Advance Guitars Hoshino's Folk Journey
~Folk Songs and Acoustic Guitars~
Episode 1: Kazuhiko Kato
Hello, everyone!
My name is Hoshino from Advance Guitars in Shinjuku Ward (Shin-Okubo), Tokyo.
I am pleased to announce a new column in our store’s music magazine,
"Advance Guitars Hoshino’s Folk Journey: Folk Songs and Acoustic Guitars"
in our store’s music magazine!
This series is a journey through music and instruments, beginning with the simple question: “Who actually played those famous songs, and on what kind of acoustic guitars?” It traces the path from the “folk songs” that swept Japan from the late 1960s through the 1970s, all the way to the “New Music” of the 1980s.
What kind of guitars were chosen behind the scenes of those famous songs, for what purpose, and what kind of tones did they produce?
With the passionate perspective of a professional music store clerk and the curiosity of a true music fan in my heart,
and with your help at times, I would like to embark on this long, long journey.
Episode 1: Kazuhiko Kato and His Supreme “Martins”
The theme of this memorable first installment is Kazuhiko Kato—the genius who turned the Japanese music scene upside down and demonstrated the pinnacle of sophistication—and the acoustic guitars he loved!
An Overwhelming Sense of Style That Was Always Ahead of Its Time: Who Is Kazuhiko Kato?
It is no exaggeration to say that Kazuhiko Kato—affectionately known by the nickname “Tonoban”—led the Japanese music scene from the late 1960s through the 1970s.
Some of you may still have fresh memories of the documentary film “Tonoban: Musician Kazuhiko Kato and His Era,” released on Friday, May 31, 2024, which chronicled the miracle that was Kazuhiko Kato.
The phrase “Ora wa shinjimatta da~” from “Kaettekita Yopparaï” (July 1967)—the debut and signature song of “The Folk Crusaders,” the band he led as its central figure—is a historic track that even those who haven’t listened closely to Japanese folk songs or aren’t familiar with Kazuhiko Kato are sure to know.(Incidentally, it’s also well-known that the first edition of the record was titled “Kaettekita Yopparaï.”) By incorporating the use of fast-forwarding on tape—a recording technique that was highly avant-garde at the time—it became a massive social phenomenon, achieving Japan’s first million-selling record.
The Folk Crusaders disbanded following their October 17, 1968, concert at Osaka Festival Hall. After the group’s dissolution, Norihiko Hashida pursued a solo career and is also known for his hit “Hanayome” (The Bride).
Osamu Kitayama went on to form a successful partnership with Kazuhiko Kato as a lyricist.
Later, in 2002, at Osamu Kitayama’s invitation, Kazuhiko Kato and Konosuke Sakazaki of THE ALFEE joined forces to reform The Folk Crusaders—a move that surely delighted fans of the era.
However, his greatness doesn’t stop there.
Transcending the boundaries of folk music, he formed the “Sadistic Mika Band” (1971) and elevated Japanese rock to a world-class level. He continued to produce and compose numerous classic songs thereafter.
Among them, "Time Machine, Please" brought back memories of when I covered it in a jam session myself, thanks to its groovy riff and cool rhythm.
The twin guitar work of Kazuhiko Kato and Masayoshi Takano is absolutely electrifying!
As someone who plays instrumental music, Masayoshi Takano is one of my favorite guitarists.
In 2007, he formed Kazuyuki with Konosuke Sakazaki (THE ALFEE).
The group was formed through a connection with Mr. Sakazaki from the time of The Folk Crusaders’ reformation.
In addition to Mr. Sakazaki’s vocals and Mr. Kato’s harmonies, the comforting sound and groove of the acoustic guitars played by the two of them never fail to offer a fresh thrill, no matter how many times I listen.
He is an extraordinary genius melody maker and creator who absorbed cutting-edge music from overseas, refined it into an extremely pop and sophisticated form, and continued to present it to Japan. That is Kazuhiko Kato.
A closer look at the five legendary Martin guitars that colored Kazuhiko Kato’s music!
While Mr. Kato is known for his sophisticated fashion sense and musicality, he also had an extraordinary passion for selecting the guitars he played.
In this article, we’ll highlight and explain five distinctive “Martin” guitars—models known for being his favorites and still the object of endless admiration among acoustic guitar fans and professional musicians today!
1. The Eternal Dream: The "Martin D-45"
The Martin D-45 is an absolute must-mention among the guitars used by Kazuhiko Kato.
The Martin D-45 was introduced in 1933 as Martin’s flagship model.
With its luxurious abalone shell inlays adorning the entire body, hexagon inlays on the fingerboard (snowflake and cat’s-eye inlays from 1933 to 1939), and the vertical logo on the headstock, it was undoubtedly a guitar that many players dreamed of owning.
Even today, the D-45 reigns as the flagship model—a regal presence and an eternal object of desire.
