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Moving Sidewalks
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Moving Sidewalks
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Moving Sidewalks were an American rock band formed in 1966 from Houston, Texas.[1] They released several singles and an album, before bassist Don Summers and keyboardist Tom Moore were drafted into the army, bringing the band to an end. Vocalist/guitarist Billy Gibbons and drummer Dan Mitchell then formed ZZ Top.

Key Information

History

[edit]

Gibbons founded Moving Sidewalks in the mid-1960s and they quickly drew a large following, especially among the Houston "teen scene". They recorded several singles and one full-length album, Flash.[1] Their single "99th Floor" was well received,[1] and topped the charts at No. 1 in Houston for six weeks. The success of this record led them to sign with Wand Records, which then released "Need Me", also a Top 10 hit for the band. The group was asked to open for many rock tours, including Jimi Hendrix and the Doors.

After Tom Moore and Don Summers were drafted into the United States Army, Gibbons and Mitchell added Lanier Greig and formed the original ZZ Top.[1]

While attending Warner Brothers' art school in Hollywood, California, Gibbons engaged with his first bands, including the Saints, Billy G & the Blueflames, and the Coachmen. By 1967, Gibbons returned to Houston and formed an artfully designed band, conceptually inspired by friend and fellow musician Roky Erickson and the 13th Floor Elevators. 'The Moving Sidewalks' name was chosen, and shortly thereafter they recorded "99th Floor".[1] Around this time Gibbons developed a camaraderie with Jimi Hendrix. As a guest on The Dick Cavett Show, Hendrix deflected the implication that he was the greatest guitarist. He did not say who the greatest guitarist was, but a myth has circulated that Hendrix considered Gibbons the best, and stated so in an interview, but no such interview has ever been located.[citation needed]

The Moving Sidewalks continued to appear along with the 13th Floor Elevators at the short-lived Houston psychedelic venue, Love Street Light Circus, at Allen's Landing. One night, the Elevators set was cut short by Houston Police, who arrested the band's lead singer Erickson for marijuana possession.

In January 2013, Gibbons announced the Moving Sidewalks would reunite with all original members for one show on March 30, 2013, at B.B. King's Blues Club in New York City.[2] Since that successful sold-out show and despite their single show announcement, the band played as official headliners of Austin Psych Fest on May 1, 2013, and the Charity Gala for the Deacons of Deadwood Ball on September 28, 2013, in Houston.

Discography

[edit]

Albums

[edit]
  • Flash (1968) Tantara TS 6919. The original release. Produced by manager Steve Ames.
  • 99th Floor (1982) Eva 12002. Reissue of the Tantara album plus the five tracks that were issued on singles only.
  • Flash (2000) Akarma AK 117. Another reissue of the Tantara album with the five singles tracks.
  • The Pre-ZZ Houston Roots (2004) Lone Star LSR 19629. A compilation of material by the Moving Sidewalks, including six unreleased tracks; 21 songs total.
  • The Roots Of ZZ Top (2010) Fuel 61820. A compilation of seven Moving Sidewalks songs, four Warlocks songs, seven American Blues songs; all tracks previously released on various singles and albums.
  • The Complete Collection (2012) Rockbeat ROC 3018. A compilation of material by the Moving Sidewalks, including six unreleased tracks; also includes demo material by Billy Gibbons' first band, the Coachmen; 26 songs total.

EPs

[edit]
  • The Moving Sidewalks - A Band From Texas (1982) Another Mangy Mutt 1030. This 7-inch EP was released on the indie label MUTT, a subsidiary of the Moxie Record Company. It is a mono recording and the playback speed is at 45rpm for Side A & 33rpm for Side B. This record is a combination/compilation of the band's A & B sides from their first two singles for Wand Records.
    • Side A: 99th Floor; What Are You Going To Do
    • Side B: Every Night A New Surprise; Need Me

Singles

[edit]
  • "99th Floor" / "What Are You Going To Do" (1967) Tantara 3101; reissued as Wand 1156
  • "Need Me" / "Every Night A New Surprise" (1967) Wand 1167
  • "I Want To Hold Your Hand" / "Joe Blues" (1968) Tantara 3108
  • "Flashback" (4:15 - radio edit) / "No Good To Cry" (3:08 - radio edit) (1969) Tantara 3113

References

[edit]
[edit]
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Moving Sidewalks

View on Grokipedia
from Grokipedia
The Moving Sidewalks were an American band formed in , in 1966. Featuring guitarist and vocalist , the band blended , , and psychedelic elements, releasing several singles and one studio album, Flash (1969), before disbanding in 1969. The group is notable for launching Gibbons' career, leading to the formation of , and for their influence on rock.

