classic 'Let the Four Winds Blow' and his 1956 hits, 'Mama, Mama, Mama' (where Landry adds some saucy vocals to the mix) and 'Prisoner's Song'. Merle Haggard's 'My House of Memories' aptly captures the anguish of unshakable loss while the bouncy, saxdriven 'Troubles, Troubles' is musically at odds with the misery and turmoil claimed in the lyrics revealing the loss of his lady isn't likely as bad as he protests. For those seeking to revisit swamp pop history this is a nice souvenir. For those new to the genre, this is a great introduction". - Mark Smith, Jazz & Blues Report, March / April 2020 - Issue 389\r\n
      \r\n
      "Trust me when the opener 'Long as I Can See the Light' begins you won't care how it was recorded. Mr. Storm (or Mr. Schexnider, however you wish to call him) does not sound like an 82 year old. No way. He owns the mournful, inspirational Fogerty penned tune... Now's the time for music that lifts the spirits and here's some that does just that ! Mr. Schexnider is in fine voice here, soaring to hit all of the high notes and clearly enjoying the adulation coming from all of the participants.... Live to 2 track analog sound pleases the ears at low levels and no matter how loud you crank it. If I could rate these records separately for sound this one would be up at least a notch to "noine" bordering on 10. Go high, go low, have a party with this album of honest music making... thanks to Executive Producer Chad Kassem, the audiophile community's Alan Lomax. Perfectly pressed at QRP, Salina Kansas, USA".  - Michael Fremer, AnalogPlanet.com. \r\n
      \r\n
      "These are songs (from writers such as Earl King, Dave Bartholomew & Fats Domino, Bobby Charles, and others) that (Storm) has figuratively made his own already. ... There is also one song that is utterly new to Storm's repertoire : a sublime take on 'Long As I Can See the Light', written and originally recorded by John Fogerty during his Credence Clearwater Revival heyday. This track alone might justify acquisition of the album, for not only does the soul-stirring number seem perfectly made for Storm to interpret but it also features Fogerty himself as special guest vocalist on the final verse. Together, those two distinctive voices are a marvel to behold and a reminder of just how much the California-born rocker's essential sound (as well as verbal motifs on classic CCR songs such as 'Born on the Bayou') was influenced by the music and culture of South Louisiana". - Roger Wood, Living Blues Magazine, February 2020.\r\n
      \r\n
      "At age 82, Warren 'Storm' Schexnider is a wonderful force out of Louisiana ...and still doing what he does best. His new album, Taking The World, By Storm, finds him revisiting some material he recorded earlier in his career, and proving he still has the vocal power and flair to make these songs work. Seriously, there are some fantastic vocal performances on this album". - Michael Doherty's Music Log\r\n
      \r\n
      "He is a master of what is lovingly referred to as 'swamp pop', an amalgam of traditional Cajun sounds mixed with blues, R&B, zydeco, and country ...Warren Storm has done it all - he's been a drummer, a singer, and a front man... All 11 tracks (on Taking The World By Storm) were laid down on half-inch tape, live-in-studio, the way they did back in the Fifties". - Sheryl and Don Crow, The Nashville Blues and Roots Alliance\r\n
      \r\n
      "Starting strong with a duet with John Fogerty on 'Long As I Can See The Light', followed by Marc Broussard on 'Mathilda', this made-with-love album from Louisiana mainstay Warren Storm doesn't slow down across eleven songs and 36 minutes... Storm still has the soul that made him the Godfather of Swamp Pop. Spend some time with him as he is Taking The World, By Storm". - Donald Teplyske, Fervor Coulee - Roots Music Opinion\r\n
      \r\n
      "Who knows ? Maybe it's the constant edible infusion of crawfish and Tabasco sauce, Dixie beer and moonshine diets that took their mortal toll on dedicated swamp pop practitioners... Luckily one of the original swampers, Mr. Warren Storm, is not about to give up the Holy Ghost anytime soon. 82-years-young, he's still singing for the ages and capable of working a backroom dance floor harder than anyone alive". - Bill Bently, Americana Highways\r\n
      \r\n
      Warren "Storm" Schexnider is a Louisiana legend. At age 82 when this album was recorded, he's been creating music for more than 70 years a milestone that's dubbed him the "Godfather of Swamp Pop" for his fealty to the indigenous music of the Acadiana region of south Louisiana and southeast Texas. Created in the 1950s and early 1960s by teenage Cajuns, swamp pop combines New Orleans-style rhythm and blues, country and western, and traditional French Louisiana musical influences.\r\n
      \r\n
      Warren throughout his career has recorded on innumerable records, both on his own as a vocalist/musician, and as a studio musician on other albums. He continues to blaze a path for younger musicians, which is why one could say the universe had a plan that resulted in the album Taking the World, by Storm, new from APO Records. Recorded at Dockside Studio, Maurice, Louisiana in March 2019, the album was produced by Yvette Landry and executive producer Chad Kassem. Mastering was by Ryan K. Smith at Sterling Sound in Nashville. Now a 45 RPM dead-quiet double LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.\r\n
      \r\n
      Warren Storm grew up in a Cajun household (he spoke only French until the third grade!) surrounded by music. His father, an Abbeville, Louisiana native, was a drummer, fiddler, and accordian player who indoctrinated his then 12-year-old son Warren into the biz with an impromptu Rayne-Bo Ramblers gig. By age 15, Warren was playing drums with Larry Brasso's Rhythm-aires. Throughout his adolescence Warren played with various dance hall bands, including with Fats Domino's drummer Charlie "Hungry" Williams. Warren became known as the top session drummer in the area; then just after graduation from Abbeville High School, Warren signed a recording contract. His first record, a 7-inch released in 1958, containing "The Prisoner's Song", b/w "Mama, Mama, Mama" sold a quarter of a million copies. His subsequent hits "So Long, So Long, (Goodbye, Goodbye)", "Birmingham Bar", "Lord, I Need Somebody Bad Tonight", "Things Have Gone To Pieces" and more led to Warren's induction into both Louisiana and Texas' Music Hall of Fame.\r\n
      \r\n
      Yvette Landry, a singer-songwriter and musician, grew up in Breaux Bridge, Louisiana not far from the levees of the Atchafalaya Basin, North America's largest swampland. She fronts her own band, The Yvette Landry Band, and her debut award-winning album titled Should Have Known was released in 2010. (The album was named Offbeat Magazine's "Best Country / Folk Album" and Landry "Best Country/Folk Artist") She's been a familiar presence on stages at countless cultural festivals and venues from the New Orleans Jazz and Heritage Festival to the Bluebird Café in Nashville.\r\n
      \r\n
      Still, when Warren Storm strolled unannounced into a gig she was playing in the spring of 2018, Yvette was at once a little nervous and starstruck.\r\n
      \r\n
      When prodded to sing a signature tune of Warren's, "I Need Somebody Bad", off her newly-released album, she says, "I shut my eyes and belted it out". At the end of the night Warren approached her, shook her hand and said "I never heard a girl sing that song before. You did real good. Think I could have a copy ?"\r\n
      \r\n
      She complied and a friendship blossomed. As Warren thumbed through his accumulated memoriabilia Landry began noticing who she was seeing in photos : Willie Nelson, Ray Price, Hank Williams, Jr., Elvis and others.\r\n
      \r\n
      The idea was born to compile Warren's stories and pictures for a book about his career spent performing with, and opening for some of the finest musicians in the world. That book became Taking the World, by Storm - A Conversation with Warren "Storm" Schexnider, The Godfather of Swamp Pop.\r\n
      \r\n
      When the idea was proposed to reissue one of Warren's previous albums to accompany the book, Yvette and those working with her on the project went one bettter : record a new album with Warren, live in the studio, straight to 2 track tape, "just like he did in his early days". And so the recording process began. Next to become involved was Acoustic Sounds and APO Records owner Chad Kassem, who arranged for the album to appear on the APO label, to be mastered by Ryan K. Smith at Sterling Sound in Nashville, and to be plated and pressed on vinyl at Quality Record Pressings, renowned among audiophiles and music professionals for its fine-sounding LPs.\r\n
      \r\n
      For Chad, born and raised in the south Louisiana town of Lafayette, the music of Warren Storm was as familiar growing up as the climate and culture of his homeland. Chad says he feels fortunate to have had the opportunity to participate in such a one-of-a-kind project.\r\n
      \r\n
      The core band for this album is an experienced crew: Eric Adcock (piano), Roddie Romero (electric guitar), Derek Huston (saxophone), Chris French (upright bass), and Gary Usie (drums). Special guests include vocalist Marc Broussard ("Mathilda"), Sonny Landreth (slide guitar on "Mathilda"), Beau Thomas (fiddle) and Richard Comeaux (pedal steel) on "Tennessee Blues, and Willie "Tee" Trahan (tenor saxophone on "In My Moments Of Sorrow" and "Troubles, Troubles"). Yvette Landry also sings with Warren on "Mama, Mama, Mama.\r\n
      \r\n
      Lastly, the one-and-only John Fogerty (Creedence Clearwater Revival) was gracious enough to sing along with Warren's performance of "Long As I Can See The Light". Warren recorded a video with John in the mid-1980s ("My Toot Toot") and remains a huge fan of John's.\r\n
      \r\n
      Warren Storm is a legend in Louisiana music, a swamp pop pioneer. As Yvette says, "He is a master who sings with excitement (like it was his first time) and reverence (like it is his last time)". Enjoy this musical gem and tribute to the swamp pop genre.
