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Danny Weis

Danny Weis (born September 28, 1948) is an American guitarist best known as a founding member of the rock bands and , with whom he contributed to their early albums and hit singles in the late . Born in , and raised in the area, Weis began playing guitar at age 12, influenced by his father, Johnny Weis, a noted country and guitarist who performed with artists like . Weis co-founded Iron Butterfly in 1966 at age 17 alongside vocalist/keyboardist , contributing guitar work to their 1968 debut album Heavy before departing due to internal conflicts prior to the band's breakthrough hit "." He then joined the supergroup in 1968, where he co-wrote and performed on the instrumental track "," which reached No. 45 on the in 1969 and became a staple of his funky, rhythmic style characterized by "chicken pickin'" techniques on Telecaster guitars. Over his extensive career, Weis has collaborated with prominent artists including (as bandleader on the 1974 album ), (musical director and guitarist for the 1979 film The Rose, which earned multiple Academy Award nominations), , , and , among others. In addition to his rock roots, Weis has explored , , and R&B, releasing his solo Sweet Spot in 2006 with Toronto-based musicians and maintaining an active presence through projects like the Danny Weis Project and Funk Attack. After relocating to in 1980 and briefly returning to in 1983, he settled in , , in 2016, where he continues to perform and teach at age 77.

Early Life

Birth and Family Background

Danny Weis was born on September 28, 1948, in . He spent his early years in the area, particularly El Cajon, during the , where he grew up immersed in a musical household. Weis was the son of Johnny "Smilin' Johnny" Weis, a professional guitarist renowned for his work in country, , and styles. His father collaborated with prominent artists including , , and , often backing performers. Johnny Weis frequently performed at local venues such as the Bostonia Ballroom in El Cajon, providing young with direct exposure to live music scenes and professional performances. passed away in 1965, when Danny was 17 years old. This paternal legacy introduced to the guitar and fostered his early fascination with the instrument.

Introduction to Music

Danny Weis began playing the guitar at the age of 12, receiving foundational instruction from his father, Johnny Weis, a proficient and guitarist who had performed with artists such as and . Johnny taught Danny essential techniques, including proper pick holding, chord progressions, rhythm patterns, and basic solo licks, while encouraging him to develop a personal style rather than imitating others. This early guidance, rooted in the family's musical environment in , provided Weis with a strong technical base in , , and elements. Weis's early inspirations drew from a diverse array of musicians, without a singular dominant influence, reflecting broad exposure to various genres during his formative years in 1950s and early 1960s . He emulated phrasing from saxophonists like and for his guitar leads, while also absorbing styles from ' instrumental rock, figures such as (with whom his father jammed), and even drummers and keyboardists like . Country and pedal steel elements from broadcasts further shaped his melodic, blues-infused, and rhythmically funky approach. At age 13, Weis joined his first band, The Shados, marking his entry into live performances despite being younger than most peers. He later played with The Progressives (also known as Jeri and the Jerritones) and The Palace Pages, groups that honed his skills in local venues alongside musicians like Greg Willis and Jack Pinney. By age 16, Weis had begun teaching guitar to others, sharing the techniques he had mastered. These pre-professional experiences culminated in 1966, when, at 18, he co-founded , transitioning into a full-time professional career.

Musical Career

Iron Butterfly

Danny Weis co-founded in 1966 in , , at the age of 17, alongside keyboardist and vocalist . The original lineup featured Weis on guitar, Ingle on vocals and keyboards, Darryl DeLoach on vocals and , Greg Willis on bass, and Jack Pinney on drums. Shortly after formation, the band relocated to in DeLoach's hearse to pursue greater opportunities in the music scene. In , quickly established a presence through performances at prominent venues, including The Whiskey A Go Go, Gazzari's, the Galaxy, the Sea Witch, the Troubadour, and the Roxy. These gigs helped the band gain attention from influential figures in the industry, such as co-founder and musician , who praised Weis's guitar playing. Weis contributed guitar to the band's debut singles, "Don't Look Down on Me" b/w "Possession," released in 1967, and played a full role on their debut album Heavy (1968), where he co-wrote or wrote approximately half of the material. He also appeared briefly on live recordings, including the archival release Live at the Galaxy 1967. Weis departed the band in 1968 following the release of Heavy, amid internal conflicts and lineup changes. His foundational contributions helped define 's early sound, blending heavy riffs and experimental elements that influenced the genre's development in the late .

