13 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/