      """
    -prixVente: "99.50"
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    -id: 1871
    -nom: "Taking The World By Storm"
    -informationComplementaire: "AVAILABILITY : 31/01/2026 (subject Analogue Productions)"
    -description: """
      Warren Storm, Marc Broussard, John Fogerty (vocals), Eric Adcock (piano), Richard Comeaux (pedal steel guitar), Derek Huston (tenor & bariton saxophone), Chris French (bass), Sonny Landreth (slide guitar), Roddie Romero (electric guitar), Beau Thomas (fiddle), Willie Tee Trahan (tenor saxophone), Gary Usie (drums).\r\n
      \r\n
      - Now a 45 RPM double LP for better tracking, higher-quality sound !\r\n
      - Swamp pop pioneer and Louisiana legend Warren Storm returns !\r\n
      - Louisiana and Texas' Music Hall of Fame inductee !\r\n
      - Mastered by Ryan K. Smith at Sterling Sound from analog tape recording !\r\n
      - Plated and pressed at Quality Record Pressings !\r\n
      - Old-style heavyweight tip-on gatefold jacket from Stoughton Printing !\r\n
      - A Personal Favorite of Acoustic Sounds / APO Records CEO Chad Kassem !\r\n
      - Praise for the 33 1/3 version of 'Taking The World, By Storm' !\r\n
      \r\n
      Taking the world by Storm : Memoir, album showcase swamp pop star Warren Storm - Music - theadvocate.com\r\n
      \r\n
      "At 82 years old, Warren Storm has more history behind him than in front of him. Fortunately, this stop along the way gives the world another chance to take a taste of the swamp pop that he is generally considered to have created- a steamy mixture of country, cajun, zydeco and New Orleans R & B. Think early CCR and you'll be in the right book, if not on the right page. Louisiana musician Yvette Landry coaxed Storm into the studio to revisit some of his career highlights such as 'Mathilda' and 'Prisoner's Song' as well as some takes on classics by others including CCR's John Fogerty who guests on his classic 'Long As I Can See the Light'. With an all-star band including Eric Adcock on piano, Roddie Romero on guitar, Derek Huston on sax, Chris French on bass and Gary Usie on drums plus special guests including Fogerty, Marc Broussard, Sonny Landreth and Willie "Tee" Traham, the stage was set for a fine release and this disc delivers. Storm's voice shows little signs of his aging as revealed by both ballads such as the Bobby Charles penned 'Tennessee Blues' and more upbeat numbers such as the Dave Bartholomew/Fats Domino classic 'Let the Four Winds Blow' and his 1956 hits, 'Mama, Mama, Mama' (where Landry adds some saucy vocals to the mix) and 'Prisoner's Song'. Merle Haggard's 'My House of Memories' aptly captures the anguish of unshakable loss while the bouncy, saxdriven 'Troubles, Troubles' is musically at odds with the misery and turmoil claimed in the lyrics revealing the loss of his lady isn't likely as bad as he protests. For those seeking to revisit swamp pop history this is a nice souvenir. For those new to the genre, this is a great introduction". - Mark Smith, Jazz & Blues Report, March / April 2020 - Issue 389\r\n
      \r\n
      "Trust me when the opener 'Long as I Can See the Light' begins you won't care how it was recorded. Mr. Storm (or Mr. Schexnider, however you wish to call him) does not sound like an 82 year old. No way. He owns the mournful, inspirational Fogerty penned tune... Now's the time for music that lifts the spirits and here's some that does just that ! Mr. Schexnider is in fine voice here, soaring to hit all of the high notes and clearly enjoying the adulation coming from all of the participants.... Live to 2 track analog sound pleases the ears at low levels and no matter how loud you crank it. If I could rate these records separately for sound this one would be up at least a notch to "noine" bordering on 10. Go high, go low, have a party with this album of honest music making... thanks to Executive Producer Chad Kassem, the audiophile community's Alan Lomax. Perfectly pressed at QRP, Salina Kansas, USA".  - Michael Fremer, AnalogPlanet.com. \r\n
      \r\n
      "These are songs (from writers such as Earl King, Dave Bartholomew & Fats Domino, Bobby Charles, and others) that (Storm) has figuratively made his own already. ... There is also one song that is utterly new to Storm's repertoire : a sublime take on 'Long As I Can See the Light', written and originally recorded by John Fogerty during his Credence Clearwater Revival heyday. This track alone might justify acquisition of the album, for not only does the soul-stirring number seem perfectly made for Storm to interpret but it also features Fogerty himself as special guest vocalist on the final verse. Together, those two distinctive voices are a marvel to behold and a reminder of just how much the California-born rocker's essential sound (as well as verbal motifs on classic CCR songs such as 'Born on the Bayou') was influenced by the music and culture of South Louisiana". - Roger Wood, Living Blues Magazine, February 2020.\r\n
      \r\n
      "At age 82, Warren 'Storm' Schexnider is a wonderful force out of Louisiana ...and still doing what he does best. His new album, Taking The World, By Storm, finds him revisiting some material he recorded earlier in his career, and proving he still has the vocal power and flair to make these songs work. Seriously, there are some fantastic vocal performances on this album". - Michael Doherty's Music Log\r\n
      \r\n
      "He is a master of what is lovingly referred to as 'swamp pop', an amalgam of traditional Cajun sounds mixed with blues, R&B, zydeco, and country ...Warren Storm has done it all - he's been a drummer, a singer, and a front man... All 11 tracks (on Taking The World By Storm) were laid down on half-inch tape, live-in-studio, the way they did back in the Fifties". - Sheryl and Don Crow, The Nashville Blues and Roots Alliance\r\n
      \r\n
      "Starting strong with a duet with John Fogerty on 'Long As I Can See The Light', followed by Marc Broussard on 'Mathilda', this made-with-love album from Louisiana mainstay Warren Storm doesn't slow down across eleven songs and 36 minutes... Storm still has the soul that made him the Godfather of Swamp Pop. Spend some time with him as he is Taking The World, By Storm". - Donald Teplyske, Fervor Coulee - Roots Music Opinion\r\n
      \r\n
      "Who knows ? Maybe it's the constant edible infusion of crawfish and Tabasco sauce, Dixie beer and moonshine diets that took their mortal toll on dedicated swamp pop practitioners... Luckily one of the original swampers, Mr. Warren Storm, is not about to give up the Holy Ghost anytime soon. 82-years-young, he's still singing for the ages and capable of working a backroom dance floor harder than anyone alive". - Bill Bently, Americana Highways\r\n
      \r\n
      Warren "Storm" Schexnider is a Louisiana legend. At age 82 when this album was recorded, he's been creating music for more than 70 years a milestone that's dubbed him the "Godfather of Swamp Pop" for his fealty to the indigenous music of the Acadiana region of south Louisiana and southeast Texas. Created in the 1950s and early 1960s by teenage Cajuns, swamp pop combines New Orleans-style rhythm and blues, country and western, and traditional French Louisiana musical influences.\r\n
      \r\n
      Warren throughout his career has recorded on innumerable records, both on his own as a vocalist/musician, and as a studio musician on other albums. He continues to blaze a path for younger musicians, which is why one could say the universe had a plan that resulted in the album Taking the World, by Storm, new from APO Records. Recorded at Dockside Studio, Maurice, Louisiana in March 2019, the album was produced by Yvette Landry and executive producer Chad Kassem. Mastering was by Ryan K. Smith at Sterling Sound in Nashville. Now a 45 RPM dead-quiet double LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.\r\n
      \r\n
      Warren Storm grew up in a Cajun household (he spoke only French until the third grade!) surrounded by music. His father, an Abbeville, Louisiana native, was a drummer, fiddler, and accordian player who indoctrinated his then 12-year-old son Warren into the biz with an impromptu Rayne-Bo Ramblers gig. By age 15, Warren was playing drums with Larry Brasso's Rhythm-aires. Throughout his adolescence Warren played with various dance hall bands, including with Fats Domino's drummer Charlie "Hungry" Williams. Warren became known as the top session drummer in the area; then just after graduation from Abbeville High School, Warren signed a recording contract. His first record, a 7-inch released in 1958, containing "The Prisoner's Song", b/w "Mama, Mama, Mama" sold a quarter of a million copies. His subsequent hits "So Long, So Long, (Goodbye, Goodbye)", "Birmingham Bar", "Lord, I Need Somebody Bad Tonight", "Things Have Gone To Pieces" and more led to Warren's induction into both Louisiana and Texas' Music Hall of Fame.\r\n
      \r\n
      Yvette Landry, a singer-songwriter and musician, grew up in Breaux Bridge, Louisiana not far from the levees of the Atchafalaya Basin, North America's largest swampland. She fronts her own band, The Yvette Landry Band, and her debut award-winning album titled Should Have Known was released in 2010. (The album was named Offbeat Magazine's "Best Country / Folk Album" and Landry "Best Country/Folk Artist") She's been a familiar presence on stages at countless cultural festivals and venues from the New Orleans Jazz and Heritage Festival to the Bluebird Café in Nashville.\r\n
      \r\n
      Still, when Warren Storm strolled unannounced into a gig she was playing in the spring of 2018, Yvette was at once a little nervous and starstruck.\r\n
      \r\n
      When prodded to sing a signature tune of Warren's, "I Need Somebody Bad", off her newly-released album, she says, "I shut my eyes and belted it out". At the end of the night Warren approached her, shook her hand and said "I never heard a girl sing that song before. You did real good. Think I could have a copy ?"\r\n
      \r\n
      She complied and a friendship blossomed. As Warren thumbed through his accumulated memoriabilia Landry began noticing who she was seeing in photos : Willie Nelson, Ray Price, Hank Williams, Jr., Elvis and others.\r\n
      \r\n
      The idea was born to compile Warren's stories and pictures for a book about his career spent performing with, and opening for some of the finest musicians in the world. That book became Taking the World, by Storm - A Conversation with Warren "Storm" Schexnider, The Godfather of Swamp Pop.\r\n
      \r\n
      When the idea was proposed to reissue one of Warren's previous albums to accompany the book, Yvette and those working with her on the project went one bettter : record a new album with Warren, live in the studio, straight to 2 track tape, "just like he did in his early days". And so the recording process began. Next to become involved was Acoustic Sounds and APO Records owner Chad Kassem, who arranged for the album to appear on the APO label, to be mastered by Ryan K. Smith at Sterling Sound in Nashville, and to be plated and pressed on vinyl at Quality Record Pressings, renowned among audiophiles and music professionals for its fine-sounding LPs.\r\n
      \r\n
      For Chad, born and raised in the south Louisiana town of Lafayette, the music of Warren Storm was as familiar growing up as the climate and culture of his homeland. Chad says he feels fortunate to have had the opportunity to participate in such a one-of-a-kind project.\r\n
      \r\n
      The core band for this album is an experienced crew: Eric Adcock (piano), Roddie Romero (electric guitar), Derek Huston (saxophone), Chris French (upright bass), and Gary Usie (drums). Special guests include vocalist Marc Broussard ("Mathilda"), Sonny Landreth (slide guitar on "Mathilda"), Beau Thomas (fiddle) and Richard Comeaux (pedal steel) on "Tennessee Blues, and Willie "Tee" Trahan (tenor saxophone on "In My Moments Of Sorrow" and "Troubles, Troubles"). Yvette Landry also sings with Warren on "Mama, Mama, Mama.\r\n
      \r\n
      Lastly, the one-and-only John Fogerty (Creedence Clearwater Revival) was gracious enough to sing along with Warren's performance of "Long As I Can See The Light". Warren recorded a video with John in the mid-1980s ("My Toot Toot") and remains a huge fan of John's.\r\n
      \r\n
      Warren Storm is a legend in Louisiana music, a swamp pop pioneer. As Yvette says, "He is a master who sings with excitement (like it was his first time) and reverence (like it is his last time)". Enjoy this musical gem and tribute to the swamp pop genre.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1801 …}
    -musicienOrchestre: "Warren Storm, Marc Broussard, John Fogerty (vocals), Eric Adcock (piano), Richard Comeaux (pedal steel guitar), Derek Huston (tenor & bariton saxophone), Chris French (bass), Sonny Landreth (slide guitar), Roddie Romero (electric guitar)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1138 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=jTcKRHT2YGU"
    -referenceProduit: "Analogue Productions AAPO 2026-45"
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      ]
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      ]
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        "nom" => "9. My House of Memories"
      ]
      [
        "ordre" => 9
        "nom" => "10. Troubles, Troubles"
      ]
      [
        "ordre" => 10
        "nom" => "11. Raining in My Heart"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2078 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2416 …}
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[
  "produit" => App\Entity\Produit {#2095
    -id: 1773
    -nom: "Taking The World By Storm"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Warren Storm, Marc Broussard, John Fogerty (vocals), Eric Adcock (piano), Richard Comeaux (pedal steel guitar), Derek Huston (tenor & bariton saxophone), Chris French (bass), Sonny Landreth (slide guitar), Roddie Romero (electric guitar), Beau Thomas (fiddle), Willie Tee Trahan (tenor saxophone), Gary Usie (drums).\r\n
      \r\n
      - Swamp pop pioneer and Louisiana legend Warren Storm returns !\r\n
      - Louisiana and Texas' Music Hall of Fame inductee !\r\n
      - Mastered by Ryan K. Smith at Sterling Sound from analog tape recording !\r\n
      - Plated and pressed at Quality Record Pressings !\r\n
      - Old-style heavyweight tip-on gatefold jacket from Stoughton Printing !\r\n
      - A Personal Favorite of Acoustic Sounds/APO Records CEO Chad Kassem !\r\n
      \r\n
      "At age 82, Warren 'Storm' Schexnider is a wonderful force out of Louisiana ... and still doing what he does best. His new album, Taking The World, By Storm, finds him revisiting some material he recorded earlier in his career, and proving he still has the vocal power and flair to make these songs work. Seriously, there are some fantastic vocal performances on this album". - Michael Doherty's Music Log\r\n
      \r\n
      "He is a master of what is lovingly referred to as 'swamp pop,' an amalgam of traditional Cajun sounds mixed with blues, R&B, zydeco, and country ... Warren Storm has done it all he's been a drummer, a singer, and a front man. ... All 11 tracks (on Taking The World By Storm) were laid down on half-inch tape, live-in-studio, the way they did back in the Fifties". - Sheryl and Don Crow, The Nashville Blues and Roots Alliance\r\n
      \r\n
      "Starting strong with a duet with John Fogerty on 'Long As I Can See The Light', followed by Marc Broussard on 'Mathilda', this made-with-love album from Louisiana mainstay Warren Storm doesn't slow down across eleven songs and 36 minutes. ... Storm still has the soul that made him the Godfather of Swamp Pop. Spend some time with him as he is Taking The World, By Storm". - Donald Teplyske, Fervor Coulee - Roots Music Opinion\r\n