Danny Weis joined in 1968, shortly after departing , as part of producer Paul Rothchild's ambitious supergroup concept for , which assembled talented musicians from various bands including , , and . Rothchild, known for his work with and , invested heavily in the project to create a powerhouse ensemble capable of blending rock, blues, and R&B influences. The initial lineup featured Weis alongside vocalist John Finley, keyboardist Michael Fonfara, guitarist Doug Hastings, bassist Jerry Penrod, drummer , and additional musicians including Alan Gerber on vocals and piano, rehearsing extensively at sites like the Las Palmas Theatre in before recording their debut. This formation marked a transitional phase for Weis, building on his experience as a stepping stone to broader collaborations. In , Weis served as lead and rhythm guitarist, while also contributing on keyboards and , bringing an aggressive, fiery playing style that emphasized R&B-infused rhythms and innovative techniques like "chicken pickin'," a hybrid of twang and phrasing. His approach drew from influences such as , , and , delivering slashing, rhythmic lines distinct from the psychedelic leanings of his prior work. Weis primarily used modified Telecasters—often an early '50s model fitted with Stratocaster pickups—amplified through a 1959 Tweed Bassman with four 10-inch Jensen speakers, which lent a raw, funky edge to the band's sound on tracks like the showcase "" from their second album. This setup and technique helped infuse Rhinoceros's music with a gritty, live-wire energy, prioritizing a no-overdubs recording ethos that Weis championed from the outset. Weis's contributions spanned the band's first three albums: he played guitar and keyboards on the self-titled debut (released November 1968), which captured their live intensity at Elektra Studios; the follow-up Satin Chickens (1969), featuring his prominent riffs; and Better Times Are Coming (1970), where tensions began to surface amid shifting dynamics. A highlight was his co-writing of the instrumental "" on Satin Chickens, where Weis crafted the main riff—later enhanced by Fonfara's horn lines and Hastings's fills—resulting in the band's only charting single, peaking at #46 on the and enduring as a staple in media due to its catchy, raucous funk. The track exemplified the group's supergroup prowess, blending Weis's rhythmic drive with the ensemble's for a sound that bridged rock and soul. Weis departed in 1970 following the release of Better Times Are Coming, amid growing internal conflicts including creative rivalries and arguments during recording sessions, which he later described as signaling the band's decline. His exit came as Rothchild had already been dismissed earlier that year, further destabilizing the supergroup's momentum. Despite the band's short tenure, Weis's tenure helped establish as a notable late-1960s ensemble, though it ultimately fell short of supergroup hype due to lineup flux and label pressures.

1970s Collaborations

In the 1970s, following the dissolution of in 1970, Danny Weis shifted toward session musicianship, leveraging his guitar expertise and arranging skills across diverse genres including rock, pop, and . This period marked his emergence as a reliable collaborator for established artists, with contributions spanning albums, soundtracks, and live productions that highlighted his adaptability from electric leads to horn charts. Weis began the decade with guitar work on lesser-known projects, such as Ohio Knox's self-titled 1971 album and Alan Gerber's The Alan Gerber Album that same year, where he played electric, 12-string, and . By 1972, he contributed guitar to ' country-rock release , blending his rock roots with the duo's harmonic style. A pivotal collaboration came in 1974 with Lou Reed's , where Weis served as bandleader, providing guitar, tambourine, backing vocals, and co-arranging horns to infuse the album with R&B and elements; the record became Reed's highest-charting solo effort at the time. That year, he also played guitar on John Klemmer's jazz album Fresh Feathers, adding electric textures to its sound, and contributed to Ian Matthews' Some Days You Eat the Bear and Some Days the Bear Eats You. In 1977, Weis reunited with former Rhinoceros associate Michael Fonfara to play guitar and arrange horns on ' My Own Way to Rock, supporting the ex-Guess Who frontman's shift toward harder rock edges. His soundtrack contributions included guitar on the 1978 film score California Dreaming. The decade closed with a major role on Bette Midler's The Rose (Original Soundtrack Recording) in 1979, where he played guitar as part of the backing band; the album achieved multi-platinum status in the , underscoring Weis's growing prominence in high-profile pop-rock productions.

