The Unsung Hero of Pop: Corky James and His Guitar Magic Behind Avril Lavigne’s Hits
Corky james has been the secret weapon behind chart-topping tracks for artists like avril Lavigne, Liz Phair, Demi lovato, and Hilary Duff. However, his journey in music began in the 1980s, long before these pop anthems took the airwaves by storm. “It took me a while to find my footing!” james shares with Guitar World.
“I kept grinding, accepting every gig that came my way, regardless of the pay or time. I traveled all over los angeles, taking on sessions-even those I might not have been the best fit for.”
After two decades of relentless effort, James began receiving calls that would alter the course of his career.Tracks like Complicated, Sk8ter Boi, and Why Can’t I? showcased his guitar work, often without listeners realizing it. “The credits were often dominated by younger musicians who didn’t contribute musically,” he reflects.
“I doubt Avril even knew who we were until after the album dropped. They might have even become her live band for a time!”
After years of hard work, James finally felt he was part of something significant. “it was a relief… much less pressure,” he recalls. “The variety of work was refreshing. Perhaps that diverse experience led me to session work where I could adapt to many styles.”
Since then, he has also ventured into soundtrack work, contributing to projects like the 2009 film More than a Game and 2011’s X-Men: First Class, as well as collaborating with American Idol on the Season 4: Showstoppers compilation.
now at 72,Corky remains a sought-after talent in the industry. “Striving for excellence is essential,” he states. “And a bit of luck doesn’t hurt! But as styles evolve, the hits can dwindle. You have to reassess and adapt. The music industry has transformed so drastically; it’s almost unrecognizable to me now.”
Guidance and Growth in the Industry
Did any seasoned session musicians mentor you when you started?
Absolutely,but it wasn’t until I arrived in LA. Attending the Dick Grove School of Music introduced me to incredible teachers and musicians. The guidance I received was often indirect; I learned by observing and experimenting. I’m still evolving as an artist.
Were there moments early in your career when you felt like you were failing?
Not notably. I always had enough work to sustain myself. Though,there were times when,despite being busy,I felt I wasn’t growing as a musician or artist. It’s a delicate balance we all navigate.
Gear and Influences
What gear were you using onc you got established?
It took time to figure out what equipment suited my needs best. I started in LA with a custom KT guitar from Baltimore, featuring a Tele body, Gibson scale and neck, Martin headstock, and Seymour Duncan PAF and JB pickups.
That guitar was incredible, but it was stolen in 1982, prompting my journey of guitar exploration. I moved on to Gibson’s The Paul, then Fender AVRI Strats, and eventually acquired a ’72 Gibson Les paul. After trying various Fender amps, including the Concert and a Lee Jackson-modded Deluxe reverb, I settled on a Yamaha 112.
The intro to Complicated was me experimenting with different ideas. When Scott Spock pieced them together, they turned out fantastic!
Eventually, I got a Twin Reverb and a ’72 Marshall 100-watt Super Lead, which I still use for countless sessions, including Sk8ter Boi.At one point, I also acquired a ’68 Fender Bassman, which became my go-to amp for both live and studio work.
How did you land the session for Avril Lavigne’s Sk8ter Boi?
I had been playing in original bands, none of which gained much traction. though, through gigging in LA, I connected with other musicians. Keyboardist Scott Spock and bassist Graham Edwards, who were part of a band called Dollshead, appreciated my playing style and began hiring me for sessions.
They were aspiring to become songwriting producers. Graham’s then-wife, Lauren Christy, auditioned me for her band, and we clicked. I spent several years contributing to her songs and enjoyed some successes along the way. Scott, Lauren, and graham eventually formed The Matrix.
They secured a manager, Sandy Robertson, who began connecting them with record labels.That’s when Avril entered the picture. She was incredibly shy and sweet-only 16 at the time-and had a remarkable voice.
Influencing a New Generation
As someone in your 50s, was it challenging to create music that resonated with a younger audience?
It still is! I’m sure the younger listeners had no clue, and many still don’t. The record label obscured our names-mine and drummer Victor Indrizzo’s-by printing them in tiny font on the CD cover! It took us a while to discover our credits.
What was the experience like working on Complicated,I’m With You,and Sk8ter Boi?
By that time,it was just Scott Spock and me working on the tracks. He typically had a solid arrangement in place, complete with drum programming, keys, and possibly a vocal scratch, likely from Lauren Christy.
I would listen to the arrangement, create a chord chart, and map out the song.Scott would allow me to play freely, sometimes guiding me in the right direction, and other times leading me elsewhere. He was an excellent producer, adept at refining my ideas into something cohesive. The intro to Complicated was a mix of my various ideas, and when Scott assembled them, they turned out fantastic!
My setup was relatively simple: a Strat, a les Paul, and a baritone guitar, along with a Bassman, a Marshall, a mesa Boogie 2×12, and a Martin 00-18. That was my arsenal for all the Avril tracks. Scott used a Shure SM7 on my cabinet, paired with a G12 greenback and a Vintage 30 speaker.
The Underdogs discovered me through my work with Avril. When I showed up for the first session, they joked, ‘We thought you’d roll in on a skateboard!’
Did you have any inkling those songs would become hits, let alone part of a Grammy-winning album?
No, not at all! Someone recently sent me a humorous GIF of the chorus explosion from I’m With You. In hindsight, it seems like an obvious hit, but at the time, we had no such expectations.
You also contributed to other pop hits like Why can’t I?, No Air, and (There’s Gotta Be) More to Life.How did those projects come about?
The Liz Phair tracks were a direct result of Avril’s success. Her label brought in The Matrix,and I was fortunate to be part of it. Those songs were produced by Babyface and The Underdogs, who also found me through my work with Avril. When I first arrived at a session with The Underdogs, they quipped, “We thought you’d show up on a skateboard!”
The Wire: Corky’s Creative Hub
What’s the story behind the Wire, your home studio where you do most of your recording?
The Wire didn’t come into existence until around 2004.We recorded all the Avril tracks at home studios set up by The Matrix, which included four different locations. Once the label funding ran out, most of my sessions transitioned to The Wire.
If your house were on fire and you could only save one guitar, one amp, and one pedal, what would you choose and why?
During last year’s Pacific Palisades fire, I pondered that very question! I almost bought a trailer to load up with my gear. But hypothetically, I’d grab three guitars: a Strat, a Les Paul, and a Gibson L-00.
I’d also take a Bassman 2×10 combo and one of my pedalboards. with just a Bassman, a Drive OCD v1.1, and a MSL tonebender fuzz pedal, I could manage a lot of sessions.
looking Ahead
What’s next for you?
My instrumental surf band, The Sea-jays, has released one EP titled A Touch of Terror, with a second EP set to drop this spring. I consider myself incredibly fortunate to keep playing and continue enjoying the craft.