      \r\n
      "Who knows ? Maybe it's the constant edible infusion of crawfish and Tabasco sauce, Dixie beer and moonshine diets that took their mortal toll on dedicated swamp pop practitioners. ... Luckily one of the original swampers, Mr. Warren Storm, is not about to give up the Holy Ghost anytime soon. 82-years-young, he's still singing for the ages and capable of working a backroom dance floor harder than anyone alive". - Bill Bently, Americana Highways\r\n
      \r\n
      Warren "Storm" Schexnider is a Louisiana legend. At age 82 when this album was recorded, he's been creating music for more than 70 years a milestone that's dubbed him the "Godfather of Swamp Pop" for his fealty to the indigenous music of the Acadiana region of south Louisiana and southeast Texas. Created in the 1950s and early 1960s by teenage Cajuns, swamp pop combines New Orleans-style rhythm and blues, country and western, and traditional French Louisiana musical influences.\r\n
      \r\n
      Warren throughout his career has recorded on innumerable records, both on his own as a vocalist/musician, and as a studio musician on other albums. He continues to blaze a path for younger musicians, which is why one could say the universe had a plan that resulted in the album Taking the World, by Storm, new from APO Records. Recorded at Dockside Studio, Maurice, Louisiana in March 2019, the album was produced by Yvette Landry and executive producer Chad Kassem. Mastering was by Ryan K. Smith at Sterling Sound in Nashville.\r\n
      \r\n
      Warren Storm grew up in a Cajun household (he spoke only French until the third grade!) surrounded by music. His father, an Abbeville, Louisiana native, was a drummer, fiddler, and accordian player who indoctrinated his then 12-year-old son Warren into the biz with an impromptu Rayne-Bo Ramblers gig. By age 15, Warren was playing drums with Larry Brasso's Rhythm-aires. Throughout his adolescence Warren played with various dance hall bands, including with Fats Domino's drummer Charlie "Hungry" Williams. Warren became known as the top session drummer in the area; then just after graduation from Abbeville High School, Warren signed a recording contract. His first record, a 7-inch released in 1958, containing "The Prisoner's Song", b/w "Mama, Mama, Mama" sold a quarter of a million copies. His subsequent hits "So Long, So Long, (Goodbye, Goodbye)", "Birmingham Bar", "Lord, I Need Somebody Bad Tonight", "Things Have Gone To Pieces" and more led to Warren's induction into both Louisiana and Texas' Music Hall of Fame.\r\n
      \r\n
      Yvette Landry, a singer-songwriter and musician, grew up in Breaux Bridge, Louisiana not far from the levees of the Atchafalaya Basin, North America's largest swampland. She fronts her own band, The Yvette Landry Band, and her debut award-winning album titled Should Have Known was released in 2010. (The album was named Offbeat Magazine's "Best Country / Folk Album" and Landry "Best Country / Folk Artist") She's been a familiar presence on stages at countless cultural festivals and venues from the New Orleans Jazz and Heritage Festival to the Bluebird Café in Nashville.\r\n
      \r\n
      Still, when Warren Storm strolled unannounced into a gig she was playing in the spring of 2018, Yvette was at once a little nervous and starstruck.\r\n
      \r\n
      When prodded to sing a signature tune of Warren's, "I Need Somebody Bad", off her newly-released album, she says, "I shut my eyes and belted it out". At the end of the night Warren approached her, shook her hand and said "I never heard a girl sing that song before. You did real good. Think I could have a copy ?"\r\n
      \r\n
      She complied and a friendship blossomed. As Warren thumbed through his accumulated memoriabilia Landry began noticing who she was seeing in photos: Willie Nelson, Ray Price, Hank Williams, Jr., Elvis and others.\r\n
      \r\n
      The idea was born to compile Warren's stories and pictures for a book about his career spent performing with, and opening for some of the finest musicians in the world. That book became Taking the World, by Storm A Conversation with Warren "Storm" Schexnider, The Godfather of Swamp Pop.\r\n
      \r\n
      When the idea was proposed to reissue one of Warren's previous albums to accompany the book, Yvette and those working with her on the project went one bettter : record a new album with Warren, live in the studio, straight to 2 track tape, "just like he did in his early days". And so the recording process began. Next to become involved was Acoustic Sounds and APO Records owner Chad Kassem, who arranged for the album to appear on the APO label, to be mastered by Ryan K. Smith at Sterling Sound in Nashville, and to be plated and pressed on vinyl at Quality Record Pressings, renowned among audiophiles and music professionals for its fine-sounding LPs.\r\n
      \r\n
      For Chad, born and raised in the south Louisiana town of Lafayette, the music of Warren Storm was as familiar growing up as the climate and culture of his homeland. Chad says he feels fortunate to have had the opportunity to participate in such a one-of-a-kind project.\r\n
      \r\n
      The core band for this album is an experienced crew: Eric Adcock (piano), Roddie Romero (electric guitar), Derek Huston (saxophone), Chris French (upright bass), and Gary Usie (drums). Special guests include vocalist Marc Broussard ("Mathilda"), Sonny Landreth (slide guitar on "Mathilda"), Beau Thomas (fiddle) and Richard Comeaux (pedal steel) on "Tennessee Blues, and Willie "Tee" Trahan (tenor saxophone on "In My Moments Of Sorrow" and "Troubles, Troubles"). Yvette Landry also sings with Warren on "Mama, Mama, Mama.\r\n
      \r\n
      Lastly, the one-and-only John Fogerty (Creedence Clearwater Revival) was gracious enough to sing along with Warren's performance of "Long As I Can See The Light". Warren recorded a video with John in the mid-1980s ("My Toot Toot") and remains a huge fan of John's.\r\n
      \r\n
      Warren Storm is a legend in Louisiana music, a swamp pop pioneer. As Yvette says, "He is a master who sings with excitement (like it was his first time) and reverence (like it is his last time)". Enjoy this musical gem and tribute to the swamp pop genre.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Warren Storm, Marc Broussard, John Fogerty (vocals), Eric Adcock (piano), Richard Comeaux (pedal steel guitar), Derek Huston (tenor & bariton saxophone), Chris French (bass), Sonny Landreth (slide guitar), Roddie Romero (electric guitar)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=jTcKRHT2YGU"
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  +produit: App\Entity\Produit {#2095
    -id: 1773
    -nom: "Taking The World By Storm"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Warren Storm, Marc Broussard, John Fogerty (vocals), Eric Adcock (piano), Richard Comeaux (pedal steel guitar), Derek Huston (tenor & bariton saxophone), Chris French (bass), Sonny Landreth (slide guitar), Roddie Romero (electric guitar), Beau Thomas (fiddle), Willie Tee Trahan (tenor saxophone), Gary Usie (drums).\r\n
      \r\n
      - Swamp pop pioneer and Louisiana legend Warren Storm returns !\r\n
      - Louisiana and Texas' Music Hall of Fame inductee !\r\n
      - Mastered by Ryan K. Smith at Sterling Sound from analog tape recording !\r\n
      - Plated and pressed at Quality Record Pressings !\r\n
      - Old-style heavyweight tip-on gatefold jacket from Stoughton Printing !\r\n
      - A Personal Favorite of Acoustic Sounds/APO Records CEO Chad Kassem !\r\n
      \r\n
      "At age 82, Warren 'Storm' Schexnider is a wonderful force out of Louisiana ... and still doing what he does best. His new album, Taking The World, By Storm, finds him revisiting some material he recorded earlier in his career, and proving he still has the vocal power and flair to make these songs work. Seriously, there are some fantastic vocal performances on this album". - Michael Doherty's Music Log\r\n
      \r\n
      "He is a master of what is lovingly referred to as 'swamp pop,' an amalgam of traditional Cajun sounds mixed with blues, R&B, zydeco, and country ... Warren Storm has done it all he's been a drummer, a singer, and a front man. ... All 11 tracks (on Taking The World By Storm) were laid down on half-inch tape, live-in-studio, the way they did back in the Fifties". - Sheryl and Don Crow, The Nashville Blues and Roots Alliance\r\n
      \r\n
      "Starting strong with a duet with John Fogerty on 'Long As I Can See The Light', followed by Marc Broussard on 'Mathilda', this made-with-love album from Louisiana mainstay Warren Storm doesn't slow down across eleven songs and 36 minutes. ... Storm still has the soul that made him the Godfather of Swamp Pop. Spend some time with him as he is Taking The World, By Storm". - Donald Teplyske, Fervor Coulee - Roots Music Opinion\r\n
      \r\n
      "Who knows ? Maybe it's the constant edible infusion of crawfish and Tabasco sauce, Dixie beer and moonshine diets that took their mortal toll on dedicated swamp pop practitioners. ... Luckily one of the original swampers, Mr. Warren Storm, is not about to give up the Holy Ghost anytime soon. 82-years-young, he's still singing for the ages and capable of working a backroom dance floor harder than anyone alive". - Bill Bently, Americana Highways\r\n
      \r\n
      Warren "Storm" Schexnider is a Louisiana legend. At age 82 when this album was recorded, he's been creating music for more than 70 years a milestone that's dubbed him the "Godfather of Swamp Pop" for his fealty to the indigenous music of the Acadiana region of south Louisiana and southeast Texas. Created in the 1950s and early 1960s by teenage Cajuns, swamp pop combines New Orleans-style rhythm and blues, country and western, and traditional French Louisiana musical influences.\r\n
      \r\n
      Warren throughout his career has recorded on innumerable records, both on his own as a vocalist/musician, and as a studio musician on other albums. He continues to blaze a path for younger musicians, which is why one could say the universe had a plan that resulted in the album Taking the World, by Storm, new from APO Records. Recorded at Dockside Studio, Maurice, Louisiana in March 2019, the album was produced by Yvette Landry and executive producer Chad Kassem. Mastering was by Ryan K. Smith at Sterling Sound in Nashville.\r\n
      \r\n
      Warren Storm grew up in a Cajun household (he spoke only French until the third grade!) surrounded by music. His father, an Abbeville, Louisiana native, was a drummer, fiddler, and accordian player who indoctrinated his then 12-year-old son Warren into the biz with an impromptu Rayne-Bo Ramblers gig. By age 15, Warren was playing drums with Larry Brasso's Rhythm-aires. Throughout his adolescence Warren played with various dance hall bands, including with Fats Domino's drummer Charlie "Hungry" Williams. Warren became known as the top session drummer in the area; then just after graduation from Abbeville High School, Warren signed a recording contract. His first record, a 7-inch released in 1958, containing "The Prisoner's Song", b/w "Mama, Mama, Mama" sold a quarter of a million copies. His subsequent hits "So Long, So Long, (Goodbye, Goodbye)", "Birmingham Bar", "Lord, I Need Somebody Bad Tonight", "Things Have Gone To Pieces" and more led to Warren's induction into both Louisiana and Texas' Music Hall of Fame.\r\n
      \r\n
      Yvette Landry, a singer-songwriter and musician, grew up in Breaux Bridge, Louisiana not far from the levees of the Atchafalaya Basin, North America's largest swampland. She fronts her own band, The Yvette Landry Band, and her debut award-winning album titled Should Have Known was released in 2010. (The album was named Offbeat Magazine's "Best Country / Folk Album" and Landry "Best Country / Folk Artist") She's been a familiar presence on stages at countless cultural festivals and venues from the New Orleans Jazz and Heritage Festival to the Bluebird Café in Nashville.\r\n
      \r\n
      Still, when Warren Storm strolled unannounced into a gig she was playing in the spring of 2018, Yvette was at once a little nervous and starstruck.\r\n
      \r\n
      When prodded to sing a signature tune of Warren's, "I Need Somebody Bad", off her newly-released album, she says, "I shut my eyes and belted it out". At the end of the night Warren approached her, shook her hand and said "I never heard a girl sing that song before. You did real good. Think I could have a copy ?"\r\n
      \r\n
      She complied and a friendship blossomed. As Warren thumbed through his accumulated memoriabilia Landry began noticing who she was seeing in photos: Willie Nelson, Ray Price, Hank Williams, Jr., Elvis and others.\r\n
      \r\n
      The idea was born to compile Warren's stories and pictures for a book about his career spent performing with, and opening for some of the finest musicians in the world. That book became Taking the World, by Storm A Conversation with Warren "Storm" Schexnider, The Godfather of Swamp Pop.\r\n
      \r\n
      When the idea was proposed to reissue one of Warren's previous albums to accompany the book, Yvette and those working with her on the project went one bettter : record a new album with Warren, live in the studio, straight to 2 track tape, "just like he did in his early days". And so the recording process began. Next to become involved was Acoustic Sounds and APO Records owner Chad Kassem, who arranged for the album to appear on the APO label, to be mastered by Ryan K. Smith at Sterling Sound in Nashville, and to be plated and pressed on vinyl at Quality Record Pressings, renowned among audiophiles and music professionals for its fine-sounding LPs.\r\n
      \r\n
      For Chad, born and raised in the south Louisiana town of Lafayette, the music of Warren Storm was as familiar growing up as the climate and culture of his homeland. Chad says he feels fortunate to have had the opportunity to participate in such a one-of-a-kind project.\r\n
      \r\n
      The core band for this album is an experienced crew: Eric Adcock (piano), Roddie Romero (electric guitar), Derek Huston (saxophone), Chris French (upright bass), and Gary Usie (drums). Special guests include vocalist Marc Broussard ("Mathilda"), Sonny Landreth (slide guitar on "Mathilda"), Beau Thomas (fiddle) and Richard Comeaux (pedal steel) on "Tennessee Blues, and Willie "Tee" Trahan (tenor saxophone on "In My Moments Of Sorrow" and "Troubles, Troubles"). Yvette Landry also sings with Warren on "Mama, Mama, Mama.\r\n
      \r\n
      Lastly, the one-and-only John Fogerty (Creedence Clearwater Revival) was gracious enough to sing along with Warren's performance of "Long As I Can See The Light". Warren recorded a video with John in the mid-1980s ("My Toot Toot") and remains a huge fan of John's.\r\n
      \r\n
      Warren Storm is a legend in Louisiana music, a swamp pop pioneer. As Yvette says, "He is a master who sings with excitement (like it was his first time) and reverence (like it is his last time)". Enjoy this musical gem and tribute to the swamp pop genre.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Warren Storm, Marc Broussard, John Fogerty (vocals), Eric Adcock (piano), Richard Comeaux (pedal steel guitar), Derek Huston (tenor & bariton saxophone), Chris French (bass), Sonny Landreth (slide guitar), Roddie Romero (electric guitar)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1138 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=jTcKRHT2YGU"