Later Career and Solo Projects

In the early 1980s, Danny Weis relocated to around 1980, where he recorded an album with the band The Lincolns before returning to in 1983 due to limited opportunities. Upon his return, he engaged in songwriting, local club performances, and collaborations with artists including , Blackstone, and , drawing on his prior session experience for versatile contributions across rock and R&B styles. He also performed session work with earlier in his career. During this period, Weis served as musical director for Christian productions in , marking a brief shift toward gospel-influenced work at venues like the Arise Christian Center before resuming secular projects. From the late through the , Weis formed the band Funk Attack, which performed live shows such as a 1990 concert at the in , featuring Weis on guitar and vocals alongside Ron Green on lead vocals and Jim King on bass. In the , he contributed guitar to the Toronto Mass Choir's Going Home (2007), blending his background with arrangements. That decade also saw the release of his debut solo , Sweet Spot (2006, Marshmellow Records), an instrumental collection fusing smooth jazz compositions with , R&B, , and elements, highlighted by Weis's signature guitar licks. In recent years, Weis has led the Danny Weis Project, a contemporary ensemble including vocalist John Finley and keyboardist Marc Hugenberger, focusing on and performances and recordings. As of 2020, he continued to maintain an active presence through live shows and studio work within and genres.

Musical Style and Influences

Key Influences

Danny Weis's primary musical influence stemmed from his father, Johnny Weis, a professional country-jazz guitarist known for his rhythmic chordal comping and percussive soloing, which blended elements with jazz improvisation. Johnny, who performed with artists like and and backed stars such as at venues like the Bostonia Ballroom, taught Danny the fundamentals of guitar playing, including pick technique, rhythm, and solo licks, while encouraging him to develop a unique style rather than imitate others. This paternal guidance exposed Danny to guitarists from his father's record collection, including , , , and , whose visits to the family home further shaped his melodic sensibility. In his formative years, Weis drew inspiration from a range of and artists across , , and , particularly saxophone-driven funk players like and , whose phrasing influenced his lead guitar lines. He also emulated the instrumental rock precision of , learning their hit "Walk, Don't Run" at age 13, alongside pedal steel techniques from players like Joaquin Murphey and . This broad exposure extended to keyboardists such as and blues icons like , fostering Weis's strong sense of melody, bluesy phrasing, and funky rhythms without a single overpowering influence. Weis's development was further impacted by the vibrant scene in during the mid-1960s, where performances at clubs like the exposed him to diverse rock and psychedelic acts, contributing to a blended style characterized by melodic yet funky guitar work. Interactions with peers, including shared stages with figures like and bands such as , reinforced this eclectic approach amid the era's collaborative environment. Over time, Weis's style evolved from hard rock roots toward smooth jazz and funk, driven by session work with varied artists that broadened his R&B and jazz fusion palette, as seen in later projects incorporating diverse phrasing from drummers and keyboardists.

Guitar Technique and Approach

Danny Weis's guitar technique is characterized by hybrid picking techniques, notably his signature "chicken pickin'" style, which produces a percussive, funky sound through rapid alternations between pick and fingers. This approach originated from lessons learned via his father, Johnny Weis, who introduced him to pedal steel player Joaquin Murphey's methods during performances with the Western Caravan band. Weis also emulates steel guitar licks using volume swells to create sliding, sustained tones that mimic the instrument's glissando effects, a direct inheritance from his father's country and western influences. In rock contexts, he blends aggressive rhythm work with lead lines, delivering bluesy, melodic phrases over driving grooves that support the band's intensity. Weis's style evolved from the psychedelic and blues-rock foundations of his early career with and , where his playing featured strong, melodic lines infused with a unique funky rhythm that propelled the ensembles' heavy, experimental sound. In the 1970s, his versatile session work shifted toward more structured arrangements, including horn-like phrasing on guitar inspired by saxophonists such as , which added funky, R&B-inflected layers to recordings like Lou Reed's Sally Can't Dance. Later, in his solo projects, Weis embraced and , incorporating melodic, lyrical phrasing that emphasizes patience and expression over flash, often integrating clavinet-inspired riffs by replicating their percussive, rhythmic patterns on guitar to enhance groove and texture. As of 2024, this style continued in contributions to tracks on the album Paranoid Bubble by the band Paranoid Bubble. Central to Weis's approach is a focus on groove and ensemble support, where he prioritizes rhythmic foundation and melodic interplay to elevate the overall band dynamic, drawing from diverse influences like keyboardists and horn players to expand his guitar's role beyond traditional leads. This is evident in his harmonized solos, such as those created in tributes to his father's work, where he used studio software to layer harmonies over original recordings like "My Confession," blending technical precision with emotional depth. His reputation as a "great " in the 1960s Los Angeles scene was solidified through performances at Sunset Strip venues like the Whiskey a Go Go, earning acclaim from peers and industry figures including and for his innovative blend of melody, rhythm, and funk.

