Everyone’s go-to sideman, Lyle Workman reflects on five cuts that showcase the power of his six-string assist.
BY JOE BOSSO
DOES LYLE WORKMAN have one of the most apt surnames, or what? Since making his debut in 1986 with the Bay Area–based band Bourgeois Tagg, the versatile guitarist has been one of the most in-demand players around, recording and/or touring with the likes of Sting, Beck, Todd Rundgren, Michael Bublé, Sarah McLachlan, Bryan Adams, Sheryl Crow and Frank Black. And that’s just scratching the surface of his credits. When he’s not collaborating with top stars, Workman has an enviable second day job as a film composer, having scored numerous Judd Apatow pictures, such as The 40-Year-Old Virgin, Superbad and Get Him to the Greek.
“I’ve always wanted to play with rock bands and make records, but film scoring came out of left field,” Workman says. “I met a film executive who needed guitar playing on one of his personal projects, and after that I won the lottery and did Judd Apatow’s first film. It’s nothing I planned on, but I applied myself and studied a lot. I took a film scoring course at UCLA and got my orchestral chops together. When the opportunity comes around, you have to be ready.”
In many ways, it mirrors how Workman approaches recording sessions. “I always want to find out as much as I can about a record date,” he says. “I’ll ask the producer beforehand, ‘What’s the vibe? What are you looking for?’ If I’m told, ‘He’s a rock and roll singer and he likes these kinds of bands,’ then I’ll decide what gear will best fulfill those needs. I’ve done a few records with Michael Bublé, so I know what he likes, but sometimes a producer will say, ‘We’re going to do something a little different,’ and I’ll modify what I bring to a session.”
For most recording dates, Workman tries to “cover all the main food groups” by bringing a Stratocaster, Telecaster, ES-335, Les Paul and an SG. “Of course, I’ve got Silvertones, Jazzmasters and Jaguars. You never know when you might need them,” he says. “I don’t see myself as having a particular sound. I’m more of a music creator, and guitars are my tools. I just try to be prepared for any job.”
At the same time, Workman has learned to expect the unexpected, like the time he flew to New York to audition for Sting’s band. “The first thing Sting said to me was, ‘This isn’t a Police cover band. These are the songs. Just do your own thing,’ ” Workman recalls. “Fortunately, Stin