    -referenceProduit: "APO Records 2026"
    -titreMorceau: [
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      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2078 …}
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[
  "produit" => App\Entity\Produit {#2108
    -id: 2336
    -nom: "Excitable Boy (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - SOURCED FROM THE ORIGINAL ANALOG TAPES FOR DEFINITIVE SOUND !\r\n
      - 1/4" / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Excitable Boy established Warren Zevon as rock's gonzo figurehead or, as Jackson Browne aptly called him, "the first and foremost proponent of song noir". A supreme collision of over-caffeinated energy, acerbic wit, dark humor, irreverent reporting, bittersweet romance, swept-under-the-rug truth, and illicit desire sent up with booze, pills, and therapist confessions, the breakthrough album zeroes in on frightening aspects of American culture with an incisiveness that's even sharper today than upon the effort's release in 1978. And the music has never sounded so excitable.\r\n
      \r\n
      Sourced from the original analog master tapes and pressed on dead-quiet vinyl, Mobile Fidelity's numbered-edition 180 gram 45 RPM (2 LP) set elevates the best-selling album of Zevon's distinguished career to audiophile status. Co-produced by Browne and Waddy Wachtel and featuring contributions by members of Fleetwood Mac plus Linda Rondstadt, J.D. Souther, Leland Sklar, and Browne the platinum-certified record now plays with a verve and explosivity that match its subject matter. Listeners will experience wide separation between the instruments; full-range dynamics that underscore the depth of the arrangements; sterling transparency that draws a through-line to the original sessions at the Sound Factory; warmth on a par with the finest analog recordings; presence that elevates the body and tenor of Zevon's vocals; and an openness and balance resulting from the freedom that Browne and Wachtel afforded recording engineer Greg Ladanyi.\r\n
      \r\n
      That lenience coincides with the record's primary themes and speaks to the freewheeling spirit in which it was made. Excitable Boy delightfully teeters on the verge of chaos and, often, causes us to question what the zany singer-songwriter has gotten into (and what he is going on about). Not yet two years removed from his critically acclaimed self-titled major-label debut, Zevon had already established a fabled reputation for debauchery and grown more perceptive about the twisted underbelly and self-destructive nature of U.S. politics and society.\r\n
      \r\n
      The singer's astuteness and lethal combination of the personal and public – proves intoxicating. Excitable Boy comes on as a seamless collection of nine hard-boiled stories owing to a tradition established by Raymond Chandler, continued by Hunter S. Thompson, and carried into the 21st century by "Breaking Bad" and "Better Call Saul" creator Vince Gilligan. We may want to close our eyes and turn away from his reports, but Zevon makes doing so impossible. The protagonists' actions, behaviors, appetites, and decisions are too intriguing and forthright; their impact hits too close to home. We mingle, stare, draw closer. In a perverse way, Excitable Boy is our shared carnage a wickedly funny and ever-germane pile of wreckage.\r\n
      \r\n
      Nowhere is that more evident than in Zevon's tales involving America's domestic and foreign enterprise. In "Roland the Headless Thompson Gunner", co-written with former mercenary David Lindell, Zevon crafts a story of bloodshed, vengeance, and profiteering starring a mercenary who fights in the Congo Crisis only to get exterminated by the CIA because of his killing skills. Yet the soldier of fortune gets the last laugh : Resurrected as a ghost, he slays his assassin, and, like a zombie, roams the landscape for eternity. "Veracruz" is similarly sobering and historically rooted. Based on the U.S. occupation of the port city during the Mexican Revolution, Zevon's account – hitched to a gorgeous arrangement simultaneously offers a sympathetic view of those crushed by U.S. transgressions and functions as a smart take on the past.\r\n
      \r\n
      Ghosts of the present haunt the title track, a berserk affair sent up with a lively doo-wop chorus and lilting barroom piano. Titled after a nickname friends gave Zevon, "Excitable Boy" foreshadowed the government's decision to slash mental health-care budgets and involves the same concepts of privilege explored throughout the record. Speaking of privilege : The cascading "Lawyers, Guns, and Money" written after Zevon and a colleague joked about being bailed out of a precarious situation by Warner Bros. president Joe Smith addresses personal entitlement and U.S. diplomacy in no uncertain terms.\r\n
      \r\n
      Ironically, and likely intentionally, Zevon sets up everything by opening the record with its most upbeat and innocuous track, "Johnny Strikes Up the Band". The mid-tempo adrenaline shot turns sadness to joy while suggesting that the material that will follow will adhere to the same vibe. Consider the song Zevon's way of displaying his shrewdness via the sequencing of a long-playing record. Though he gives listeners a breather with "Nighttime in the Switching Yard" and hints at calm on "Tenderness on the Block", the serenity of the latter gets shattered by what he says in between the lines of the verses.\r\n
      \r\n
      There's nothing subtle about "Werewolves of London", a cult-favorite hit that stemmed from Zevon's association with Phil Everly. Akin to those in Bob Dylan's "Desolation Row", the deceptively comedic lyrics blend pop culture with classically grotesque imagery en route to establishing a riotous storyline. Dubbed a "dumb song for smart people" by Zevon, the cut zoomed into the Billboard Top 30 and remains beloved for its fun-spirited "ah-hoo" choral bits. Its appeal is fitting. Like the hairy creatures in the song and the ghosts wandering the corridors of Excitable Boy, Zevon's legacy still runs amok via the grooves of his finest studio work. Draw blood, indeed.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Warren Zevon (piano, organ, synthesizer, vocals), Jorge Calderón backing vocals, Spanish vocals), Danny Kortchmar (guitar, percussion), Russ Kunkel (drums)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
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    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=69lcRB1qco8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-513"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
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      [
        "ordre" => 1
        "nom" => "1. Johnny Strikes Up the Band "
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        "nom" => "2. Roland the Headless Thompson Gunner "
      ]
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        "ordre" => 3
        "nom" => "3. Excitable Boy "
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      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
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        "ordre" => 5
        "nom" => "1. Werewolves of London "
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      [
        "ordre" => 6
        "nom" => "2. Accidentally Like a Martyr "
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
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        "nom" => "1. Nighttime in the Switching Yard "
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      ]
    ]
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2648 …}
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  +produit: App\Entity\Produit {#2108
    -id: 2336
    -nom: "Excitable Boy (2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      - SOURCED FROM THE ORIGINAL ANALOG TAPES FOR DEFINITIVE SOUND !\r\n
      - 1/4" / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Excitable Boy established Warren Zevon as rock's gonzo figurehead or, as Jackson Browne aptly called him, "the first and foremost proponent of song noir". A supreme collision of over-caffeinated energy, acerbic wit, dark humor, irreverent reporting, bittersweet romance, swept-under-the-rug truth, and illicit desire sent up with booze, pills, and therapist confessions, the breakthrough album zeroes in on frightening aspects of American culture with an incisiveness that's even sharper today than upon the effort's release in 1978. And the music has never sounded so excitable.\r\n
      \r\n
      Sourced from the original analog master tapes and pressed on dead-quiet vinyl, Mobile Fidelity's numbered-edition 180 gram 45 RPM (2 LP) set elevates the best-selling album of Zevon's distinguished career to audiophile status. Co-produced by Browne and Waddy Wachtel and featuring contributions by members of Fleetwood Mac plus Linda Rondstadt, J.D. Souther, Leland Sklar, and Browne the platinum-certified record now plays with a verve and explosivity that match its subject matter. Listeners will experience wide separation between the instruments; full-range dynamics that underscore the depth of the arrangements; sterling transparency that draws a through-line to the original sessions at the Sound Factory; warmth on a par with the finest analog recordings; presence that elevates the body and tenor of Zevon's vocals; and an openness and balance resulting from the freedom that Browne and Wachtel afforded recording engineer Greg Ladanyi.\r\n
      \r\n
      That lenience coincides with the record's primary themes and speaks to the freewheeling spirit in which it was made. Excitable Boy delightfully teeters on the verge of chaos and, often, causes us to question what the zany singer-songwriter has gotten into (and what he is going on about). Not yet two years removed from his critically acclaimed self-titled major-label debut, Zevon had already established a fabled reputation for debauchery and grown more perceptive about the twisted underbelly and self-destructive nature of U.S. politics and society.\r\n
      \r\n
      The singer's astuteness and lethal combination of the personal and public – proves intoxicating. Excitable Boy comes on as a seamless collection of nine hard-boiled stories owing to a tradition established by Raymond Chandler, continued by Hunter S. Thompson, and carried into the 21st century by "Breaking Bad" and "Better Call Saul" creator Vince Gilligan. We may want to close our eyes and turn away from his reports, but Zevon makes doing so impossible. The protagonists' actions, behaviors, appetites, and decisions are too intriguing and forthright; their impact hits too close to home. We mingle, stare, draw closer. In a perverse way, Excitable Boy is our shared carnage a wickedly funny and ever-germane pile of wreckage.\r\n
      \r\n
      Nowhere is that more evident than in Zevon's tales involving America's domestic and foreign enterprise. In "Roland the Headless Thompson Gunner", co-written with former mercenary David Lindell, Zevon crafts a story of bloodshed, vengeance, and profiteering starring a mercenary who fights in the Congo Crisis only to get exterminated by the CIA because of his killing skills. Yet the soldier of fortune gets the last laugh : Resurrected as a ghost, he slays his assassin, and, like a zombie, roams the landscape for eternity. "Veracruz" is similarly sobering and historically rooted. Based on the U.S. occupation of the port city during the Mexican Revolution, Zevon's account – hitched to a gorgeous arrangement simultaneously offers a sympathetic view of those crushed by U.S. transgressions and functions as a smart take on the past.\r\n
      \r\n
      Ghosts of the present haunt the title track, a berserk affair sent up with a lively doo-wop chorus and lilting barroom piano. Titled after a nickname friends gave Zevon, "Excitable Boy" foreshadowed the government's decision to slash mental health-care budgets and involves the same concepts of privilege explored throughout the record. Speaking of privilege : The cascading "Lawyers, Guns, and Money" written after Zevon and a colleague joked about being bailed out of a precarious situation by Warner Bros. president Joe Smith addresses personal entitlement and U.S. diplomacy in no uncertain terms.\r\n
      \r\n
      Ironically, and likely intentionally, Zevon sets up everything by opening the record with its most upbeat and innocuous track, "Johnny Strikes Up the Band". The mid-tempo adrenaline shot turns sadness to joy while suggesting that the material that will follow will adhere to the same vibe. Consider the song Zevon's way of displaying his shrewdness via the sequencing of a long-playing record. Though he gives listeners a breather with "Nighttime in the Switching Yard" and hints at calm on "Tenderness on the Block", the serenity of the latter gets shattered by what he says in between the lines of the verses.\r\n
      \r\n
      There's nothing subtle about "Werewolves of London", a cult-favorite hit that stemmed from Zevon's association with Phil Everly. Akin to those in Bob Dylan's "Desolation Row", the deceptively comedic lyrics blend pop culture with classically grotesque imagery en route to establishing a riotous storyline. Dubbed a "dumb song for smart people" by Zevon, the cut zoomed into the Billboard Top 30 and remains beloved for its fun-spirited "ah-hoo" choral bits. Its appeal is fitting. Like the hairy creatures in the song and the ghosts wandering the corridors of Excitable Boy, Zevon's legacy still runs amok via the grooves of his finest studio work. Draw blood, indeed.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Warren Zevon (piano, organ, synthesizer, vocals), Jorge Calderón backing vocals, Spanish vocals), Danny Kortchmar (guitar, percussion), Russ Kunkel (drums)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=69lcRB1qco8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-513"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Johnny Strikes Up the Band "
      ]
      [
        "ordre" => 2
        "nom" => "2. Roland the Headless Thompson Gunner "
      ]
      [
        "ordre" => 3
        "nom" => "3. Excitable Boy "
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Werewolves of London "
      ]
      [
        "ordre" => 6
        "nom" => "2. Accidentally Like a Martyr "
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Nighttime in the Switching Yard "
      ]
      [
        "ordre" => 9
        "nom" => "2. Veracruz "
      ]
      [
        "ordre" => 10
        "nom" => "Side D : "
      ]
      [
        "ordre" => 11
        "nom" => "1. Tenderness on the Block "
      ]
      [
        "ordre" => 12
        "nom" => "2. Lawyers, Guns, and Money"
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2110 …}
    -label: Proxies\__CG__\App\Entity\Label {#2113 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2122 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2115 …}
    -typeMasterTape: null
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    -adresseInternetTest: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2117 …}
    -enregistreLe: DateTime @1671179661 {#2105
      date: 2022-12-16 08:34:21.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769964815 {#2106
      date: 2026-02-01 16:53:35.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2119 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-excitable-boy-2-lp-45-rpm-mobile-fidelity-sound-lab-mfsl-2-513"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2416 …}
}

[
  "produit" => App\Entity\Produit {#2127
    -id: 2438