History

Formation and early years (1966–1967)

The Moving Sidewalks originated in , Texas, in 1966, when teenage guitarist and vocalist , already an experienced musician, formed the group initially as The Coachmen. Drawing from his prior involvement in local cover bands, Gibbons assembled the lineup that would define the band's early sound, recruiting drummer Dan Mitchell, bassist Don Summers, and keyboardist Tom Moore to evolve the project into The Moving Sidewalks. This formation marked a shift toward original material inspired by the burgeoning rock scene, positioning the band as a key player in Houston's community. During their formative period, The Moving Sidewalks honed their craft through frequent performances at local venues, including clubs like the and Love Street, as well as high school events and parties. These gigs allowed the young band to connect with audiences in the competitive rock circuit, where they covered popular tracks while experimenting with their own compositions. The performances helped solidify their reputation among regional fans and peers, fostering a loyal following amid the vibrant music landscape. In early 1967, the band achieved a milestone with the release of their debut single, "99th Floor" backed with "What Are You Going To Do," issued on the independent Tantara Records label. Written by during a high school math class, "99th Floor" captured the band's raw energy and psychedelic leanings, becoming a regional hit that topped charts for several weeks. This release highlighted their adaptation of influences from bands like and to the gritty blues-rock context, setting the stage for further development.

Rise and activity (1968)

In 1968, the Moving Sidewalks achieved a significant milestone by signing with , leading to the release of their single "Flashback" backed with "You Make Me Shake." This followed their earlier Tantara Records output, including the cover of ' "I Want to Hold Your Hand" paired with the original "You Don't Know the Life." These releases marked the band's transition to a major label and expanded their reach beyond local audiences. The singles garnered substantial radio airplay across the Southwest United States, particularly in markets, where the band's psychedelic blues-rock sound resonated with growing audiences. This exposure fueled their rising popularity, positioning them as a prominent act in the regional scene and building on the local success of prior efforts like "99th Floor." The airplay helped solidify their reputation as an innovative Houston-based group blending with emerging psychedelic elements. Touring intensified during this period, with the Moving Sidewalks performing extensively throughout and opening for high-profile national acts, including and the Experience on multiple dates. These opportunities showcased their energetic stage presence and allowed them to refine their live sound in front of larger crowds, though a pyrotechnics mishap during a Doors support slot in ultimately derailed plans for a broader national tour. Live performances evolved toward greater experimentation, incorporating light shows and to complement their psychedelic influences and create immersive experiences for audiences. This shift aligned with the era's countercultural trends, enhancing their appeal at regional venues and contributing to their status as a dynamic force in rock before lineup changes loomed.

Album release and disbandment (1969)

In early 1969, The Moving Sidewalks faced significant lineup changes when bassist Don Summers and keyboardist Tom Moore were drafted into the U.S. Army amid the , effectively halting the band's momentum. This departure left only guitarist and drummer Dan Mitchell, who attempted to continue with temporary replacements but struggled amid the shifting landscape. The losses contributed to internal tensions and logistical difficulties, as the group had already invested heavily in recording their debut album without a full complement for promotion. The band's sole album, Flash, was recorded in 1968 at Gold Star Recording Studios in , , under the production of Steve Ames, who captured their evolving sound through extended sessions that incorporated experimental effects and blues-infused jams. Challenges during recording included coordinating around touring schedules and experimenting with psychedelic elements, such as the seven-minute epic "Joe Blues/Headstone," which showcased Gibbons' emerging guitar prowess but required multiple takes to achieve the desired intensity. Released in 1969 on Tantara Records, Flash did not achieve national chart success but earned strong regional acclaim in , where it resonated with local audiences familiar with the band's earlier hits like "99th Floor." Following the album's release, The Moving Sidewalks performed a handful of final shows, culminating in their last gig on July 4, 1969, in Houston. The band officially disbanded later that year, as the draft-induced departures and lack of label support made continuation untenable. Gibbons and Mitchell soon pivoted to form ZZ Top, channeling their experiences into a more blues-oriented direction.

