The first time I darkened the door at Exit/In was more than four decades ago to experience the Southern-style, prog/jazz/funk-isms of the Dixie Dregs. The face-melting paroxysms of guitarist Steve Morse’s chickin’ pickin’ jazz-on-moonshine riffs were mind blowing, especially up close and personal.
The year 1976 may have been “Year Zero” for punk rock in London, New York, and a few other scattered cities, but in Nashville, anarchy was in short supply.
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