Mark Weitz

Mark Weitz is among the shed heroes of 1960s rock and roll. Among the performers, the organist, and the main composing person in Strawberry NOISY ALARMS, as well as the member accountable (in cooperation with guitarist Ed Ruler) for composing the music for “Incense and Peppermints,” he should be remembered a minimum of in addition to, state, Doug Ingle of Iron Butterfly. But because of a manager who was simply, at greatest, inept, along with a manufacturer who performed fast and loose with parceling out credit, neither his nor King’s name ever finished up over the melody as composers. Weitz was created in Brooklyn, NY, in 1945, and sooner or later he transferred to California. He previously adopted the piano and body organ young, with 20 became a member of a Glendale-based group known as the Sixpence as key pad player and something of the vocalists. 3 or 4 years over the age of all of those other members, he previously even more definite musical tips than his bandmates and a older and professional view about music, which offered them more than another four years; he also discovered something of the kindred musical nature in Ed Ruler, the group’s business lead guitarist along with a prodigiously talented (if young) musician in his personal right, and both worked well collectively. Weitz was an capable composer aswell, as well as for the group’s 1967 solitary for the All-American label he converted in two tracks, “The Birdman of Alkatrash,” created simply by him, and an instrumental known as “Incense and Peppermints” made up in cooperation with Ruler. The latter, converted to another composer from the record’s maker, became lots one national strike for the group, recently christened Strawberry NOISY ALARMS. For another 3 years, Weitz rode a whirlwind of dizzying achievement and frustrating tries in a follow-up, though he do prove that the one wasn’t a fluke and wasn’t towards the credit from the lyricist by producing a high 30 strike (once again, in tandem with Ruler) known as “Tomorrow.” Amid conflicting innovative impulses in the bandmembers and regular edicts in what they wished in the group’s record label, Weitz performed some memorable key pad parts over the band’s initial three albums furthermore to submiting the right (and sometimes great) music, and on the Alarm Clock’s last album, HELLO Starshine, demonstrated himself in cooperation with King to be always a quite able first-time manufacturer. Unfortunately, Weitz still left music after departing the music group in 1970, and hasn’t added actively since.