Musical style and influences

Psychedelic and garage rock elements

The Moving Sidewalks incorporated psychedelic and garage rock aesthetics through heavy use of fuzz guitars and reverb effects, creating a raw, distorted sound that defined their 1968 album Flash. Tracks like the opening "Flashback" feature freaky guitar breaks layered with swirling organ and distorted vocals, evoking the era's experimental psychedelia. Their regional hit "99th Floor" exemplifies garage rock energy with its bouncy rhythms and fuzz-driven riffs, blending propulsive three-chord structures with trippy sound effects. Extended jams were a hallmark of their style, often stretching covers and originals into improvisational explorations, as heard in the bluesy sprawl of "Joe Blues" on Flash, where guitarist Billy Gibbons delivered lengthy, effects-laden solos. Lyrics in the band's catalog delved into themes of youth rebellion and , reflecting the countercultural ethos of the late . The surreal imagery in "99th Floor"—describing an elevator ascent to euphoric heights with a lover to escape malaise—evokes the disorientation of psychedelic experiences. Obscure, introspective lines across Flash, such as those in "You Make Me Shake," further evoke disorientation and rebellion against conventional reality, aligning with the mind-expanding influences of the period. This lyrical approach drew inspiration from Texas psychedelic acts like . Live performances amplified these elements, featuring improvisational structures that allowed for on-stage experimentation amid psychedelic visuals. The band frequently played at Houston's Love Street Light Circus, a premier psychedelic venue where light shows by crews like the Jelly Wall Eyes Pack projected vibrant, liquid projections onto walls during sets, enhancing the hypnotic atmosphere. Their gigs often included extended, fuzz-soaked jams on covers, turning standard tunes into sprawling, feedback-ridden explorations that mirrored the free-form ethos of contemporaries. In the psychedelic scene, the Moving Sidewalks shared affinities with , particularly in blending garage rawness with mind-altering experimentation, though their sound remained more blues-inflected and less . "99th " stands as a quasi-tribute to the Elevators, capturing a similar freak-flag defiance in a region hostile to countercultural outsiders. Gibbons has credited the Elevators' as a pivotal influence, prompting the band's shift toward psych-infused that prioritized sonic immersion over polished pop.

Blues and Texas rock roots

The Moving Sidewalks' musical foundation was deeply rooted in the traditions of , particularly through the early influences on guitarist and vocalist . Growing up in , Gibbons was exposed to the genre from a young age via his family's maid, who introduced him to classic records, and he drew direct inspiration from iconic artists such as and . These figures shaped his guitar style, emphasizing raw emotional expression and technical prowess that would define the band's sound. Hopkins' intricate fingerpicking and King's fiery electric tone provided a blueprint for Gibbons' approach, blending grit with urban electrification. This blues heritage manifested prominently in the band's original compositions, where shuffle rhythms—a hallmark of Texas blues—and expressive guitar techniques evoked the spirit of their influences. Tracks like "Joe Blues" exemplified this integration, drawing on Gibbons' accumulated knowledge of traditional blues forms to create extended, improvisational pieces that highlighted rhythmic drive and soulful leads. The song's structure reflected the shuffle patterns popularized by artists like , allowing the band to channel authentic energy within their evolving rock framework. The band's blues orientation was further reinforced by Houston's vibrant R&B scene, a hub of Black music innovation that permeated the local rock culture. Gibbons initially formed early groups like the Saints to cover heard on radio station KCOH, which broadcasted R&B hits from the city's thriving clubs. Regional labels such as and Peacock Records, founded by , amplified this environment by producing artists like Bobby "Blue" Bland and Junior Parker, whose soulful sounds indirectly informed the Sidewalks' rhythmic foundations and performance ethos. Emerging from this milieu, the Moving Sidewalks regularly gigged in Houston's teen clubs and regional venues, where the intense Texas climate—marked by sweltering heat—fostered a raw, sweat-drenched performance style that amplified their -infused intensity. This venue culture, with its packed, high-energy crowds, honed their ability to deliver visceral, unpolished sets that captured the unyielding spirit of .

