The Weisel is a name derived from another name: Weisenheimer.

Once there was a junior high school kid named Weisenheimer.  Little did he know, wisenheimer is not spelled weisenheimer.

He progressed into the 10th grade and after a short hiatus to Washington State, returned to Florida to attend high school.

Much to his dismay, disgust and amazement, many of the same faces he remembered from junior high school were now adorned with cowboy hats.

Who knew that there were young people.. his peers that were also rednecks!?!? Weisenheimer was deeply disturbed.  Even more disturbing was the way these creepy weirdos treated Weisenheimer and his fellow non-redneck students. 

Well Weisenheimer, being the wisenheimer that he was began writing his moniker on his papers in class, instead of his given birth name.  His teachers failed to see the humor and he decided to shorten it to weis.

“Weis” went over without a hitch and most of his teachers even pronounced his name “weese”.

As the years passed at Middleburg High School, Weis and his cohort Verlon were jamming out in a duo they called “Pistol’s Clock”.  Day after day, Weis would try and sell Pistol’s Clock tapes to his classmates.  Very few of them ever bought tapes.

Pistol’s Clock was a mostly acoustic / noise / experimental sorta thing. Their first cassette release, a self titled album, sold over 3 copies and was far from a serious effort.  Tracks such as “candy stix” featured Weis and Verlon chanting about the price and safety of candy sticks for about 6 minutes.  Other songs were centered around the misadventures of the popular cartoon monkey, Curious George and whether or not he belonged in a pornography store.  Another track entitled “Chicken Rears” was a seductive tapestry of drooling, screeching and screaming about the posteriors of foul.

Pistol’s Clock followed up their self-titled effort with an album called EarPie. EarPie was a much more serious effort than its predecessor. However it did retain some of that signature sense of humor the fans had grown to love.  Ear Pie was also the home of one of Pistol’s Clock’s biggest hits, “Super Flamingo”.  Super flamingo was a ballad about a young lad named “moron” who was able to defy gravity while eating bacon.  Moron had an infatuation with a particular flamingo, and it seems apparent that he started a religion worshipping this righteous bird.  Another track from EarPie that received a fair amount of press was “Death by Harmonica”.  Not exactly pleasing to the ear, this song was pretty much 3 minutes of death threats being spoken through harmonicas.  EarPie sold nearly 10 copies and it is said that the sound of “Super Flamingo” can still be heard echoing through the halls of Middleburg High School to this very day.

During the reign of Pistol’s Clock, Weis was also involved in a few side projects. 

Perhaps the most famous of which was The Fliptons!  The Fliptons effortlessly attained cult status with such hits as “Bite My Ass”, “Rave All Night” and the legendary 45 minute song which remained untitled.  The Fliptons also ripped off a pigface song with their hit “Fuck it up, Fliptons”, which led to years and years of court battles.  The Fliptons were also responsible for the R&B number that was causing all the girls to raise their skirts back in those days: “Bumpin’ Uglies”.  “Bumpin’ Uglies was pretty much a roadmap into every girl’s panties”, says Shawn Edie, a long-time Middleburg resident.  “The Fliptons were living the dreams the rest of us saps were changing our sheets over.”

One other side project Weis was involved with was one of a much darker disposition, The Kin Of Beelzebub.  The K.O.B. were the most detestable of the dregs of the scourge.  These atrociously blasphemous heathens would make music so horrible, so heinous, so absolutely putrid that it would make Satan himself shudder in the corner, pissing himself.  With such disturbing tracks as “P.A.I.N” and “S.H.I.T”, the K.O.B weren’t out to make any friends or kiss any babies.  They were out for blood, destruction, famine, pestilence, war and death.  Pure and simple, the K.O.B, if not stopped, would have consumed us all.

Just before graduation, Weis landed an internship at a local recording studio to pursue his dream of becoming an audio recording engineer.  By this time, it seemed that conflicting schedules had reduced “Pistol’s Clock” to merely a memory.  Weis was focusing more on solo and side projects and had begun to deviate from the sound Pistol’s Clock had pioneered. 

Weis was hard-pressed to come up with a freakin’ name for his solo project.  During his reign as “Lost Nirvana Boy” at MHS, he had cleverly assigned nick-names to many of his peers.  Airplain, Klam, Beardo, and Piss on everything lad, to name a few.  Despite his knack for giving people nick-names, he couldn’t decide on anything to call himself.

Having gone by the name “Weis” for so many years, it finally dawned on him that he can simply add “el” to his name and call it a day.  Thus “The Weisel” was born. 

Perhaps a year after deciding on the name, he came to the grim realization that “The Weasel” was a stupid name that Polly Shore called himself.  Weis was petrified!!!

Then he was all like: fuck it.. fuck polly shore.. I’m keeping the stupid name until something better falls in my lap.

To make an already long story slightly shorter… things went south at the recording studio, but The Weisel has managed to “Keep it real”.  To this very day, he’s still slowly crankin’ out the jams that make the kiddies go Gow-Gow!!!