Photo: CJ Vanston is “the guy” — never afraid to be a risk taker and a hit maker. Photo courtesy of Timothy Fielding.
MAKING A SOUND LIVING – CJ Vanston: The Music Gambler
Working in the background has always been CJ Vanston’s thing, and his forte has always been bringing it all together. From his early days in Chicago holding the coveted first call session seat, to the creation of his renowned Los Angeles recording studio, the Tree House, this is “the guy!” Let me tell you why.
He takes chances. Vanston left Chicago at the top of his field at 30 years old, and moved to Los Angeles with just a few connections and a passion to make and build great songs and sounds.
His first punch at the charts was the global hit “Right Here Waiting” by Richard Marx. From there, his career continued on a trajectory of success, with accomplishments such as movie soundtracks “A Mighty Wind,” “Sweet Home Alabama,” “Licensed To Kill” (James Bond) and more, plus artists like “Spinal Tap,” Joe Cocker, Bob Seger, Jan Arden, Steve Lukather of Toto, and Michael Bolton. The list is much longer, but I only have so much room here folks! Take a look at his website for the long and impressive body of work at: CJvanston.com.
I caught up with Vanston at the end of 2017 by phone at his LA Studio. We chatted about his take on music and the music industry and looked back at his life. Here is the edited version of our conversation.
Biz X: Tell me about your Chicago years?
C.J. Vanston (CJV): When I was doing jingle sessions in Chicago, those sessions were trial by fire. You had one hour to get it right. You’re sitting with a 30-piece orchestra and you blow it, you blow everybody’s take. You don’t screw up or you don’t get called back. It was such a great training ground. The variety was sensational. In the morning, you’re doing jazz, at noon you’re cutting a rock track; by three, you’re working on a country jingle, then with an orchestra. Working with different studios and different producers and different musicians. Where you’re always proving yourself, you’re stretching. When you’re working in your own studio with your buddy, it’s a little harder.
Biz X: Leaving the security of a prized position as the number one session guy in Chicago was a risk. Did you have doubts about moving to Los Angeles?
CJV: Oh sure. Did I ever think about not going? NO! There were moments that I thought “geez, did I make the wrong decision here?” “I might have to go back or “I left some stuff in storage back there.” BUT, in my heart of hearts, I knew it was the right move. I didn’t spend all my time practicing and listening to records and be so good at what I do to work at Red Lobster. I was determined to make records.
CJV: It’s not a regret, but I would have built a team earlier on. I would have had a Manager earlier on. I was so reticent to hire anybody because I didn’t like anyone I met. I regret not putting a better team together earlier on — great Attorney, a great Manager — I just never met one I felt was effective.
Biz X: Is it true that it’s all in timing and who you meet?
CJV: One of the big things about this business is you have to be relentless. You have to be able to deal with disappointment, rejection and failure. It’s 80 percent rejection and failure. If you can’t deal with that, you’re never going to last in his business. You have to believe “I’m going to live a counter culture life.” “I’m going to be a musician.” Guess what? You have to be even better. You don’t have an HR department or payroll department, It’s all on you. Those that think being a musician is not getting into business [are] … fools. It’s all on you [for] everything.
Biz X: How do you deal with a missed opportunity?
CJV: Learn from it and take your next step. It’s not an ending, it’s a beginning. If you had expectations that it would end a certain way and if it doesn’t — it’s like “who moved my cheese?” A lot of my great successes have come from NOT getting “the” gig. I auditioned for the Eagles and Don Henley wanted me and I was told I got the gig, but Henley’s people said I had to shave my beard. I said I’m not shaving my beard for anybody. I did not get the gig. He did not hire me. I was crushed. After that, Henley was at a party with Katey Sagal from “Married with Children” and she was looking for a keyboard player. Henley said, “I know a guy who’s really good, but he has an ugly beard.” She called me up and hired me. Later, I met drummer Russell Kunkel who was impressed with my work and introduced me to Actor/Musician Christopher Guest (from the movie “Spinal Tap”), and, at the time, Toto Producer Greg Ladanyi. That opened up 25 years of work right there. It turns out working with Henley would not have been a good fit for me. It turns out that he likes you to play exactly the same note every single night and I would have walked away. So, what appeared to be a failure was a success in another way.
Biz X: How do you put together a great record when everyone is emailing their part in?
CJV: Great records are built. Joe Walsh said the problem with music today is that musicians don’t sit in the same room and make records. From “Thriller” to “Dark Side of the Moon” those records are three year projects. Great musicians, great producers, don’t make it sound evident on where music was built. As an arranger, I prefer to assemble things. For the most part, modern music is assembled.
MAKING A SOUND LIVING – CJ Vanston: The Music Gambler continues on page 42.