Band members

Core lineup

The core lineup of the Moving Sidewalks consisted of four key members who defined the band's psychedelic blues-rock sound during its active period from 1967 to 1969. served as the lead guitarist, lead vocalist, and primary songwriter, drawing on his early exposure to traditions. Born on December 16, 1949, in Houston, Texas, Gibbons was influenced by blues pioneers such as , , and , which shaped his raw, expressive guitar style. In the band, he contributed iconic guitar solos, including the Hendrix-inspired leads on tracks like "Pluto – Sept. 31st" from the album Flash, where his playing added layers of improvisational intensity. Dan Mitchell handled drums, providing the rhythmic backbone that drove the band's energetic live performances and studio recordings. As a Houston native who had previously played in local groups like the Coachmen, Mitchell's style was influenced by drummers such as of the Experience, contributing solid, propulsive beats that supported the group's bluesy grooves. His drumming stood out on songs like "Crimson Witch," where it fueled the track's dynamic shifts and psychedelic flair. Don Summers played bass, delivering the low-end groove essential to the band's foundation. A fellow musician, Summers co-wrote several tracks and provided steady, walking bass lines that evoked early rock influences, notably on "You Make Me Shake," which featured a punchy, Who-like interplay. He remained with the group until its 1969 disbandment due to military draft obligations. Tom Moore rounded out the lineup on keyboards, adding atmospheric layers through swirling organ and piano that enhanced the band's psychedelic elements. Also from Houston, Moore contributed songwriting, including the quirky "Scoun Da Be" on Flash, where his organ work created eerie, experimental textures. Like Summers, he departed in 1969 following his draft into the U.S. Army.

Timeline of changes

The Moving Sidewalks formed in late 1965 or early 1966 in , initially evolving from the band The Coachmen V. The early lineup included on guitar and vocals, Dan Mitchell on drums, Kelly Parker on keyboards, Mike Frazier on bass, and Bob Braden on rhythm guitar. This group recorded the band's debut single "99th Floor" / "Stay Away" in April 1966 under the name The Moving Sidewalks. By early 1967, Kelly Parker and Mike Frazier were replaced by Tom Moore on keyboards and Don Summers on bass, respectively, establishing the core quartet that remained stable through 1968. In early 1969, following the completion of sessions for their album Flash in late 1968 and amid the ongoing Vietnam War draft, bassist Don Summers and keyboardist Tom Moore departed the band after being drafted into the U.S. Army, effectively leading to its disbandment later that year. No temporary or session musicians were brought in to fill these roles for the band's final performances, including their last show on July 4, 1969; Gibbons and Mitchell subsequently formed the early incarnation of ZZ Top. The band did not experience any further personnel shifts or revivals in the decades immediately following, though the original four members reunited for a short series of performances in , including shows on March 30 at B.B. King Blues Club & Grill in and April 7 at the Austin Psych Fest—their first activity in over 43 years—prompted by the release of a compilation, after which they again ceased activity. No additional reunions or lineup alterations have occurred since.

Discography

Studio albums

The Moving Sidewalks released their sole studio album, Flash, in 1968 on Tantara Records. The album features 10 tracks, primarily written by guitarist , and showcases the band's sound with elements of and garage influences. Produced by the band's manager Steve Ames, Flash was recorded at in , , a venue known for capturing the raw energy of local acts during the late . The tracklist includes "Flashback," a swirling opener with distorted guitars and organ swells; "Joe Blues," a seven-minute highlight demonstrating Gibbons's early guitar prowess; and "Crimson Witch," which incorporates backward tapes and effects typical of the era's psychedelic experimentation. Despite production challenges inherent to the independent label's limited resources, the album captured the band's live intensity through studio effects like reverb and phasing. Upon release, Flash received critical acclaim for its energetic performances and innovative sound, with reviewers noting its Hendrix-inspired guitar work and Texas psych vibe, though it achieved limited commercial success as a regional release. The album's rarity today underscores its cult status among collectors, but the band's subsequent disbandment in 1969 prevented any further studio recordings.

