Digital Shakedown

This hi-res collection of the Grateful Dead's studio work has been painstakingly produced from the original master tapes of each album, using their original mixes to produce a work that is truer to the original sound than any previous release. Included in this collection are the band's 13 studio albums, spanning three decades and containing over 8 hours of music, lovingly rendered in hi-resolution…

On the evening of May 12, 2023, Tyler Bryant & the Shakedown performed direct to disc at Welcome To 1979 in Nashville, TN to celebrate the studios 15th anniversary. In honor of this, 15 Universal Audio 1176 compressors were used in the recording of this record. The performance was mixed and mastered LIVE as the band played. No stops and no do overs. Here's a glimpse into that magical Nashville night for those of you who couldn't be there.

Ikebe Shakedown's fourth album pulls from a wide range of influences including soul, afro, psych, and jazz, all coming together in a gritty, cinematic explosion! Over the past eight years, Ikebe Shakedown has cemented a reputation as one of New York City's boldest, most creative instrumental bands. Combining cinematic soul, Afro-funk, deep disco, and an irrepressible groove, Ikebe Shakedown has forged a style all it's own. The Way Home shows how the band's style has continued to evolve, with material that transports listeners beyond their living rooms into dance parties and spaces for introspection.

Kim Waters has enjoyed a career longevity that is rare in the music business. For three decades, the prolific chart-topping saxophonist, composer and producer, has reigned as one of the premier architects of Urban Smooth Jazz and a beacon of light in Contemporary Jazz.

Ten years ago, Ikebe Shakedown began pushing the boundaries of instrumental music. Each new track and live set has sent them deeper into combining the primal elements of '70s soul, raw psychedelic style, and cinematic western soundtracks with powerful grooves and soaring melodies. 2019's, 'Kings Left Behind' is giving listeners more mystery and majesty than ever before.

For those watching meters, there’s always a dip in voltage around 6 o’clock. When workaday folks get home and start turning on their televisions and firing up their microwaves, the hum of electricity goes crackling down the power lines, lighting up the windows of house after house, street after street, mile after mile. But when the moon has been high for hours and, slowly but surely, the nearby world starts to fall asleep — that’s when workanight folks, like Tyler Bryant & The Shakedown, come alive. As the voltage begins to spike, current flows like a high tide flooding through the transformers and wires that stack well into the thousands at TBSD’s musical headquarters, “The Lily Pad” in Nashville, Tennessee. In a fast-moving, increasingly digital world, vintage tube gear is considered obsolete by the majority, but for those still living on the fringes of time, there’s a quality of magic when pieces of gear from a different age power up — the dim glow of vacuum tubes purposefully burning and generating heat in the close quarters of a control room.

For those watching meters, there’s always a dip in voltage around 6 o’clock. When workaday folks get home and start turning on their televisions and firing up their microwaves, the hum of electricity goes crackling down the power lines, lighting up the windows of house after house, street after street, mile after mile. But when the moon has been high for hours and, slowly but surely, the nearby world starts to fall asleep — that’s when workanight folks, like Tyler Bryant & The Shakedown, come alive. As the voltage begins to spike, current flows like a high tide flooding through the transformers and wires that stack well into the thousands at TBSD’s musical headquarters, “The Lily Pad” in Nashville, Tennessee. In a fast-moving, increasingly digital world, vintage tube gear is considered obsolete by the majority, but for those still living on the fringes of time, there’s a quality of magic when pieces of gear from a different age power up — the dim glow of vacuum tubes purposefully burning and generating heat in the close quarters of a control room.

“Don’t tell me this town ain’t got no heart / When I can hear it beat out loud.” Nowhere on Earth do the hearts of Dead Heads beat louder and stronger than in New York City and its surrounding metropolitan area, which the Grateful Dead came to consider a second home over the course of their three decades of touring. A small but devoted gaggle of fans that greeted the band on its first visit to town in June of 1967 grew into the core of the Dead’s huge East Coast following, taking them from clubs to theaters to arenas and stadiums.