Psych-Out, or Riot On Sunset Strip

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Before ZZ Top became a blues-rock band known for gritty, boogie-based rhythms, sizzling guitar flights, humorous lyrics and luxuriously long beards, it was a Houston-based psychedelic proto-punk garage band called the Moving Sidewalks. And though its following was decidedly regional at the time – its biggest hit, “99th Floor,” was a chart-topper in Houston for six weeks in 1967 – the group’s recordings can be found on more than half a dozen compilations of 1960s garage band tracks, not to mention the ZZ Top anthology “Chrome, Smoke & BBQ: The ZZ Top Box.”

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The group also recently released its own archival trove, “Moving Sidewalks – The Complete Collection” (Rockbeat Records), which brings together its only album, “Flash” (1969), a handful of singles (including a bruising cover of the Beatles’ “I Want to Hold Your Hand”) and several outtakes. And now, with ZZ Top between tours, Billy Gibbons, the guitarist and founder of both bands, has reconvened the Moving Sidewalks for a gig – its first in 44 years – at B.B. King Blues Club and Grill in Manhattan on March 30.

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For Mr. Gibbons, the transition from the Moving Sidewalks to ZZ Top occurred fairly smoothly.

“The Vietnam War was in full swing,” Mr. Gibbons said in a telephone conversation, “and it captured our bass player, Don Summers, and our keyboardist, Tom Moore. That left me and the drummer, Dan Mitchell, trying to figure out how in the world we were going to keep this together. We played with other people, and then the drummer twisted off, and the result was what you know as ZZ Top.

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my dad played bass in this band:

sole society

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psych of the south

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Rayburn was an amazing hard rock band from Little Rock, Arkansas that formed in 1970 and played in a moody and technical style with inventive songwriting. Their unreleased recordings are must for fans of underground psych and prog sounds. They recorded for Mega Records, an RCA records subsidiary, and got signed to the label. However their success was cut short when Steve Stephen's father, who was co-owner of one of the biggest investment banks in the country, went to the label and bought Rayburn's recording contract out from under them in order to derail his son's music career.

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