Singles

The Moving Sidewalks released a series of 7-inch singles between 1967 and 1969, primarily on local label Tantara Records and national distributor Records, blending original psychedelic compositions with covers of popular tracks to build a regional following in . These releases emphasized high-energy performances led by guitarist , often featuring fuzzy guitar tones and blues-inflected riffs, and served as key promotional tools through local radio airplay and live gigs at venues. The band's singles mixed originals with reinterpretations, showcasing their roots while appealing to the era's psychedelic trends, though none achieved national success beyond regional play. The debut single, "99th Floor" backed with "What Are You Going To Do," was issued in on Tantara Records (catalog T-3101) and quickly became a local sensation, topping Houston charts for six weeks and driving significant on stations like KFVX. This original track, written by Gibbons, captured the band's raw energy with its driving rhythm and echoing vocals, while the B-side offered a more introspective garage ; the single's success prompted a on Wand Records (WND 1156) later that year, expanding distribution but maintaining its focus. Promotional efforts included heavy rotation at regional dances and club shows, helping establish the band as a staple without broader sales data available. Following the Tantara breakthrough, signed with for "Need Me" / "Every Night a New Surprise" in late 1967 (WND 1167), an original A-side delivering bluesy paired with the upbeat, experimental B-side featuring organ swells and feedback. This release received moderate regional in markets but did not replicate the chart dominance of their debut, serving primarily to sustain momentum ahead of their . The single highlighted the band's strategy of pairing structured rockers with more adventurous flipsides to showcase versatility in live sets. In 1968, Tantara issued "I Want to Hold Your Hand" / "Joe Blues" (catalog 3108), a bold cover of the Beatles' hit reimagined with fuzzy guitars and a psychedelic edge on the A-side, backed by the extended instrumental blues jam "Joe Blues" that foreshadowed Gibbons' later work. This single saw limited airplay confined to Houston and surrounding areas, with promotion tied to the band's ongoing local performances rather than national push; it exemplified their mix of covers for accessibility and originals for identity, though specific sales or chart figures remain undocumented. The band released one final single in , "Flashback" b/w "No Good to Cry" (Tantara 3113), featuring radio edits of tracks from their album Flash to promote the release. Overall, these eight tracks across four physical singles underscored the Moving Sidewalks' brief but influential run in the rock scene, with Tantara's grassroots approach prioritizing regional buzz over widespread commercial metrics.

EPs

The Moving Sidewalks produced no original extended plays during their initial run, with their recorded output focused instead on singles and the 1968 album Flash. This absence of U.S.-issued EPs reflected the band's short-lived activity, which ended amid military drafts for key members in . Post-disbandment, the group's singles-era material—such as "99th Floor," "Need Me," and "What Are You Going to Do"—gained traction among international collectors, particularly in the UK psychedelic scene, through imported singles and album pressings that circulated among enthusiasts. These tracks, drawn from their Tantara Records singles between 1966 and 1968, highlighted the band's garage-psych sound and contributed to their cult status abroad. In later years, archival and bootleg EPs emerged to compile rare material for fans. A notable official compilation was the 1982 From Texas EP on Mutt Records, a 7-inch mono release featuring four tracks from their 1960s singles: "99th Floor," "What Are You Going to Do," "Every Night a New Surprise," and "Need Me." Following a 2013 reunion of the original lineup, the band issued 99th Floor Part 2 on Gibbons Recording Co., a four-track CD EP with updated versions of classics including "99th Floor - Part 2" (in two mixes), "You Make Me Shake," and "What'cha Gonna Do?"—reviving interest in their foundational work. Additional bootleg EPs in the 2000s and beyond have surfaced, often bundling demos and live recordings from the singles period for archival purposes.