    -nom: "Whitney"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Whitney Houston (vocals), Marc Russo (alto saxophone, horns), Randy Jackson (synthesizer, electric bass), Kenny G (tenor saxophone), Fred Zarr, Jack Waldman, Frank Martin, Randy Jackson, Michael Boddicker (synthesizer), Robbie Buchanan (piano, electric piano Fender Rhodes), Kashif, Ralph Schukett, Preston Glass (keyboards, synthesizer), Vincent Henry (saxophone), Roy Ayers (vibraphone), Nathan East, Marcus Miller (bass), Dan Huff, Ira Siegel, Paul Pesco (guitar), Shambhu Neil Vineberg (acoustic guitar), Jerry Hey, Premik Russell Tubbs, Wayne Wallace (horns), Randy Kerber (acoustic piano), Jennifer Hall, Jim Gilstrap, Kevin Dorsey, Kitty Beethoven, Myrna Matthews, Nikki Harris, Kashif, Claytoven Richardson, Cissy Houston (backing vocals), Figueroa (percussion), Paul Rekow (congas), Greg "Gigi" Gonaway, Bashiri Johnson, Paulinho Da Costa, Sammy Figueroa (percussion), John Robinson, Narada, Paul Leim (drums).\r\n
      \r\n
      - MASTERED FROM THE ORIGINAL MASTER TAPES AND PRESSED AT RTI ON MOFI SUPERVINYL FOR SPECTACULAR SOUND !\r\n
      - 1/2" / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Whitney did more than turn Whitney Houston into a pioneering sensation known around the world by her first name. Originally released in June 1987, the singer's blockbuster sophomore record became the first album by a female artist to debut at No. 1 on the Billboard 200 chart a position it claimed for a total of 11 weeks en route to selling more than 10 million copies in the U.S. The Diamond platinum effort also contains four N° 1 Hot 100 hits that, when combined with the three chart toppers from her 1985 debut, gave her seven consecutive N° 1 singles an accomplishment that no other artist has accomplished. Commercially and creatively, Whitney stands on hallowed ground especially now that the record plays with a sound that puts into perspective just how extraordinary, engaging, and vital Houston's music remains.\r\n
      \r\n
      Mastered from the original master tapes and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's 180 gram 33 RPM SuperVinyl LP of Whitney invites listeners to experience the Rock & Roll Hall of Fame inductee's pivotal album in audiophile quality for the very first time. Free of the dynamic limitations and tonal flatness prevalent on prior vinyl and CD pressings, it lets the music breathe and reveals the copious detail, nuance, and texture within the immaculately produced songs. MoFi's SuperVinyl profile offers further advantages in the forms of a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition.\r\n
      \r\n
      In addition to featuring extreme clarity and immediacy, this numbered-edition reissue does wonders for the attribute that inspired more than 20 million people around the globe to add Whitney to their record collections: that inimitable voice. Houston's trademark mezzo-soprano an acrobatic instrument equally capable of taking off on fantastic flights and unwinding for hushed meditations benefits from the fantastic airiness and transparency afforded by this meticulously restored edition. Whitney has never sounded or looked better. The crossover landmark deserves nothing less.\r\n
      \r\n
      Issued just two years after Houston's breakthrough debut, Whitney immediately signaled the genre-defying singer's intent to continue to push ahead and expand her palette. Shot by photographer Richard Avedon, the album cover depicts an iconic image of Houston captured with a gleaming smile, bright eyes, teased-out afro, toned arms, and a right hand that appears to wave a friendly hello whose active, athletic profile stands in contrast to the extremely formal sit-down shot of her that graces her '85 record. The change is telling: Whitney overflows with unfettered joy, rhythmic vibes, and deep-seated emotions that forever endeared her to the hearts and minds of countless listeners and which set the standard for the wave after wave of divas that followed in her footsteps.\r\n
      \r\n
      It's no coincidence that the first track on Whitney is the declarative "I Wanna Dance with Somebody (Who Loves Me)". Like Michael Jackson's "Billie Jean" and Madonna's "Material Girl," the feel-good smash is one of the quintessential '80s gems a lithe, melodic, celebratory release of pent-up energy and loneliness that glides across club floors, shouts to the rooftops, and shrugs off any concerns about vulnerability or embarrassment. Houston's swooping voice moves in sync with the sleek beats and dipping-and-diving synths. She practically takes her fellow musicians by their hand and leads them in a blissful dance that nobody would dare sidestep. Focusing on Houston's singing a task made challenging only because of the impossible-to-ignore hooks and grooves showcases the virtuosic facets of not only her register but her control, discipline, smoothness, and warmth.\r\n
      \r\n
      That she replicates those feats for the entirety of the nearly 53 minute-long album makes Whitney that much more special. Houston reaches back and channels her childhood gospel training on the R&B-flared "So Emotional"; effortlessly slips into Quiet Storm mode on the duet with her mother, gospel great Cissy Houston, on "I Know Him So Well"; flirts with smooth jazz and collaborates with tenor saxophonist Kenny G on the lush "Just the Lonely Talking Again"; conjures dreamscapes and shadow-boxes with supple funk on a romantic cover of the Isley Brothers' "For the Love of You"; and, for the majestic power ballad "Didn't We Almost Have It All," displays the sky-scraping reach of her vocals amid a grand arrangement made even bigger by Houston's sweeping performance and triumphant finish.\r\n
      \r\n
      Houston's once-in-a-generation talents weren't lost on the adoring public, radio deejays, or industry experts. In addition to harboring four N° 1 hits and receiving nominations for four Grammy Awards, Whitney generated another Top 10 success in the guise of the Afro-Cuban-leaning "Love Will Save the Day". The album also netted Houston four American Music Awards; two Billboard Music Awards; back-to-back People's Choice Awards; a Soul Train Award; and various other accolades. It all makes the crux of the Washington Post's July '87 review of the album appear prophetic : "Her voice sounds stronger still and the songs are varied but so consistent she could garner 10 Top 10s out of a field of 11".\r\n
      \r\n
      That claim still holds true. A brilliant fusion of pop, R&B, smooth jazz, and soul, Whitney is a showstopper and one of the key reasons Houston is the most-awarded female artist of all time.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1857 …}
    -musicienOrchestre: "Whitney Houston (vocals), Marc Russo (alto saxophone, horns), Randy Jackson (synthesizer, electric bass), Kenny G (tenor saxophone),  Fred Zarr, Jack Waldman, Frank Martin, Randy Jackson, Michael Boddicker (synthesizer)..."
    -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=eH3giaIzONA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSV 1-529"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. I Wanna Dance with Somebody (Who Loves Me)"
      ]
      [
        "ordre" => 2
        "nom" => "2. Just the Lonely Talking Again"
      ]
      [
        "ordre" => 3
        "nom" => "3. Love Will Save the Day"
      ]
      [
        "ordre" => 4
        "nom" => "4. Didn't We Almost Have It All"
      ]
      [
        "ordre" => 5
        "nom" => "5. So Emotional"
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Where You Are"
      ]
      [
        "ordre" => 8
        "nom" => "2. Love Is a Contact Sport"
      ]
      [
        "ordre" => 9
        "nom" => "3. You're Still My Man"
      ]
      [
        "ordre" => 10
        "nom" => "4. For the Love of You"
      ]
      [
        "ordre" => 11
        "nom" => "5. Where Do Broken Hearts Go"
      ]
      [
        "ordre" => 12
        "nom" => "6. I Know Him So Well"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2129 …}
    -label: Proxies\__CG__\App\Entity\Label {#2113 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2138 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2131 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2133 …}
    -enregistreLe: DateTime @1685860973 {#2124
      date: 2023-06-04 06:42:53.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769964228 {#2125
      date: 2026-02-01 16:43:48.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2135 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-whitney-mobile-fidelity-sound-lab-mfsv-1-529"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3473
  -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 {#2648 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2127
    -id: 2438
    -nom: "Whitney"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Whitney Houston (vocals), Marc Russo (alto saxophone, horns), Randy Jackson (synthesizer, electric bass), Kenny G (tenor saxophone), Fred Zarr, Jack Waldman, Frank Martin, Randy Jackson, Michael Boddicker (synthesizer), Robbie Buchanan (piano, electric piano Fender Rhodes), Kashif, Ralph Schukett, Preston Glass (keyboards, synthesizer), Vincent Henry (saxophone), Roy Ayers (vibraphone), Nathan East, Marcus Miller (bass), Dan Huff, Ira Siegel, Paul Pesco (guitar), Shambhu Neil Vineberg (acoustic guitar), Jerry Hey, Premik Russell Tubbs, Wayne Wallace (horns), Randy Kerber (acoustic piano), Jennifer Hall, Jim Gilstrap, Kevin Dorsey, Kitty Beethoven, Myrna Matthews, Nikki Harris, Kashif, Claytoven Richardson, Cissy Houston (backing vocals), Figueroa (percussion), Paul Rekow (congas), Greg "Gigi" Gonaway, Bashiri Johnson, Paulinho Da Costa, Sammy Figueroa (percussion), John Robinson, Narada, Paul Leim (drums).\r\n
      \r\n
      - MASTERED FROM THE ORIGINAL MASTER TAPES AND PRESSED AT RTI ON MOFI SUPERVINYL FOR SPECTACULAR SOUND !\r\n
      - 1/2" / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Whitney did more than turn Whitney Houston into a pioneering sensation known around the world by her first name. Originally released in June 1987, the singer's blockbuster sophomore record became the first album by a female artist to debut at No. 1 on the Billboard 200 chart a position it claimed for a total of 11 weeks en route to selling more than 10 million copies in the U.S. The Diamond platinum effort also contains four N° 1 Hot 100 hits that, when combined with the three chart toppers from her 1985 debut, gave her seven consecutive N° 1 singles an accomplishment that no other artist has accomplished. Commercially and creatively, Whitney stands on hallowed ground especially now that the record plays with a sound that puts into perspective just how extraordinary, engaging, and vital Houston's music remains.\r\n
      \r\n
      Mastered from the original master tapes and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's 180 gram 33 RPM SuperVinyl LP of Whitney invites listeners to experience the Rock & Roll Hall of Fame inductee's pivotal album in audiophile quality for the very first time. Free of the dynamic limitations and tonal flatness prevalent on prior vinyl and CD pressings, it lets the music breathe and reveals the copious detail, nuance, and texture within the immaculately produced songs. MoFi's SuperVinyl profile offers further advantages in the forms of a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition.\r\n
      \r\n
      In addition to featuring extreme clarity and immediacy, this numbered-edition reissue does wonders for the attribute that inspired more than 20 million people around the globe to add Whitney to their record collections: that inimitable voice. Houston's trademark mezzo-soprano an acrobatic instrument equally capable of taking off on fantastic flights and unwinding for hushed meditations benefits from the fantastic airiness and transparency afforded by this meticulously restored edition. Whitney has never sounded or looked better. The crossover landmark deserves nothing less.\r\n
      \r\n
      Issued just two years after Houston's breakthrough debut, Whitney immediately signaled the genre-defying singer's intent to continue to push ahead and expand her palette. Shot by photographer Richard Avedon, the album cover depicts an iconic image of Houston captured with a gleaming smile, bright eyes, teased-out afro, toned arms, and a right hand that appears to wave a friendly hello whose active, athletic profile stands in contrast to the extremely formal sit-down shot of her that graces her '85 record. The change is telling: Whitney overflows with unfettered joy, rhythmic vibes, and deep-seated emotions that forever endeared her to the hearts and minds of countless listeners and which set the standard for the wave after wave of divas that followed in her footsteps.\r\n
      \r\n
      It's no coincidence that the first track on Whitney is the declarative "I Wanna Dance with Somebody (Who Loves Me)". Like Michael Jackson's "Billie Jean" and Madonna's "Material Girl," the feel-good smash is one of the quintessential '80s gems a lithe, melodic, celebratory release of pent-up energy and loneliness that glides across club floors, shouts to the rooftops, and shrugs off any concerns about vulnerability or embarrassment. Houston's swooping voice moves in sync with the sleek beats and dipping-and-diving synths. She practically takes her fellow musicians by their hand and leads them in a blissful dance that nobody would dare sidestep. Focusing on Houston's singing a task made challenging only because of the impossible-to-ignore hooks and grooves showcases the virtuosic facets of not only her register but her control, discipline, smoothness, and warmth.\r\n
      \r\n
      That she replicates those feats for the entirety of the nearly 53 minute-long album makes Whitney that much more special. Houston reaches back and channels her childhood gospel training on the R&B-flared "So Emotional"; effortlessly slips into Quiet Storm mode on the duet with her mother, gospel great Cissy Houston, on "I Know Him So Well"; flirts with smooth jazz and collaborates with tenor saxophonist Kenny G on the lush "Just the Lonely Talking Again"; conjures dreamscapes and shadow-boxes with supple funk on a romantic cover of the Isley Brothers' "For the Love of You"; and, for the majestic power ballad "Didn't We Almost Have It All," displays the sky-scraping reach of her vocals amid a grand arrangement made even bigger by Houston's sweeping performance and triumphant finish.\r\n
      \r\n
      Houston's once-in-a-generation talents weren't lost on the adoring public, radio deejays, or industry experts. In addition to harboring four N° 1 hits and receiving nominations for four Grammy Awards, Whitney generated another Top 10 success in the guise of the Afro-Cuban-leaning "Love Will Save the Day". The album also netted Houston four American Music Awards; two Billboard Music Awards; back-to-back People's Choice Awards; a Soul Train Award; and various other accolades. It all makes the crux of the Washington Post's July '87 review of the album appear prophetic : "Her voice sounds stronger still and the songs are varied but so consistent she could garner 10 Top 10s out of a field of 11".\r\n
      \r\n
      That claim still holds true. A brilliant fusion of pop, R&B, smooth jazz, and soul, Whitney is a showstopper and one of the key reasons Houston is the most-awarded female artist of all time.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1857 …}
    -musicienOrchestre: "Whitney Houston (vocals), Marc Russo (alto saxophone, horns), Randy Jackson (synthesizer, electric bass), Kenny G (tenor saxophone),  Fred Zarr, Jack Waldman, Frank Martin, Randy Jackson, Michael Boddicker (synthesizer)..."
