The Whitebread Ingredients
My grandfather was Jack Davis, a vaudeville singer with whom I spent many an evening learning and singing the standards of the 20s, 30s and 40s.
As a young boy, I accidentally bought the songs of the Beatles as recorded by 101 strings, thinking that I was buying a Beatles album. Frustrated that it had no lyrics, I wrote my own.
In 1974, I attended the University of Rhode Island on a tennis scholarship. I hated most of my professors but I started writing songs with my doubles partner and friend, Al Lancellotti. Al would go on to write many hit songs for New Kids On the Block. Al and I, along with my roommate, Joe Uscio, would perform in local campus clubs.
At age 19, I left URI to work at the iconic Associated Recording Studios in NYC. One day while going to work at ARS, I was stuck in an elevator with renowned lyricist Alan Bernstein (“After The Lovin”). Alan became my songwriting mentor and friend. A year later my dear friend would die of cancer. In 1976, Al (Lancellotti) and I recorded “Farrah” along with other songs at Associated. The novelty song was a homage to Farrah Fawcett (on the Artist Playlist). Al and I were offered a production agreement, but our lawyer advised us not to sign it and we did not. The other day was the first time Al and I had heard “Farrah” in over 40 years. We agreed that like the demo better than the master recording.
During this period, I was also hanging out at CBGBs, with my fellow URI dropout classmate, Glen Morrow. Glen turned me on to a lot of bands including “Talking Heads” before they were signed. Glen booked me and I appeared on the legendary, Uncle Floyd Show.
I always had a strong interest in attending law school. Being able to review my own music contracts merely piqued that interest. I also dreamed of one day going to, “the mythical land of California.” Although I never graduated college, I received my law degree (JD) in 1980 from Southwestern Univ. College of Law in Los Angeles. I interned at ABC Records (Steely Dan, Jimmy Buffet) and later at MCA (Universal). I am eternally grateful to my lifelong friend, Gary Culpepper for hiring me at ABC and for providing me with guidance to this day.
Al Lancellotti joined me in LA. We continued writing songs while I attended law school. We had a song published by legendary publisher, Fred Ahlert, which impressed my copyright professor, Averil Pasarow. Pasarow arranged for my interview at ABC. Al and I recorded at Kitchen Sync Studios in Hollywood. We were introduced by Kitchen Sync co-owner Michael Hamilton, to famed record producer, Kim Fowley. Al and I debate to this day whether or not it was a good or bad decision not to have signed a production agreement with Fowley. We went on to record at Normandy Sound in Warren, RI. This is where later Al would meet New Kids On The Block architect, Maurice Starr. I will be always grateful to Al for sending me a quadruple-platinum NKOTB album that is on my wall.
The Silly Geese was my first band in LA. We were embraced by the LA street scene. The band was signed to AVI Records and toured colleges for seven years. We played clubs like Madame Wong’s, The Central (Viper Room), and Club Lingerie, but my favorite shows were at the LA Street Scene events. The “Street Scene” included featured artists such as Stevie Wonder and Chicago. Our publicist, Chris Harris placed a story in Page Two of the LA Herald Examiner stating that we were appearing with a half-million live geese. Now I had to find live geese! We had a crowd that day for as far as the eye could see! We always put on a memorable show. Mark Papp, our drummer, was in a chicken coop and the guitar players, Paul Zotos and Tim McDonald simultaneously flapped their guitars as if they were wings. As the lead singer, I threw multi-colored feathers in the audience. AVI was also the home of Liberace and David Benoit, and AVI also owned the iconic recording studio, Producer’s Workshop, where we recorded. Fellow Silly Geese members included, Paul Zotos, Marl Papp, Carl Wurtz and Tim McDonald; my lifelong friends. Others players included John Dietrich, Lenny Landry, Billy Butkiewicz, George Kahn and Norman Williams.
The Red Hot Chili Peppers opened for us at Club Lingerie in Hollywood: That night, in the dressing room, I was wearing bird feathers and Anthony Kiedis was just wearing a jockstrap. Anthony said “feathers” as he showed his approval and I nodded, “jockstrap”. That was the extent of our conversation.
