Lyle Workman is known as a sideman for artists including Beck, Sting, Todd Rundgren, and Norah Jones, as well as composer for films such as Superbad and The 40 Year Old Virgin. However his current focus is going back to his roots as a solo artist. Lyle speaks to Jason Barnard about how he has brought all his talents together into ambitious instrumental album ‘Uncommon Measures’.
Hi Lyle – how long did you work on ‘Uncommon Measures’?
It was about four years in the making, but the reason it took that long is because is I worked on it in chunks, in-between other jobs that essentially financed the record.
When you were first working on the material was it clear that an orchestra was needed? Did that bring pressure?
Yes, it was written with the purpose of having an orchestra from the outset. There was no pressure because all the non-orchestral elements such as drums, guitar, bass and keyboards were recorded well in advance of the orchestra. That method was most time and cost-effective considering the complexity and magnitude of the music.
How does ‘Uncommon Measures’ compare to your previous solo albums?
The biggest difference is the feature of orchestra; a 63-piece recorded at Abbey Road. Stylistically, Uncommon Measures leans more to orchestral based writing material, although there is the common thread to my previous records by way of solos from guitar, drums etc.
Over the last 15 years I have written music for film that features orchestral music which has afforded much growth through composing hours of music, and feel I’ve grown substantially as a writer since my last release. I wanted to bring that to this record. Uncommon Measures is the most epic undertaking of anything in my solo material to date.
How did you get into the music industry?
After studying music in college, I joined a band out of Sacramento called Bourgeois Tagg. We landed a deal with Island Records and I co-wrote a hit single “I Don’t Mind at All.” That band proved to be a launching pad, first joining Todd Rundgren who had produced Bourgeois Tagg, and soon began picking up session work and tours with a wide array of artists.
Which of the artists that you have played with who you’ve had the most affinity with and why?
To pick a few I’d say Todd Rundgren, Sting, Beck and Frank Black. I enjoyed them all very much on a musical and personal level. They are widely different artists and enjoyed the variety of those experiences. I’d have to include Jazz drummer Tony Williams with whom I worked with for a brief time and learned from him that all music, regardless of genre, amount of complexity or lack thereof, was all valid and therefore something to learn from. It was lesson in the having an open mind; to look for value in music that I otherwise might not give credence to.
What are you most proud of so far in your musical career?
Uncommon Measures. I would add composing music for films that combined have made over a billion dollars at the box office.
Can you tell me about your background and how that shaped you?
I was born and raised in San Jose, California, fell in love with The Beatles at an early age, and taught myself guitar by listening to their records. My tastes expanded over the years into Hendrix, classic rock of the seventies, progressive rock and jazz-fusion—Genesis, Yes, Focus, Mahavishnu Orchestra, Weather Report. Those hybrid genres led me to what had inspired them; Miles Davis, Ravel, Debussy, Albert King, Django Reinhardt, many more.
How does composing for film/TV compare with recording your own material? Was there anything that you’ve composed for film/TV that you brought over into solo work or vice versa?
They are completely different mindsets between the two. The most substantial difference is that with Film/TV, I am working with parameters that are laid out – story, characters, sometimes a pre-existing musical template by means of temporary music. For my own material I work free of parameters and that’s why that music encompasses multi-genres, often within one song. I enjoy this the “free association” form of writing but do also enjoy the film and TV environment because the collaborative process can stretch me to go to places I might not go on my own.
What impact has the pandemic had on you?
Well, it sure curtailed my nights at the disco! Seriously, work wise It didn’t have too terrible an effect because I was working through it. The most substantial impact it had was how it affected us all, missing our normal way of life, not visiting friends and family, etc.
Do you have plans to perform live and what do you hope audiences will take away from your shows?
I’ve no plans to tour currently. I financed this very expensive record on my own, along with considerable promotion costs, without financial backing from a label so I’ve no funds left to tour a record of this scope. But I do miss the road life and hope to be out there again at some point. There’s nothing like performing!
Lyle Workman’s ‘Uncommon Measures’ is available on Blue Canoe Records.