    -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=eH3giaIzONA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSV 1-529"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. I Wanna Dance with Somebody (Who Loves Me)"
      ]
      [
        "ordre" => 2
        "nom" => "2. Just the Lonely Talking Again"
      ]
      [
        "ordre" => 3
        "nom" => "3. Love Will Save the Day"
      ]
      [
        "ordre" => 4
        "nom" => "4. Didn't We Almost Have It All"
      ]
      [
        "ordre" => 5
        "nom" => "5. So Emotional"
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Where You Are"
      ]
      [
        "ordre" => 8
        "nom" => "2. Love Is a Contact Sport"
      ]
      [
        "ordre" => 9
        "nom" => "3. You're Still My Man"
      ]
      [
        "ordre" => 10
        "nom" => "4. For the Love of You"
      ]
      [
        "ordre" => 11
        "nom" => "5. Where Do Broken Hearts Go"
      ]
      [
        "ordre" => 12
        "nom" => "6. I Know Him So Well"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2129 …}
    -label: Proxies\__CG__\App\Entity\Label {#2113 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2138 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2131 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2133 …}
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    -modifierLe: DateTime @1769964228 {#2125
      date: 2026-02-01 16:43:48.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2135 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-whitney-mobile-fidelity-sound-lab-mfsv-1-529"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2416 …}
}

[
  "produit" => App\Entity\Produit {#2143
    -id: 1971
    -nom: "The Exciting Wilson Pickett"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Wilson Pickett (vocals), Albert "Junior" Lowe, Donald Dunn (bass guitar), Steve Cropper, Jimmy Johnson, Chips Moman, Tommy Cogbill (guitar), Isaac Hayes, Spooner Oldham, Joe Hall (piano), Wayne Jackson, Gene "Bowlegs" Miller (trumpet), Charles "Packy" Axton, Andrew Love, Charles Chalmers (tenor saxophone), Floyd Newman (baritone saxophone),  Roger Hawkins, Al Jackson Jr. (drums).\r\n
      \r\n
      - Analogue Productions (Atlantic 75 Series) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - R&B, soul singer Wilson Pickett's classic third album !\r\n
      - Features "In the Midnight Hour", "Land of a Thousand Dances" and "Ninety-nine and a Half (Won't Do)" !\r\n
      - 180 gram 45 RPM double LP !\r\n
      - Mastered by Matthew Lutthans at Cohearent Audio from the original master tape !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      The Exciting Wilson Pickett, released in 1966, was R&B and soul singer Wilson Pickett's third album, charting at N° 3 on the U.S. Billboard R&B albums chart and N° 21 on the popular albums chart, becoming the highest-charting studio album of Pickett's career.\r\n
      \r\n
      The making of the album saw Pickett end his relationship with Stax Studios in Memphis, Tennessee, where he had cut his early singles, and move to Fame Studios in Muscle Shoals, Alabama, where he would record for the next two years. According to AllMusic, this album firmly established Picket's "stature as a major '60s soul man," launching four major crossover hits.\r\n
      \r\n
      The chart-toppers include "In the Midnight Hour" reached N° 1 on the Billboard R&B singles chart and N° 21 on the pop singles chart. "Land of a Thousand Dances" reached N° 1 and N° 6 respectively, his biggest pop hit. "Ninety-nine and a Half (Won't Do)" reached N° 13 and No. 53. "634-5789 (Soulsville, U.S.A.)", a song which Pickett had not on first hearing liked, reached N° 1 and N° 13.\r\n
      \r\n
      The deeper album cuts hold significant appeal as well and include standards "Something You Got", "Barefootin'" and "Mercy Mercy" as well as several original tunes with Memphis Soul greats Steve Cropper, Eddie Floyd, and David Porter.\r\n
      \r\n
      Mastered by Matthew Lutthans at Cohearent Audio in Los Angeles from the original master tape. Pressed on 180 gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Wilson Pickett (vocals), Albert "Junior" Lowe, Donald Dunn (bass guitar), Steve Cropper, Jimmy Johnson, Chips Moman, Tommy Cogbill (guitar), Isaac Hayes, Spooner Oldham, Joe Hall (piano)..."
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -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=lFhtdJ-CEBU"
    -referenceProduit: "Analogue Productions (Atlantic 75 Series) 025-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Land of 1000 Dances "
      ]
      [
        "ordre" => 2
        "nom" => "2. Something You Got "
      ]
      [
        "ordre" => 3
        "nom" => "3. 634-5789 (Soulsville, U.S.A.) "
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Barefootin' "
      ]
      [
        "ordre" => 6
        "nom" => "2. Mercy, Mercy "
      ]
      [
        "ordre" => 7
        "nom" => "3. You're so Fine"
      ]
      [
        "ordre" => 8
        "nom" => "Side C : "
      ]
      [
        "ordre" => 9
        "nom" => "1. In the Midnight Hour "
      ]
      [
        "ordre" => 10
        "nom" => "2. Ninety-Nine and One-Half (Won't Do) "
      ]
      [
        "ordre" => 11
        "nom" => "3. Danger Zone "
      ]
      [
        "ordre" => 12
        "nom" => "Side D : "
      ]
      [
        "ordre" => 13
        "nom" => "1. I'm Drifting "
      ]
      [
        "ordre" => 14
        "nom" => "2. It's All Over "
      ]
      [
        "ordre" => 15
        "nom" => "3. She's so Good to Me "
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2145 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2154 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2147 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2149 …}
    -enregistreLe: DateTime @1608031199 {#2140
      date: 2020-12-15 11:19:59.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769946883 {#2141
      date: 2026-02-01 11:54:43.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2151 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-exciting-wilson-pickett-analogue-productions-atlantic-75-series-025-45"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3524
  -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 {#2648 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2143
    -id: 1971
    -nom: "The Exciting Wilson Pickett"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Wilson Pickett (vocals), Albert "Junior" Lowe, Donald Dunn (bass guitar), Steve Cropper, Jimmy Johnson, Chips Moman, Tommy Cogbill (guitar), Isaac Hayes, Spooner Oldham, Joe Hall (piano), Wayne Jackson, Gene "Bowlegs" Miller (trumpet), Charles "Packy" Axton, Andrew Love, Charles Chalmers (tenor saxophone), Floyd Newman (baritone saxophone),  Roger Hawkins, Al Jackson Jr. (drums).\r\n
      \r\n
      - Analogue Productions (Atlantic 75 Series) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - R&B, soul singer Wilson Pickett's classic third album !\r\n
      - Features "In the Midnight Hour", "Land of a Thousand Dances" and "Ninety-nine and a Half (Won't Do)" !\r\n
      - 180 gram 45 RPM double LP !\r\n
      - Mastered by Matthew Lutthans at Cohearent Audio from the original master tape !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      The Exciting Wilson Pickett, released in 1966, was R&B and soul singer Wilson Pickett's third album, charting at N° 3 on the U.S. Billboard R&B albums chart and N° 21 on the popular albums chart, becoming the highest-charting studio album of Pickett's career.\r\n
      \r\n
      The making of the album saw Pickett end his relationship with Stax Studios in Memphis, Tennessee, where he had cut his early singles, and move to Fame Studios in Muscle Shoals, Alabama, where he would record for the next two years. According to AllMusic, this album firmly established Picket's "stature as a major '60s soul man," launching four major crossover hits.\r\n
      \r\n
      The chart-toppers include "In the Midnight Hour" reached N° 1 on the Billboard R&B singles chart and N° 21 on the pop singles chart. "Land of a Thousand Dances" reached N° 1 and N° 6 respectively, his biggest pop hit. "Ninety-nine and a Half (Won't Do)" reached N° 13 and No. 53. "634-5789 (Soulsville, U.S.A.)", a song which Pickett had not on first hearing liked, reached N° 1 and N° 13.\r\n
      \r\n
      The deeper album cuts hold significant appeal as well and include standards "Something You Got", "Barefootin'" and "Mercy Mercy" as well as several original tunes with Memphis Soul greats Steve Cropper, Eddie Floyd, and David Porter.\r\n
      \r\n
      Mastered by Matthew Lutthans at Cohearent Audio in Los Angeles from the original master tape. Pressed on 180 gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Wilson Pickett (vocals), Albert "Junior" Lowe, Donald Dunn (bass guitar), Steve Cropper, Jimmy Johnson, Chips Moman, Tommy Cogbill (guitar), Isaac Hayes, Spooner Oldham, Joe Hall (piano)..."
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -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=lFhtdJ-CEBU"
    -referenceProduit: "Analogue Productions (Atlantic 75 Series) 025-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Land of 1000 Dances "
      ]
      [
        "ordre" => 2
        "nom" => "2. Something You Got "
      ]
      [
        "ordre" => 3
        "nom" => "3. 634-5789 (Soulsville, U.S.A.) "
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Barefootin' "
      ]
      [
        "ordre" => 6
        "nom" => "2. Mercy, Mercy "
      ]
      [
        "ordre" => 7
        "nom" => "3. You're so Fine"
      ]
      [
        "ordre" => 8
        "nom" => "Side C : "
      ]
      [
        "ordre" => 9
        "nom" => "1. In the Midnight Hour "
      ]
      [
        "ordre" => 10
        "nom" => "2. Ninety-Nine and One-Half (Won't Do) "
      ]
      [
        "ordre" => 11
        "nom" => "3. Danger Zone "
      ]
      [
        "ordre" => 12
        "nom" => "Side D : "
      ]
      [
        "ordre" => 13
        "nom" => "1. I'm Drifting "
      ]
      [
        "ordre" => 14
        "nom" => "2. It's All Over "
      ]
      [
        "ordre" => 15
        "nom" => "3. She's so Good to Me "
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2145 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2154 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2147 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2149 …}
    -enregistreLe: DateTime @1608031199 {#2140
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    }
    -modifierLe: DateTime @1769946883 {#2141
      date: 2026-02-01 11:54:43.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2151 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-exciting-wilson-pickett-analogue-productions-atlantic-75-series-025-45"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2416 …}
}

[
  "produit" => App\Entity\Produit {#2159
    -id: 262
    -nom: "Direct Hits"
    -informationComplementaire: "Last copy in stock !"
    -description: "Originally released in 1968 by fledgling UK indie label Track Records for the European market only, this compilation of five single sides plus various album cuts became an instant hit on both sides of the Atlantic. Utilizing the original monaural mixes throughout, Classic's recreated one of the most sought after collector's items in classic rock. Rare mono masters of hits such as "I Can See For Miles", "Substitute", "Happy Jack", "I'm A Boy" and "Pictures of Lily" never sounded so good. Cut from the original full-track Mono takes on Classic's all-tube Mono cutting system."
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1857 …}
    -musicienOrchestre: "Pete Townshend (guitar, keyboards, pennywhistle, banjo, vocals), John Entwistle (bass, horns, lead & backing vocals), Roger Daltrey (percussion, lead & backing vocals, Keith Moon drums, percussion, lead & backing vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1138 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=AYY9_VdNkwI&list=RDAYY9_VdNkwI&start_radio=1"
    -referenceProduit: "Classic Records 612006"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Bucket"
      ]
      [
        "ordre" => 2
        "nom" => "2. I'm a Boy"
      ]
      [
        "ordre" => 3
        "nom" => "3. Pictures of Lily"
      ]
      [
        "ordre" => 4
        "nom" => "4. Doctor! Doctor!"
      ]
      [
        "ordre" => 5
        "nom" => "5. I Can See for Miles"
      ]
      [
        "ordre" => 6
        "nom" => "6. Substitute"
      ]
      [
        "ordre" => 7
        "nom" => "Side B : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Happy Jack"
      ]
      [
        "ordre" => 9
        "nom" => "2. The Last Time"
      ]
      [
        "ordre" => 10
        "nom" => "3. In the City"
      ]
      [
        "ordre" => 11
        "nom" => "4. Call Me Lightning"
      ]
      [
        "ordre" => 12
        "nom" => "5. Mary Anne with the Shaky Hand"
      ]
      [
        "ordre" => 13
        "nom" => "6. Dogs"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2161 …}
    -label: Proxies\__CG__\App\Entity\Label {#2164 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2173 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2166 …}
    -typeMasterTape: null
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    -typeMateriel: null
    -produitTestePar: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2168 …}
    -enregistreLe: DateTime @1278690376 {#2156
      date: 2010-07-09 15:46:16.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769940925 {#2157
      date: 2026-02-01 10:15:25.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2170 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-direct-hits-classic-records-612006"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3575
  -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 {#2648 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2159
    -id: 262
    -nom: "Direct Hits"
    -informationComplementaire: "Last copy in stock !"
