ABOUT

In 1976, I moved to NYC and hung out at Nat Schnapf’s “Associated Recording Studios.” I saw a lot of amazing people record music there. One day, I got stuck in an elevator going to Associated with lyricist, Alan Bernstein. Alan’s biggest song was “After The Lovin'” by Englebert Humperdinck which I heard just after he co-wrote it and witnessed it become a monster hit. Sadly, my mentor and friend who taught me how to become a lyricist died shortly thereafter of cancer. During this period I also hung out at CBGBs, with my classmate Glen Morrow and he turned me on to the group “Talking Heads” before they were signed. Glen actually put me on the legendary, Uncle Floyd Show because he was desperate after a group he booked called Orchestra Luna could not perform.

In 1983, I entered a club called “Radio” with my friends Eric Norwitz and Lee Auerbach. It was the beginning of rap music in LA. 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 they asked me my name, I replied, “Whitebread” which drew laughter. Eventually, I performed with real instruments instead of to tracks and combined my music with rock never being perceived as a perpetrator by the hip hop community. At the same period of time, I was signed as a pop artist to AVI Records where I performed in such LA clubs as Madame Wong’s, The Central (Viper Room), and in Club Lingerie, along with playing colleges. The Red Hot Chili Peppers opened for me at Club Lingerie. My band was called, “The Silly Geese.” Backstage, Kiedis was just in a jock strap and I was wearing feathers. I called my music, “Broadwave” because it combined punk beats with Broadway style lyrics. AVI was also the home of my idol, Liberace. The only one who really understood what I was doing in this period was my friend, Chris Harris, who became my publicist and was the publicist of legendary crooner Rudy Vallee. Before Bing, Frank, Elvis, The Beatles, there was Rudy. I cannot overstate what an influence Rudy was in my life. Paul Zotos and I wrote and produced Rudy’s last song entitled, “Junior Movie Star.” Eventually, I will have this song on my playlist.

I would like the following bio to add to the the rest of my story. But first a few acknowledgments: Producer Chris Mendoza, thank you for getting me. The late Taz DeGreggorio of the Charlie Daniels Band, for your guidance. The legendary Lester Wilson, choreographer of Saturday Night Fever. Who taught me how to incorporate my tennis moves into dance.  The two sisters I never had: 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 the soon to be released film, “Basmati Blues,” starring Donald Sutherland, Brie Larson, Tyne Daly, Scott Bakula, and Utkarsh Ambudkar. 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, Zack, and Zak 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 tough. Last but not least Julia Stein, my wife who shines bright like a diamond. Julia named my new EP, “A Pocket Full Of Songs,” memorializing the fact “that she can never throw out a post-it-note or napkin.” I am proud of her hard work for “Stand Up To Cancer.” Julia only knows two speeds: Zero or 110 MPH. Thank you Baby Carl, Hero’s little brother, for kissing my face every morning.

As a songwriter/artist, I have been fortunate to write in almost every genre of music. This will be reflected in my playlists. Please expect more rock and punk to be added soon. It is my privilege to share my songs with you.

 

The Whitebread Ingredients:

It is hard to define Whitebread, because his influences as a songwriter and artist have been diverse.

Whitebread’s grandfather was Jack Davis, a vaudeville singer with whom he spent many an evening learning and singing the standards of the 20′s, 30′s and 40′s.

As a young boy, Whitebread accidentally bought the songs of the Beatles as recorded by 101 strings, thinking that he was buying the Beatles album. Frustrated that it had no lyrics, he wrote his own.

At nineteen, he worked at Associated Recording Studio in New York. While working at ARS, Whitebread became stuck in an elevator for two hours with renowned lyricist Alan Bernstein, who became Whitebread’s songwriting mentor and friend.

Whitebread soon moved to Los Angeles where he interned at ABC Records/ MCA Universal Records. The president of publishing, Jay Morgenstern, recognized Whitebread’s keen ear and had him make recommendations on songs to promote and artist renewals.

His first band, The Silly Geese, had a breakaway style (punk beats with Broadway-esque lyrics and theatrics) that was embraced by the LA street scene. The band was then signed to AVI Records and toured colleges for five years.

A mutual publicist introduced Whitebread to legendary crooner Rudy Vallee. The two became close friends and Rudy asked to record one of Bob’s songs. Working with Vallee had a profound influence on Whitebread as both a songwriter and a singer.

Whitebread was fortunate to be part of the beginning of rap in Los Angeles. He started going to hip-hop clubs, where he loved the rawness of the genre and decided to cut his first rap album under the name Whitebread, which included the club hit song “SWEAT.”

In the next few years, Whitebread’s story-telling style dovetailed into the booming country phenomenon in Nashville, where he managed and co-wrote songs with 3 of a Kind, who were produced by Mark Spiiro.

Whitebread’s talents were recognized by accomplished music supervisor Bonnie Greenberg, for whom he co-wrote and co-produced two songs in the New Line Cinema sequel “Son of the Mask” and “Basmati Blues,” which is currently in production.

Whitebread is currently recording an album produced by Chris Mendoza.

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