Legacy

Influence on ZZ Top

Following the disbandment of the Moving Sidewalks in 1969, guitarist and vocalist recruited drummer Dan Mitchell, his bandmate from the group, to form the initial lineup of that same year in , along with bassist Lanier Greig. This transition carried forward elements of the Moving Sidewalks' blues-infused psychedelic style into ZZ Top's early sound, though the new band leaned more heavily into straightforward and boogie rhythms. Mitchell's drumming, honed during the Sidewalks' regional tours and recordings, provided a rhythmic foundation that persisted briefly in ZZ Top before he was replaced by Frank Beard in 1970. Tracks from the Moving Sidewalks, such as the extended blues jam "Joe Blues" recorded in , foreshadowed ZZ Top's signature boogie aesthetic, featuring ' gritty guitar work and a raw, extended improvisation that echoed the blues-rock energy later central to songs like "La Grange" and "Tush." This seven-minute instrumental, originally the B-side to a single and later included on archival compilations, highlighted ' evolving style blending psychedelic experimentation with deep influences, serving as a direct precursor to ZZ Top's boogie-driven sound on their debut in 1971. The Moving Sidewalks' regional prominence in , marked by their 1967 hit "99th Floor" reaching No. 1 on charts and opening slots for Jimi Hendrix's 1968 tour, established Gibbons as a local and created a springboard for his national emergence with . This Houston-centric fame, built through high-energy live performances and singles on local labels like Lucifer Records, positioned Gibbons within the state's burgeoning rock scene, facilitating ZZ Top's quick signing to London Records and their breakthrough beyond regional audiences by the early 1970s. Archival releases of Moving Sidewalks material, including the 2012 box set The Complete Collection on RockBeat Records, revived interest in the band's psychedelic roots and directly informed ZZ Top's nostalgic performances during their post-reunion shows in , where occasionally referenced early influences to underscore the group's heritage amid their commercial peak with albums like Eliminator. These compilations, compiling rare singles, demos, and the unreleased Flash album, highlighted the stylistic lineage from Sidewalks jams to ZZ Top's boogie anthems, enhancing the band's retro appeal in live sets that celebrated their origins.

Recognition and reissues

The band's sole album, Flash, saw limited reissues in the ensuing decades, with a notable CD edition released by Akarma Records in 2000, preserving its psychedelic sound for modern audiences. A comprehensive , The Complete Collection, emerged in 2012 via RockBeat Records as a two-CD box set encompassing the full studio recordings, rare singles, and previously unreleased outtakes from sessions with ' earlier group, The Coachmen, highlighting the band's evolution in Houston's scene. This set, accompanied by an extensive booklet of photos and , underscored the archival value of their truncated output. Their material has appeared in psychedelic rock anthologies celebrating music heritage, such as the 1994 unofficial compilation Texas Rockmusic Heritage Vol. 1: The Pre-ZZ Houston Roots on Lone Star Records, which collects key tracks like "99th Floor" and emphasizes their proto-ZZ Top roots. In 2013, following the release of The Complete Collection, the Moving Sidewalks reunited for live performances, including shows at B.B. King's Blues Club in and Austin Psych Fest, marking their first activity since 1969. Since the 1970s, The Moving Sidewalks have received mentions in histories of 1960s garage and , often noted for blending influences with in works chronicling the era's regional scenes. They maintain a among collectors and enthusiasts of obscure psych rock, prized for rare vinyl pressings and the band's connection to Gibbons' early career, positioning their work as a "crown jewel" of Texas . In the 2000s, their catalog became digitally available on streaming platforms including , broadening access to tracks like "Crimson Witch" and "Joe Blues" beyond physical formats. The band has not received major national awards, though their influence persists through niche recognition in music circles as pioneers of the state's garage psych movement.