    -description: "Originally released in 1968 by fledgling UK indie label Track Records for the European market only, this compilation of five single sides plus various album cuts became an instant hit on both sides of the Atlantic. Utilizing the original monaural mixes throughout, Classic's recreated one of the most sought after collector's items in classic rock. Rare mono masters of hits such as "I Can See For Miles", "Substitute", "Happy Jack", "I'm A Boy" and "Pictures of Lily" never sounded so good. Cut from the original full-track Mono takes on Classic's all-tube Mono cutting system."
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1857 …}
    -musicienOrchestre: "Pete Townshend (guitar, keyboards, pennywhistle, banjo, vocals), John Entwistle (bass, horns, lead & backing vocals), Roger Daltrey (percussion, lead & backing vocals, Keith Moon drums, percussion, lead & backing vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1138 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=AYY9_VdNkwI&list=RDAYY9_VdNkwI&start_radio=1"
    -referenceProduit: "Classic Records 612006"
    -titreMorceau: [
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        "nom" => "Side A : "
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        "nom" => "1. Bucket"
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        "nom" => "3. Pictures of Lily"
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      [
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        "nom" => "4. Doctor! Doctor!"
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      [
        "ordre" => 5
        "nom" => "5. I Can See for Miles"
      ]
      [
        "ordre" => 6
        "nom" => "6. Substitute"
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      [
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        "nom" => "Side B : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Happy Jack"
      ]
      [
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        "nom" => "2. The Last Time"
      ]
      [
        "ordre" => 10
        "nom" => "3. In the City"
      ]
      [
        "ordre" => 11
        "nom" => "4. Call Me Lightning"
      ]
      [
        "ordre" => 12
        "nom" => "5. Mary Anne with the Shaky Hand"
      ]
      [
        "ordre" => 13
        "nom" => "6. Dogs"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2161 …}
    -label: Proxies\__CG__\App\Entity\Label {#2164 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2173 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2166 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2168 …}
    -enregistreLe: DateTime @1278690376 {#2156
      date: 2010-07-09 15:46:16.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769940925 {#2157
      date: 2026-02-01 10:15:25.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2170 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-direct-hits-classic-records-612006"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2416 …}
}

[
  "produit" => App\Entity\Produit {#2180
    -id: 1931
    -nom: "Us + Them"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Roger Waters (bass, vocals), Dave Kilminster (guitars), Bo Koster (keyboards), Jon Carin (keyboards & guitars), Ian Ritchie (saxophone), Gus Seyffert (guitars & bass), Jonathan Wilson (guitars & vocals), Lucius, Jess Wolfe, Holly Laessig (vocals), Joey Waronker (drums).\r\n
      \r\n
      Performances from the acclaimed 2017-18 world tour on (3 LP) set !\r\n
      \r\n
      Roger Waters : Us + Them, is the 3 LP set of songs from the concert film chronicling the acclaimed 2017-2018 tour of the iconic Pink Floyd artist. As the founding member, lyricist, composer and creative force behind Pink Floyd, Us + Them presents Waters powerful music in stunning form and highlights its' message of human rights, liberty and love.\r\n
      \r\n
      Based around his acclaimed, sold-out Us + Them worldwide tour of 2017-18, comprising a total of 156 shows to 2.3 million people across the globe, it features classic songs from The Dark Side of the Moon, The Wall, Animals, Wish You Were Here as well as his most recent album, Is This The Life We Really Want ?\r\n
      \r\n
      Waters powerfully demonstrates that he is at heart, a musical activist and one of the most passionate political commentators of his time. He has dedicated his life to fighting against those who seek to control our lives and destroy our planet. Welcome To The Machine and Another Brick In The Wall Part II, are a stark reminder of the bleak warnings that he gave decades ago about alienation, displacement, greed, suffering, destruction and loss. And yet the humanity of the songwriter cannot be more plainly seen than in Wish You Were Here, because, although he presents a grim picture of the state of the world, ultimately his message is one of hope through unity and love.\r\n
      \r\n
      Waters was joined onstage on Us + Them by guitarist Dave Kilminster, keyboardist Bo Koster, keyboardist and guitarist Jon Carin, saxophonist Ian Ritchie, guitarist and bassist Gus Seyffert, guitarist and vocalist Jonathan Wilson, drummer Joey Waronkera and vocalists Jess Wolfe and Holly Laessig.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Roger Waters (bass, vocals), Dave Kilminster (guitars), Bo Koster (keyboards), Jon Carin (keyboards & guitars), Ian Ritchie (saxophone), Gus Seyffert (guitars & bass), Jonathan Wilson (guitars & vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 3
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=O7w765-TbjY"
    -referenceProduit: "Legacy Records 76912"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Intro "
      ]
      [
        "ordre" => 2
        "nom" => "2. Speak To Me "
      ]
      [
        "ordre" => 3
        "nom" => "3. Breathe "
      ]
      [
        "ordre" => 4
        "nom" => "4. One of These Days "
      ]
      [
        "ordre" => 5
        "nom" => "5. Time "
      ]
      [
        "ordre" => 6
        "nom" => "6. Breathe (Reprise) "
      ]
      [
        "ordre" => 7
        "nom" => "7. The Great Gig in the Sky"
      ]
      [
        "ordre" => 8
        "nom" => "Side B : "
      ]
      [
        "ordre" => 9
        "nom" => "1. . Welcome to the Machine \t"
      ]
      [
        "ordre" => 10
        "nom" => "2. Déjà Vu \t"
      ]
      [
        "ordre" => 11
        "nom" => "3. The Last Refugee "
      ]
      [
        "ordre" => 12
        "nom" => "Side C : "
      ]
      [
        "ordre" => 13
        "nom" => "1. Picture That "
      ]
      [
        "ordre" => 14
        "nom" => "2. Wish You Were Here "
      ]
      [
        "ordre" => 15
        "nom" => "3. The Happiest Days of Our Lives "
      ]
      [
        "ordre" => 16
        "nom" => "4. Another Brick in the Wall Part 2 "
      ]
      [
        "ordre" => 17
        "nom" => "5. Another Brick in the Wall Part 3"
      ]
      [
        "ordre" => 18
        "nom" => "Side D : "
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      [
        "ordre" => 19
        "nom" => "1. Dogs"
      ]
      [
        "ordre" => 20
        "nom" => "Side E : "
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        "ordre" => 21
        "nom" => "1. Pigs (Three Different Ones) "
      ]
      [
        "ordre" => 22
        "nom" => "2. Money"
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      [
        "ordre" => 23
        "nom" => "Side F : "
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        "nom" => "1. Us & Them "
      ]
      [
        "ordre" => 25
        "nom" => "2. Brain Damage "
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        "nom" => "3. Eclipse "
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        "nom" => "4. The Last Refugee (Reprise) "
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      [
        "ordre" => 28
        "nom" => "5. Déjà Vu (Reprise)"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2182 …}
    -label: Proxies\__CG__\App\Entity\Label {#2185 …}
    -style: App\Entity\Style {#1063 …}
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      date: 2020-10-02 06:17:30.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769940763 {#2175
      date: 2026-02-01 10:12:43.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2191 …}
    -disponible: null
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    -slug: "vinyles-us-them-legacy-records-76912"
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  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3626
  -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 {#2648 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2180
    -id: 1931
    -nom: "Us + Them"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Roger Waters (bass, vocals), Dave Kilminster (guitars), Bo Koster (keyboards), Jon Carin (keyboards & guitars), Ian Ritchie (saxophone), Gus Seyffert (guitars & bass), Jonathan Wilson (guitars & vocals), Lucius, Jess Wolfe, Holly Laessig (vocals), Joey Waronker (drums).\r\n
      \r\n
      Performances from the acclaimed 2017-18 world tour on (3 LP) set !\r\n
      \r\n
      Roger Waters : Us + Them, is the 3 LP set of songs from the concert film chronicling the acclaimed 2017-2018 tour of the iconic Pink Floyd artist. As the founding member, lyricist, composer and creative force behind Pink Floyd, Us + Them presents Waters powerful music in stunning form and highlights its' message of human rights, liberty and love.\r\n
      \r\n
      Based around his acclaimed, sold-out Us + Them worldwide tour of 2017-18, comprising a total of 156 shows to 2.3 million people across the globe, it features classic songs from The Dark Side of the Moon, The Wall, Animals, Wish You Were Here as well as his most recent album, Is This The Life We Really Want ?\r\n
      \r\n
      Waters powerfully demonstrates that he is at heart, a musical activist and one of the most passionate political commentators of his time. He has dedicated his life to fighting against those who seek to control our lives and destroy our planet. Welcome To The Machine and Another Brick In The Wall Part II, are a stark reminder of the bleak warnings that he gave decades ago about alienation, displacement, greed, suffering, destruction and loss. And yet the humanity of the songwriter cannot be more plainly seen than in Wish You Were Here, because, although he presents a grim picture of the state of the world, ultimately his message is one of hope through unity and love.\r\n
      \r\n
      Waters was joined onstage on Us + Them by guitarist Dave Kilminster, keyboardist Bo Koster, keyboardist and guitarist Jon Carin, saxophonist Ian Ritchie, guitarist and bassist Gus Seyffert, guitarist and vocalist Jonathan Wilson, drummer Joey Waronkera and vocalists Jess Wolfe and Holly Laessig.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Roger Waters (bass, vocals), Dave Kilminster (guitars), Bo Koster (keyboards), Jon Carin (keyboards & guitars), Ian Ritchie (saxophone), Gus Seyffert (guitars & bass), Jonathan Wilson (guitars & vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 3
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=O7w765-TbjY"
    -referenceProduit: "Legacy Records 76912"
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        "nom" => "5. Time "
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        "nom" => "6. Breathe (Reprise) "
      ]
      [
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        "nom" => "7. The Great Gig in the Sky"
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      [
        "ordre" => 8
        "nom" => "Side B : "
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      [
        "ordre" => 9
        "nom" => "1. . Welcome to the Machine \t"
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      [
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        "nom" => "2. Déjà Vu \t"
      ]
      [
        "ordre" => 11
        "nom" => "3. The Last Refugee "
      ]
      [
        "ordre" => 12
        "nom" => "Side C : "
      ]
      [
        "ordre" => 13
        "nom" => "1. Picture That "
      ]
      [
        "ordre" => 14
        "nom" => "2. Wish You Were Here "
      ]
      [
        "ordre" => 15
        "nom" => "3. The Happiest Days of Our Lives "
      ]
      [
        "ordre" => 16
        "nom" => "4. Another Brick in the Wall Part 2 "
      ]
      [
        "ordre" => 17
        "nom" => "5. Another Brick in the Wall Part 3"
      ]
      [
        "ordre" => 18
        "nom" => "Side D : "
      ]
      [
        "ordre" => 19
        "nom" => "1. Dogs"
      ]
      [
        "ordre" => 20
        "nom" => "Side E : "
      ]
      [
        "ordre" => 21
        "nom" => "1. Pigs (Three Different Ones) "
      ]
      [
        "ordre" => 22
        "nom" => "2. Money"
      ]
      [
        "ordre" => 23
        "nom" => "Side F : "
      ]
      [
        "ordre" => 24
        "nom" => "1. Us & Them "
      ]
      [
        "ordre" => 25
        "nom" => "2. Brain Damage "
      ]
      [
        "ordre" => 26
        "nom" => "3. Eclipse "
      ]
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        "nom" => "4. The Last Refugee (Reprise) "
      ]
      [
        "ordre" => 28
        "nom" => "5. Déjà Vu (Reprise)"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2182 …}
    -label: Proxies\__CG__\App\Entity\Label {#2185 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2194 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2187 …}
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    -enregistreLe: DateTime @1601619450 {#2176
      date: 2020-10-02 06:17:30.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769940763 {#2175
      date: 2026-02-01 10:12:43.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2191 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-us-them-legacy-records-76912"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2416 …}
}

[
  "produit" => App\Entity\Produit {#2199
    -id: 2414
    -nom: "The Lockdown Sessions"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Roger Waters (guitar, piano, vocals), Dave Kilminster, Jonathan Wilson (guitar), Jonathan Wilson (harmonium, synthesizer, vocals), Jon Carin (keyboards, synthesizer, vocals), Robert Walter (organ B3, piano), Gus Seyffert (synthesizer, percussion, vocals), Nigel Godrich (choir, strings), Amanda Belair, Dave Kilminster, Lucius, Shanay Johnson (vocals), Joey Waronker (drums).\r\n
      \r\n
      Pandemic re-recordings from Roger Waters updating Pink Floyd classics, more !\r\n
      \r\n
      Roger Waters' The Lockdown Sessions is a six-track LP updating various Pink Floyd classics as well as the Pink Floyd alum's solo material.\r\n
      \r\n
      Three of these re-recordings are from Pink Floyd's The Wall, two are from the last Floyd album with Waters 1983's The Final Cut and one track "The Bravery of Being Out of Range" is from Waters' 1992 solo album Amused to Death. Waters recorded the material for the album during the COVID-19 pandemic.\r\n
