John Mayer’s Influence on the Heart of Hollywood’s Music Scene

John Mayer has dubbed it “adult day care,” referring to the historic recording studio nestled behind arched gates on La Brea Avenue. This venue has been a creative sanctuary for renowned musicians since the mid-1960s.

Previously known as Henson Studios and A&M Studios, this three-acre Hollywood complex has been home to the production of some of music’s most celebrated albums, including Carole King’s “Tapestry,” Joni Mitchell’s “Blue,” Guns N’ Roses’ “Use Your Illusion,” and D’Angelo’s “Black Messiah.”

In 1985, the parquet-floored Studio A witnessed Quincy Jones assembling a star-studded lineup to record “We Are the World” during a marathon overnight session. Notably, in 2014, Daft Punk channeled the studio’s charm during a performance of “Get Lucky” with Stevie Wonder at the 56th Grammy Awards.

The property also has a rich history as a soundstage, hosting productions such as “The Red Skelton Show” and “Soul Train,” alongside the iconic music video for the Police’s “Every Breath You Take.” Recently, Mayer and his bandmates from Dead & Company utilized the soundstage to prepare for their upcoming residency at the Las Vegas Sphere, shortly after Mayer recorded his solo album, 2021’s “Sob Rock,” at Henson.

“I used to come here even if I didn’t quite have anything to do,” Mayer recalls. “I just wanted to be around music — to have a place to go as an artist to find some structure in my life.”

In a bid to preserve the iconic location amid a tumultuous time for the entertainment industry, Mayer and his business partner, filmmaker McG, recently completed a purchase of the property for $44 million from the family of Jim Henson, the late Muppets creator. They have renamed it Chaplin Studios in honor of the silent-film pioneer who established the lot over a century ago.

The vision for Chaplin is ambitious. “We’re doing our best to create a kind of Warhol’s Factory atmosphere where like-minded artists can collaborate to produce their best work,” McG states.

Support for their endeavor comes from notable figures in the music industry. “A lot of my friends and I were very happy to see that Henson was being taken over by some great people,” Paul McCartney shared in an email to The Times. Having recorded albums at Henson, McCartney expressed earlier concerns about the studio’s future but now feels reassured. “John Mayer and McG seem to be doing a fantastic job in keeping the famous studio alive,” he added.

However, Mayer and McG face significant challenges. The rise of affordable audio technology and the economics of streaming have prompted even top-tier artists to favor home recording over traditional studio time. “Everyone with a computer and a microphone has a studio,” Mayer observes, noting the impact of AI-generated music as well.

On the film front, the ongoing migration of productions from Los Angeles raises questions about the viability of maintaining a busy soundstage. Recently, the owners of Occidental Studios near Echo Park listed their property for sale.

“The real estate guys weren’t necessarily saying what a prudent business move this was,” McG comments, reflecting on the mixed signals around their investment. “But it’s not about the dividend or the monthly return. I admire John for taking this leap.”

Mayer echoed that sentiment, embracing the challenge: “I love doing things that people tell me aren’t going to work. That’s how I know I’m onto something.”

During a December afternoon, Mayer and McG relax in Mayer’s office, which was formerly a mill for Chaplin’s movie sets. Following a holiday party, where guests enjoyed music from Mitchell, Mayer reflects on how he and McG first met through the studio’s longtime manager, Faryal Ganjehei. Both had deep ties to the location; McG directed music videos there in the ’90s, while Mayer began his journey at Henson in 2005.

“You’d think John and I would have known each other just from around here,” McG notes. “But this was actually a bit of an arranged marriage” as they both sensed the Jim Henson Co. was reconsidering its operations.

Charlie Chaplin began constructing the lot in 1917, creating a space where he directed some of his most famous films, including “Modern Times” and “The Great Dictator.” After Chaplin left the United States in 1952, the studio hosted shows like “The Adventures of Superman” and “Perry Mason.” In 1966, Herb Alpert and Jerry Moss acquired the property, transforming it into the home of A&M Records, which attracted artists including John Lennon and Stevie Nicks before Henson assumed control in 2000.

Mayer and McG plan to invest $9 million in improvements without altering the studio’s authentic character. Their goal is to keep the camaraderie that former artist John Shanks describes as a “home away from home.”

“We’ve all seen places we loved get renovated and then you go, ‘Yeah, I don’t like it there anymore,’” McG explains. “This place has a beating heart. All we have to do is effectively not kill it, right?”

Their commitment to preserving the studio extends to wanting to keep the beloved Kermit the Frog statue that had welcomed visitors for 25 years. However, the Henson family plans to donate the statue to the Center for Puppetry Arts in Atlanta, which has left both Mayer and McG disappointed. “It saddens me that the people of Los Angeles won’t be able to share in Kermit looking over them,” McG lamented.

Though Mayer is aware of the backlash regarding Kermit’s removal, he remains resolute. “I think we’re leaving an era of ‘I did it myself — aren’t you amazed?’” he reflects. “Now we’re turning the corner and loving collaboration again. And you can’t come into a place like this and do it alone.”

With a focus on music, Mayer envisions Chaplin as a nurturing space for artists. “Every time an artist drives through that gate, they’re taking an emotional risk, hoping they have a song in them but not being sure,” he says. “I want to make this the greatest place you could ever struggle.”