References

  1. https://www.discogs.com/artist/684681-The-Moving-Sidewalks
  2. https://www.npr.org/2013/03/13/170191642/the-moving-sidewalks-where-the-british-invasion-met-texas-blues
  3. https://ultimateclassicrock.com/moving-sidewalks-complete-collection-lp/
  4. https://www.seattlepi.com/lifestyle/blogcritics/article/Music-Review-The-Moving-Sidewalks-The-Complete-4028305.php
  5. https://www.austinchronicle.com/music/moving-sidewalks-11757614/
  6. https://nineteen-sixty-six.blogspot.com/2011/06/coachmen-v-99th-floor.html
  7. https://www.discogs.com/release/1801706-The-Moving-Sidewalks-99th-Floor
  8. https://www.guitarworld.com/features/billy-gibbons-opening-for-jimi-hendrix
  9. https://www.bluesblastmagazine.com/moving-sidewalks-flash-album-review/
  10. https://www.theguardian.com/music/musicblog/2014/jul/30/10-of-the-best-garage-punk
  11. https://tidal.com/magazine/article/roky-erickson-tribute/1-79866
  12. https://www.tshaonline.org/handbook/entries/love-street-light-circus-feel-good-machine
  13. https://www.pooterland.com/lightshows_jelly_wall.html
  14. https://www.statesman.com/story/news/2013/04/21/austin-psych-fest-the-moving-sidewalks-pick-up-where-they-left-off/10001440007/
  15. https://www.houstonpress.com/music/the-psychedelic-sounds-of-the-13th-floor-elevators-and-10-early-texas-psych-bands-you-should-know-6520842
  16. https://www.texasmonthly.com/arts-entertainment/still-zz-after-all-these-years/
  17. https://www.loudersound.com/features/billy-gibbons-don-t-mess-with-texas
  18. https://www.zztop.com/news?n_id=815
  19. https://bluesrockreview.com/2025/10/how-billy-gibbons-revolutionized-blues-rock.html
  20. https://www.nytimes.com/2013/04/21/us/zz-tops-billy-gibbons-and-his-former-band-return-to-psychedelia.html
  21. http://nineteen-sixty-six.blogspot.com/2011/06/coachmen-v-99th-floor.html
  22. https://legsville.com/the-13th-floor-elevators-moving-sidewalks/
  23. https://www.hitsdailydouble.com/news/rumor-mill/gibbons-moving-sidewalks-plays-reunion-show
  24. https://www.musicradar.com/news/guitars/billy-gibbons-talks-about-the-moving-sidewalks-reunion-571861
  25. https://www.dallasobserver.com/music/texas-psychedelic-trailblazers-the-moving-sidewalks-reunite-after-40-years-6429351/
  26. https://www.discogs.com/master/115474-The-Moving-Sidewalks-Flash
  27. https://www.discogs.com/release/2188034-The-Moving-Sidewalks-Flash
  28. https://rateyourmusic.com/artist/the_moving_sidewalks
  29. https://www.discogs.com/release/3722979-The-Moving-Sidewalks-From-Texas
  30. https://www.discogs.com/release/4963432-Moving-Sidewalks-99th-Floor-Part-2
  31. https://rateyourmusic.com/release/ep/the-moving-sidewalks/99th-floor-part-2/
  32. https://americansongwriter.com/then-now-zz-top/
  33. https://theseconddisc.com/2012/12/10/holiday-gift-guide-review-the-moving-sidewalks-the-complete-collection/
  34. https://www.discogs.com/release/2758960-The-Moving-Sidewalks-I-Want-To-Hold-Your-Hand
  35. https://ultimateclassicrock.com/the-moving-sidewalks-the-complete-moving-sidewalks-album-review/
  36. https://www.discogs.com/release/1614680-The-Moving-Sidewalks-Flash
  37. https://www.discogs.com/release/4028403-The-Moving-Sidewalks-The-Complete-Collection
  38. http://blog.musoscribe.com/index.php/2012/12/10/album-review-the-moving-sidewalks-the-complete-collection/
  39. https://www.discogs.com/release/9058794-The-Moving-Sidewalks-Texas-Rockmusic-Heritage-Vol1-The-Pre-ZZ-Houston-Roots
  40. https://open.spotify.com/artist/1mVnnp85GXJce62susfwac
  41. https://www.tshaonline.org/handbook/entries/rock-and-roll
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