      \r\n
      "Our Us and Them Tour lasted three years", Waters said in a news release. At every gig, we did an encore after the main show closed with 'Comfortably Numb,' the encore was always 'Mother.' I can't remember why I decided to start doing other songs. Anyway, at some point after the end of the tour, I started thinking, 'It could make an interesting album, all those encores'.\r\n
      \r\n
      "Then, I'm in England doing the Ginger Baker tribute gig one Tuesday night at the Hammersmith Odeon with Eric Clapton and the following Saturday marching from the Australian Embassy to Parliament Square to make a speech in support of Julian Assange when bugger me, COVID. ... For me, it was Friday, March 13, 2020. Lockdown ! So much for the 'Encores' project. Unless ..."\r\n
      \r\n
      Three of The Lockdown Session's six songs "Mother", "Vera" and "Comfortably Numb 2022" were originally released on Pink Floyd's 1979 double album The Wall. "I pitched "Comfortably Numb" a whole step down, in A Minor, to make it darker and arranged it with no solos, Waters previously explained, "except over the outro chord sequence, where there is a heartrendingly beautiful female vocal solo from Shanay Johnson, one of our new singers.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Roger Waters (guitar, piano, vocals), Dave Kilminster, Jonathan Wilson (guitar), Jonathan Wilson (harmonium, synthesizer, vocals), Jon Carin (keyboards, synthesizer, vocals), Robert Walter (organ B3, 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=zYVkMf9DgJ0&list=OLAK5uy_kHSppQrHjZrehfvgTQBS9nwG9b-dCKqZE"
    -referenceProduit: "Legacy Records 8916"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Mother "
      ]
      [
        "ordre" => 2
        "nom" => "2. Two Suns In The Sunset "
      ]
      [
        "ordre" => 3
        "nom" => "3. Vera"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. The Gunner's Dream "
      ]
      [
        "ordre" => 6
        "nom" => "2. The Bravery Of Being Out Of Range "
      ]
      [
        "ordre" => 7
        "nom" => "3. Comfortably Numb 2022"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2182 …}
    -label: Proxies\__CG__\App\Entity\Label {#2185 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2207 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2200 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2202 …}
    -enregistreLe: DateTime @1682401646 {#2196
      date: 2023-04-25 05:47:26.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769940316 {#2197
      date: 2026-02-01 10:05:16.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2204 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-lockdown-sessions-legacy-records-8916"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3679
  -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 {#2648 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2199
    -id: 2414
    -nom: "The Lockdown Sessions"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Roger Waters (guitar, piano, vocals), Dave Kilminster, Jonathan Wilson (guitar), Jonathan Wilson (harmonium, synthesizer, vocals), Jon Carin (keyboards, synthesizer, vocals), Robert Walter (organ B3, piano), Gus Seyffert (synthesizer, percussion, vocals), Nigel Godrich (choir, strings), Amanda Belair, Dave Kilminster, Lucius, Shanay Johnson (vocals), Joey Waronker (drums).\r\n
      \r\n
      Pandemic re-recordings from Roger Waters updating Pink Floyd classics, more !\r\n
      \r\n
      Roger Waters' The Lockdown Sessions is a six-track LP updating various Pink Floyd classics as well as the Pink Floyd alum's solo material.\r\n
      \r\n
      Three of these re-recordings are from Pink Floyd's The Wall, two are from the last Floyd album with Waters 1983's The Final Cut and one track "The Bravery of Being Out of Range" is from Waters' 1992 solo album Amused to Death. Waters recorded the material for the album during the COVID-19 pandemic.\r\n
      \r\n
      "Our Us and Them Tour lasted three years", Waters said in a news release. At every gig, we did an encore after the main show closed with 'Comfortably Numb,' the encore was always 'Mother.' I can't remember why I decided to start doing other songs. Anyway, at some point after the end of the tour, I started thinking, 'It could make an interesting album, all those encores'.\r\n
      \r\n
      "Then, I'm in England doing the Ginger Baker tribute gig one Tuesday night at the Hammersmith Odeon with Eric Clapton and the following Saturday marching from the Australian Embassy to Parliament Square to make a speech in support of Julian Assange when bugger me, COVID. ... For me, it was Friday, March 13, 2020. Lockdown ! So much for the 'Encores' project. Unless ..."\r\n
      \r\n
      Three of The Lockdown Session's six songs "Mother", "Vera" and "Comfortably Numb 2022" were originally released on Pink Floyd's 1979 double album The Wall. "I pitched "Comfortably Numb" a whole step down, in A Minor, to make it darker and arranged it with no solos, Waters previously explained, "except over the outro chord sequence, where there is a heartrendingly beautiful female vocal solo from Shanay Johnson, one of our new singers.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Roger Waters (guitar, piano, vocals), Dave Kilminster, Jonathan Wilson (guitar), Jonathan Wilson (harmonium, synthesizer, vocals), Jon Carin (keyboards, synthesizer, vocals), Robert Walter (organ B3, piano)..."
    -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=zYVkMf9DgJ0&list=OLAK5uy_kHSppQrHjZrehfvgTQBS9nwG9b-dCKqZE"
    -referenceProduit: "Legacy Records 8916"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A : "
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      [
        "ordre" => 1
        "nom" => "1. Mother "
      ]
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        "ordre" => 2
        "nom" => "2. Two Suns In The Sunset "
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      [
        "ordre" => 3
        "nom" => "3. Vera"
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        "nom" => "Side B : "
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        "nom" => "1. The Gunner's Dream "
      ]
      [
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        "nom" => "2. The Bravery Of Being Out Of Range "
      ]
      [
        "ordre" => 7
        "nom" => "3. Comfortably Numb 2022"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2182 …}
    -label: Proxies\__CG__\App\Entity\Label {#2185 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2207 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2200 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2202 …}
    -enregistreLe: DateTime @1682401646 {#2196
      date: 2023-04-25 05:47:26.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769940316 {#2197
      date: 2026-02-01 10:05:16.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2204 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-the-lockdown-sessions-legacy-records-8916"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2416 …}
}

[
  "produit" => App\Entity\Produit {#2214
    -id: 2342
    -nom: "Hejira - (2 LP) 45 RPM UltraDisc One-Step"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Joni Mitchell (acoustic & electric guitar, vocals), Chuck Findley, Tom Scott (horns), Abe Most (clarinet), Neil Young (harmonica), Victor Feldman (vibraphone), Larry Carlton (electric guitar), Max Bennett (bass guitar), Jaco Pastorius (fretless bass), Chuck Domanico (double bass), Bobbye Hall (percussion), John Guerin (drums)  \r\n
      \r\n
      - 1976 ALBUM PLAYS WITH IMMERSIVE SOUND ULTRADISC ONE-STEP BOX SET !\r\n
      - Mastering Source to Be Determined Closer to Production Date; Specifics Will Be Posted Here When Authenticated !\r\n
      \r\n
      The eccentric title of Joni Mitchell's eighth studio album, Hejira, reflects the liberating circumstances that inspired the revered record as well as the explorative nature of the restless music, dense songwriting, and resilient moods. A transliterate reference to the migration of the prophet Mohammad in the seventh century, the term to Mitchell symbolized the sensation of "leaving the dream, no blame" or, "running away, honorably." Largely written as Mitchell traveled alone across the United States and came to terms with her own mental, emotional, and physical health, the sparsely arranged Hejira is the sound of starting over; embracing change; meditating on the divide between free will and possession; channeling the colors, looks, and feelings of landscapes seen and imagined. The 1976 work deemed the 133rd Greatest Album of All Time by Rolling Stone also features Mitchell diving into the deep end of the jazz spectrum and partnering on several songs with virtuosic bassist and fellow sonic cosmonaut Jaco Pastorius. Viewed by many fans as the Canadian native's finest hour, Hejira comes across like nine short films that will linger in your mind on Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM 2 LP box set.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Joni Mitchell (acoustic & electric guitar, vocals), Chuck Findley, Tom Scott (horns), Abe Most (clarinet), Neil Young (harmonica), Victor Feldman (vibraphone), Larry Carlton (electric guitar),  Max Bennett (bass 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=i4KBohkaHDE"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S2-053"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Coyote"
      ]
      [
        "ordre" => 1
        "nom" => "2. Amelia"
      ]
      [
        "ordre" => 2
        "nom" => "3. Furry Sings the Blues"
      ]
      [
        "ordre" => 3
        "nom" => "4. A Strange Boy"
      ]
      [
        "ordre" => 4
        "nom" => "5. Hejira"
      ]
      [
        "ordre" => 5
        "nom" => "6. Song for Sharon"
      ]
      [
        "ordre" => 6
        "nom" => "7. Black Crow"
      ]
      [
        "ordre" => 7
        "nom" => "8. Blue Motel Room"
      ]
      [
        "ordre" => 8
        "nom" => "9. Refuge of the Roads"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2216 …}
    -label: Proxies\__CG__\App\Entity\Label {#2113 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2225 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2218 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2220 …}
    -enregistreLe: DateTime @1671629600 {#2210
      date: 2022-12-21 13:33:20.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769798724 {#2209
      date: 2026-01-30 18:45:24.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2222 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-hejira-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-mfsl-45ud1s2-053"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3725
  -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 {#2648 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2214
    -id: 2342
    -nom: "Hejira - (2 LP) 45 RPM UltraDisc One-Step"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Joni Mitchell (acoustic & electric guitar, vocals), Chuck Findley, Tom Scott (horns), Abe Most (clarinet), Neil Young (harmonica), Victor Feldman (vibraphone), Larry Carlton (electric guitar), Max Bennett (bass guitar), Jaco Pastorius (fretless bass), Chuck Domanico (double bass), Bobbye Hall (percussion), John Guerin (drums)  \r\n
      \r\n
      - 1976 ALBUM PLAYS WITH IMMERSIVE SOUND ULTRADISC ONE-STEP BOX SET !\r\n
      - Mastering Source to Be Determined Closer to Production Date; Specifics Will Be Posted Here When Authenticated !\r\n
      \r\n
      The eccentric title of Joni Mitchell's eighth studio album, Hejira, reflects the liberating circumstances that inspired the revered record as well as the explorative nature of the restless music, dense songwriting, and resilient moods. A transliterate reference to the migration of the prophet Mohammad in the seventh century, the term to Mitchell symbolized the sensation of "leaving the dream, no blame" or, "running away, honorably." Largely written as Mitchell traveled alone across the United States and came to terms with her own mental, emotional, and physical health, the sparsely arranged Hejira is the sound of starting over; embracing change; meditating on the divide between free will and possession; channeling the colors, looks, and feelings of landscapes seen and imagined. The 1976 work deemed the 133rd Greatest Album of All Time by Rolling Stone also features Mitchell diving into the deep end of the jazz spectrum and partnering on several songs with virtuosic bassist and fellow sonic cosmonaut Jaco Pastorius. Viewed by many fans as the Canadian native's finest hour, Hejira comes across like nine short films that will linger in your mind on Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM 2 LP box set.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Joni Mitchell (acoustic & electric guitar, vocals), Chuck Findley, Tom Scott (horns), Abe Most (clarinet), Neil Young (harmonica), Victor Feldman (vibraphone), Larry Carlton (electric guitar),  Max Bennett (bass 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=i4KBohkaHDE"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S2-053"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Coyote"
      ]
      [
        "ordre" => 1
        "nom" => "2. Amelia"
      ]
      [
        "ordre" => 2
        "nom" => "3. Furry Sings the Blues"
      ]
      [
        "ordre" => 3
        "nom" => "4. A Strange Boy"
      ]
      [
        "ordre" => 4
        "nom" => "5. Hejira"
      ]
      [
        "ordre" => 5
        "nom" => "6. Song for Sharon"
      ]
      [
        "ordre" => 6
        "nom" => "7. Black Crow"
      ]
      [
        "ordre" => 7
        "nom" => "8. Blue Motel Room"
      ]
      [
        "ordre" => 8
        "nom" => "9. Refuge of the Roads"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2216 …}
    -label: Proxies\__CG__\App\Entity\Label {#2113 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2225 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2218 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2220 …}
    -enregistreLe: DateTime @1671629600 {#2210
      date: 2022-12-21 13:33:20.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769798724 {#2209
      date: 2026-01-30 18:45:24.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2222 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-hejira-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-mfsl-45ud1s2-053"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2416 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3924
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2416 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3925 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3973 …}
  +isValidated: false
  +validatedFields: []
}