I called my music “Broadwave” because it combined punk beats with Broadway-style lyrics. Outside the band, the only one who really understood what I was doing in this period was my friend and publicist, Chris Harris, who was also the publicist of legendary crooner, Rudy Vallee. Chris decided that I should meet Rudy. Before Bing, Frank, Elvis, The Beatles, there was Rudy. I cannot overstate the profound influence Rudy had in my life. Paul Zotos and I wrote and produced Rudy’s last song entitled, “Junior Movie Star” on my playlist. I could say that I taught Rudy the song, but that is not exactly true. Rudy exclaimed, “A song is a mini-movie script. It is your job as the performer to tell the story and convey the emotion. You must know where you want to place the emphasis on each and every lyric of the son.” Rudy’s advice not only changed how I would sing a song, but how I would write and produce. I hope to have my time spent with Rudy told in a film.
In 1983, while signed as a pop/new wave artist, I entered an L.A. hip hop club called “Radio”. There were no musical instruments, the rappers were called DJ Whatever, and everyone wore shades. I heard about this club and asked the guy in charge if I could rap. I was met with resistance and the all-black crowd was witnessing this disagreement. Just then, probably amused by all of this, someone from the audience yelled out, “Let the white bread mother fucker rap!” When the MC asked me my name, I replied, “Whitebread” which drew laughter. In time, I would perform as Whitebread with real instruments instead of track music, not commonly done back in the day. I combined my music with rock, never being perceived as a perpetrator by the hip-hop community.
I released the song “Sweat” in 1990 on my own label, Raditude Records. It became a club favorite, climbing to the top of many of the record pool charts, followed by major radio station rotation adds posted in R&R (Radio and Records) Magazine. It was added to full rotation on KDAY, LA’s legendary hip hop station and was added to the dance mixes on LA’s Power 106 and Kiss FM. I was a morning drive guest on the Jay Thomas Show and Powerhouse. Luckily for me and coincidentally, Sweat was the same BPM’s (beats per minute) as Prince’s, “Erotic City”. DJs loved to play Sweat and Erotic City back to back, as it kept people dancing on the dance floor.
I am eternally grateful to Michele Clark for helping me promote “Sweat”. I co-produced Sweat with Robert Mercer and the single was engineered by Vachik Aghaniantz. I am lifelong friends with Vachik, but sadly I have lost contact with Robert. Artists would call me asking me to sign them to Raditude. Perhaps, mistakenly, I never considered signing other artists.
As Raditude was costing me money and major record labels had no use in promoting my next single, “The Earth Is My Neighborhood”, I co-founded Zanart Publishing and later Zanart Entertainment with my friends, Tom Zotos and Steve Adelman. We built an American Stock Exchange Company and acquired licenses to manufacture, sell and distribute Star Wars, Star Trek, Looney Tunes, Batman, Superman, Power Rangers and all Marvel character products, to name a few, selling every major retailer. We also made private label products for Warner Bros., Disney, Graceland and House of Blues and produced shopping shows on QVC with the late Penny Marshall. I learned how to make deals, not break them. My creative and business energies were put exclusively into Zanart. Zanart was acquired in 1996 and it was time to get back to songwriting.
My story-telling style dovetailed into the booming country phenomenon in Nashville. I will always be grateful to Taz Gregorio and Charlie Daniels for their kindness and support. Simultaneously, I was writing songs for Sagestone Records, headed by record industry veteran, Stephen Metz.
In 2000, I started managing and co-writing songs for Three of a Kind, a band that included three brothers, Chris, Phil (Phoenix) and Adrian Mendoza. The band was produced by Mark Spiro. Although the band eventually broke up, Chris has become a successful keyboardist playing for such accomplished country acts such as Big and Rich, Chris Cagle, Damien Horne, Heidi Newfield and Everlast. Phoenix works with hit producer, Josh Leo and has been signed as a writer to Warner Chappel Music. Adrian is an independent pop artist and as a filmmaker has some of the most unique videos you will ever see. Other 3’OK band members included Steve Rivera on bass and Travis Womack on drums.
I am most grateful to accomplished film music supervisor and friend, Bonnie Greenberg for giving me so many opportunities to write songs for major motion pictures. Even though my song was taken out of the film, “My Best Friend’s Wedding” the last minute, I eventually had two songs with Bonnie in the New Line Cinema sequel, “Son of the Mask” and also in “Basmati Blues” starring Brie Larsen. It was amazing to go to India and produce the song’s movie track with Bonnie.