Discography

Albums with Bands

Danny Weis contributed guitar to all tracks on Iron Butterfly's debut album Heavy (1968), marking his early role in the band's sound. He is credited as a and group member on the compilation album Best of Iron Butterfly: Evolution (1971), which featured selections from the band's initial recordings. Additionally, Weis appears as guitarist and on Light and Heavy: Best of Iron Butterfly (1993), a highlighting the group's evolution. His compositional work is noted on the live compilation Rock ‘N’ Roll Greats: Iron Butterfly in Concert! (2004). Following his time with , Weis joined as a founding member and played guitar, keyboards, and piano on their self-titled debut album (1968), including co-composing the hit instrumental "." On (1969), he contributed guitar and keyboards, supporting the band's blues-rock style. For (1970), Weis handled rhythm guitar and keyboards, adding to the group's final studio effort before his departure. He received composer credits on the 2004 reissue . Weis provided guitar for The Everly Brothers' album (1972), enhancing its blend of folk and rock elements. In collaborations with , he played guitar and arranged horns on My Own Way to Rock (1977), contributing to its energetic rock tracks. Weis also appears as guitarist on Cummings's compilation Collection (1994).

Solo Albums

Danny Weis's solo endeavors represent a shift toward projects, building on his experience fronting the 1990s band Funk Attack. In 2006, Weis released his debut album Sweet Spot on Marshmellow Records, an collection that explores , , and R&B with prominent funky guitar lines. Weis composed, arranged, and performed on the album, contributing guitar, , , , horn arrangements, and drum programming across its 16 tracks. Key tracks include the title song "Sweet Spot," the introspective "Inside of Me," and the upbeat "What's Goin’ On," showcasing his versatile style. That same year, Weis produced the various artists compilation New York Sound, curating East Coast-influenced tracks from multiple contributors.

Selected Session Contributions

Weis contributed guitar to David Ackles' debut album The Road to Cairo in 1968, performing alongside fellow members Jerry Penrod on bass and providing rhythmic support to Ackles' piano-driven compositions. That same year, he served as co-composer for the track "Unconscious Power" on the Savage Seven , a contribution performed by that underscored the film's biker-themed narrative with heavy elements. In the 1970s, Weis expanded his session work across genres, beginning with electric, pedal steel, and 12-string guitar on Alan Gerber's self-titled 1971 album, where his versatile playing complemented Gerber's piano and mandolin arrangements in a country-rock fusion style. He followed with lead guitar duties on Ohio Knox's 1971 eponymous release, adding fiery leads to the band's raw, blues-inflected rock sound. By 1974, Weis handled guitar, backing vocals, and co-arranged the horn sections on Lou Reed's Sally Can't Dance, infusing tracks like "Ride Sally Ride" with his signature guitar riffs and enhancing the album's glam-soul production. That year, he also provided guitar for John Klemmer's jazz-fusion album Fresh Feathers, contributing to its eclectic blend of soprano saxophone leads and rhythmic grooves. On Ian Matthews' Some Days You Eat the Bear and Some Days the Bear Eats You, Weis delivered lead electric and acoustic guitar parts, supporting Matthews' folk-rock vocals on cuts like "A Wailing Goodbye." Additionally in 1974, he took on art direction responsibilities for Bob Neuwirth's debut solo album, overseeing visual elements that captured its eclectic folk-rock aesthetic. Weis' soundtrack involvement continued with guitar work on the 1978 California Dreaming original motion picture soundtrack, where he joined a roster of session players to back and other artists in reinterpreting the film's California-themed pop tracks. In 1979, he played guitar on Bette Midler's The Rose soundtrack, providing rhythmic foundation for Midler's powerhouse vocals on live-recorded concert staples like the , earning and certifications for the project. Later contributions included on the 1993 compilation The Soul of Many Places: The Elektra Years by Ian Matthews, drawing from Weis' earlier sessions to highlight Matthews' 1970s folk-rock output. He reprised guitar credits on the 2003 reissue of Matthews' Valley Hi / Some Days You Eat the Bear..., preserving his original 1974 performances in remastered form. In 2007, Weis added guitar to the Mass Choir's Going Home, blending his rock sensibilities with the ensemble's arrangements for a contemporary spiritual sound.