Don Dixon was already active since at least a decade before the explosion of Georgia's pop scene. He had been the leader of several bands such as Arrogance and the Sneakers. The latter, which also included Mitch Easter and Chris Stamey, released an EP, Sneakers (Carnivorous, 1976), that can be considered the manifesto of that scene.

With a style that bordered on country, pop and soul, derived as much from Nashville as from the Atlantic label, Dixon dished out little gems such as Praying Mantis, off Most Of The Girls Like To Dance (Enigma, 1985), Just Rites, off Romeo At Juilliard (Enigma, 1986), Girls Ltd, off Chi-Town Budget Show (Restless, 1989), and Oh Cheap Chatter, off EEE (Enigma, 1989).

More importantly, he launched a group of local and nonlocal musicians (Graphic, X-teens, Accelerators, Dumptruck, Fetchin' Bones, Guadalcanal Diary).

The Invisible Man (Gadfly, 1999) is weakened by a senile mood that the sprightly Invisible & Free and Tax The Churches (with the sarcastic couplet "the best things in after-life are free") cannot redeem. His trademark melodic rhythm and blues (Do So Well, All I Ever Wanted) pens scenes of a philosophical recital obsessed with aging and death. The caribbean-tinged High Night For The Tide and Why Do Children Have To Die? display the usual dexterity at arranging with taste and discretion, but little in the vein of genius. His old buddy Easter penned Decline And Fall.