Even though I was writing songs for film and various emerging artists, it wasn’t until about 2010, that I had a vision to record songs again as an artist. I played them for my dear friend, Michele Clark, who had founded Sunset Sessions, an event that brought together radio program directors with record companies to listen to the songs of the acts that the labels were promoting. Michele thought my songs were great, but she never believed I would put a band together again and perform them. She offered me that if I could put it together, she would put me on the Sunset Sessions bill. I reached out to my dear friend Sal Guglielmi, legendary bass player for Donna Summers, etc. and we put an amazing band together. We performed at the Hyatt Regency in San Francisco opening for such acts as Dido and John Hyatt. We went on to perform at other Sunset Sessions. Today, the band is comprised of Sal (bass), Zak St. John (drums), Justin Citron (guitar) and myself (lead vocals). In the past few years, we have played LA clubs like The Mint, Viper Room, House of Blues and Molly Molones. The most recent live performance was at the Canyon Club opening for Jefferson Starship. You may see the video highlights reel of playing at The MINT in LA and stay tuned for more live performances. Also, please listen to my “Uprising” album. The band recorded it live at The Village Recorders in LA. Special thanks to Zack Zotos, who smokes on lead guitar and actress extraordinaire, Caroline Day for appearing with me in the “Don’t You Cry” video.
Michele Clark created Sunset Sessions and introduced me to Hall of Fame songwriter, Jack Tempchin (“Peaceful Easy Feeling,” “Already Gone”, and “Slow Dancing”). Whitebread and Tempchin penned 3 songs featured on a recent Tempchin album. On my songwriter’s playlist please find, “Nothin” Like Doin” Nothin” With You” (Tempchin, Kim Richey, Piper, Whitebread), “Footprints On The Moon” and “What If We Should Fall In Love Again”. I hope to get back with Jack soon and do it again. It is a joy writing with him. Bring your A game.
I owe a special thanks to Chris “Dos” Mendoza, formerly of Three of a Kind, who produced my last two tracks: “The Song I Never Wrote” and “California Gold”. The quality of the tracks speak for themself. Dos arranged for Sal and me to write with Damien Horne. Damien is now co-host of “The Song” on AXS TV and has had Top 10 and Top 20 Billboard Country Hits as a member of “The Farm” on Warner Bros. Records. On the songwriter’s playlist are, “Daydream” and “Love Crazy”.
I have had the privilege and joy of writing with Greg Gontier since he was 16. At age 20, “Double G” is the full package. He is a singer-songwriter with model (movie star) looks. He is actually signed to LA Models. Greg plays drums, guitar and keyboards and continues to grow as a producer. Unlike many recording artists that break through social media, Greg is an excellent live performer. With the right mazel (luck), Greg has the potential to become a superstar! Please find the songs we have written on my songwriter’s playlist under Greg Gontier and for more info. regarding Greg, please visit his website: www.greggontierofficial.com.
Acknowledgments: Producer Chris Mendoza, thank you for getting me. The late Taz DeGreggorio and Charlie Daniels for your guidance. The legendary Lester Wilson, choreographer of Saturday Night Fever, who taught me how to incorporate my tennis moves into dance. To my fellow Buffet Boys, Tommy Dorian and Punk. Thank you for all of your brilliant art spanning from the Uprising album cover to all of the fabulous concert one-sheets. Bonnie Greenberg, thank you for the opportunities you have given me. Thank you especially for having me join you in India for the recording of Rice #9 in “Basmati Blues,” starring Donald Sutherland, Brie Larson, Tyne Daly, Scott Bakula. Michele Clark, at the very least, thank you for the Sunset Sessions, and Songwriter’s Retreats. You are the reason I am writing with such awesome co-writers. Gary Culpepper, thank you for being an older brother. My band of brothers: Sal, Zac and Justin I can’t wait to get on stage with you and light ’em up. My beautiful parents who have passed on. My father Eric taught me to follow my bliss and my mother Florence, taught me how to be relentless. My brother Rocky for lending me his tape recorder. Last but not least Julia Stein, my wife, who shines. I am proud of her hard work for “Stand Up To Cancer.” Julia only knows two speeds: zero or 110 MPH. And to so many of my friends I have written with Including Double G, Sal, Damien, Jack, Jimmy Street, Dos, Phoenix, Shaun Carty, Al, Joel Piper, Carl Wurtz, Kim Richey, Joe Uscio, Clay, Jeremy Soule, Jason Evigan, Tim McDonald, and many more…