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QUESTION METHOD: LYLE WORKMAN
 Whether
it's composing feature film music, studio work
for major recording artists, or performing on
world stages, Lyle Workman enjoys
the fruits of a diversified career.
Workman performed as a member of Sting’s
band for Live 8, and is currently recording and
touring. On the big screen, Lyle composed the
music for Universal Pictures’ The 40 Year
Old Virgin, which was the #1 film in America for
two weeks. Workman has recorded and/or performed
with Beck, Shakira, Frank Black, Todd Rundgren,
Tony Williams, and They Might Be Giants, just
to name a few.
His 1996 solo debut Purple Passages
received international acclaim and was dubbed
"possibly the best guitar album of the year"
by Guitar Shop magazine. In 2000, Workman released
his second solo CD, Tabula Rasa
— another instrumental project highlighting
his growing interest in the facets of production,
engineering, arranging and composing. He is currently
working towards completing his next CD.
1. Which was the first record you bought
with your own money?
Probably the Beatles’ Abbey Road,
with some allowance money.
2.
Which was the last record you bought with your
own money?
The Eels’ Blinking Lights and other
Revelations.
3.
What was the first solo you learned from a record
— and can you still play it?
I’m not sure of the first. Perhaps “Proud
Mary” by CCR, or “Let it Be”
by the Beatles. I can still remember the “Let
is Be” solo — remember, there two
different ones, and I play them both. The first
extended solo I learned would have been “I’m
Going Home” by Ten Years After, from the
Woodstock record. Thank you 16 RPM speed! (Sorry
to confuse the young readers.)
4.
Which recording of your own (or as a sideman)
are you most proud of, and why?
As a sideman, I’d say Teenager of the Year
and Frank Black and the Catholics by Frank Black,
because the music was so unique and it inspired
me, and I had complete freedom to interpret. Of
my own recordings, I’m most proud of the
record I’m working on now, most likely because
it’s the one I’m in the middle of!
5.
What's the difference between playing live and
playing in a studio?
Very different, although I’ve been known
to run into a studio, grab a mic, and yell, “How’s
everybody feelin’ tonight!” Seriously,
the studio lacks the interaction and direct feedback
from an audience, yet can be a more appropriate
environment to explore or rework ideas. The studio
for me is reflective energy, whereas live is spontaneous
the focus is more extroverted. I love them both
equally.
6.
What's the difference between a good gig and a
bad gig?
A good gig is an effortless connectivity from
the musical impulse to the execution — transcendent
expression. Externally, a good sounding room or
stage can help make a good gig.
7.
What's the difference between a good guitar and
a bad guitar?
Its ease to play and ability to intonate and stay
in tune. But any instrument deemed “bad”
by any standard could still make a sound that
is interesting within the right environment. We’ve
heard great music created on a ‘59 Les Paul
as well as a cheap Teisco del Rey. Generally,
it’s a personal connection and affinity
for an instrument that makes it a good guitar,
regardless of the quality.
8.
You play electric and acoustic. Do you approach
the two differently?
Not really, although when I’m writing, the
choice of electric or acoustic inspires the type
of music that is created.
9.
Do you sound more like yourself on acoustic or
electric?
Probably the same on either.
10.
Do you sound like yourself on other people's guitars?
I think so. Send me your ’59 Les Paul or
‘52 Tele and let’s find out for sure.
11.
Which living artist (music, or other arts) would
you like to collaborate with?
Peter Gabriel.
12.
What dead artist (music, or other arts) would
you like to have collaborated with?
Debussy.
13.
What's your latest project about?
An instrumental record—all over the place,
stylistically. Great players, great fun.
Web
site: http://www.lyleworkman.com/
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