We will take an in-depth look at the 1968 Martin D-45 that Kazuhiko Kato primarily used.
Separately, there is a story that in 1970, he acquired a 1969 Martin D-45 at Kawase Gakki in Ogawamachi, Tokyo.
Additionally, in 2000, he acquired a 1941 D-45 in New York.
Since the Sadistic Mika Band was formed in 1971, we can see that he acquired the Martin D-45 before that.
You can fully appreciate the sound of Kazuhiko Kato’s D-45 on the albums *Kazuko: Golden Hits* and *Hippy End*, released in 2007 by the unit “Kazuko,” featuring Kazuhiko Kato and Konosuke Sakazaki (of THE ALFEE).
The unit’s name, “Kazukou,” was derived from Kazuhiko Kato’s “Kazu” and Kounosuke Sakazaki’s “Kou.”
Apparently, other proposed names included "Mick Kazukou," "Keith Kazukou," and "Jamiro Kazukou"!
On the cover of Kazukou’s “Hippy End,” you can see a 1941 Martin D-45 next to Kazuhiko Kato.
1968 Martin D-45
Track used: “Pakchi from Thailand”
In 1968, Martin began reissuing the D-45, led by Mike Longworth, and it is said that 67 D-45s were produced in 1968 and 162 in 1969.
The one owned by Kazuhiko Kato was from the first year of the reissue.
The top is made of German spruce, and the sides and back are Brazilian rosewood Recruit.
The body features white binding, abalone shell purfling, and a rosette with a multicolored striped ring, complemented by a sparkling abalone shell rosette.
The back of the body features the same decorations as the top, and a multicolored center strip adds to its elegance.
A characteristic of the 1968 model is the rounded headstock shape with Brazilian rosewood veneer.
The image of him holding a D-45 and playing brilliant, harmonically rich strums in classics like "That Wonderful Love Once Again" is arguably one of the most beautiful scenes in Japanese music history.
*Image for illustrative purposes only. (Martin 1969 D-45)
2. The Martin D12-45: A 12-String with a Rich, Full Sound
The standard specifications for the Martin D12-45 include a slotted headstock (a design with a hole in the headstock, similar to a classical guitar), a 12th-fret joint, a spruce top like the D-45, and rosewood sides and back adorned with dazzling abalone shell inlays, giving it a luxurious appearance just like the 6-string model.
When strummed, it produces the characteristic 12-string spread (chorus effect), making it a dream instrument for folk fans.
The Martin D12-45 made its debut in 1969.
Although only three models were produced at the time, it is said that production increased eightfold to 24 units the following year, 1970, due to growing demand from artists who played 12-string guitars.
The Martin D12-45 used by Kazuhiko Kato has some unique and rare specifications, so I’d like to introduce it here.
*Image is for illustrative purposes only. (1973 Martin D12-45
1986 Martin D12-45
Song used: “Moshimo, Moshimo, Moshimo”
The guitar owned by Kazuhiko Kato features a solid headstock, as shown in the photo above, rather than a slotted headstock like the standard D-45.
Additionally, this guitar features a 14th-fret neck joint, a specification that differs from conventional 12-string models, which typically have a 12th-fret neck joint.
The headstock features a vertical abalone shell logo and Schaller M6 tuners, while the ebony 14-fret fingerboard is adorned with hexagon inlays.
The top is made of Sitka spruce, the sides and back of Indian rosewood, and it is a gorgeous model featuring white celluloid with abalone shell purfling.
3. The Versatile Best-Seller: "Martin D-28"
This is the best-selling Martin Dreadnought!
Production began in 1931, and the 14th-fret joint we know today was introduced in 1934.
It is a historic model that can be called the global standard for acoustic guitars. It is characterized by deep, rich bass from the rosewood and a powerful sound with ample volume.
Whether you’re strumming chords vigorously with a pick or playing arpeggios with your fingers, this is truly a versatile guitar!
It must have been a highly reliable partner, supporting the foundation of Mr. Kato’s wide-ranging genres and advanced playing.
The D-28 owned by Mr. Kato was an extremely rare model from the 1940s.
*Image for illustrative purposes only. (1942 Martin D-28)
1941 Martin D-28
Song used: “Hippie End”
This wartime model features an Adirondack spruce top, multi-stripe binding, and herringbone trim.
It is a luxurious instrument with Brazilian rosewood used for the sides and back.
The top features a tortoiseshell-patterned pickguard, and the ebony fingerboard is adorned with diamond-square inlays.
The ebony down-belly bridge features a long saddle and white bridge pins.
While 1941 marked the year Pug switched to Waverly open-back tuners, the instrument owned by Mr. Kato featured Grover shield-back tuners from before the specification change.
4. The "Martin 000-28 (Triple-O)" that captures the most delicate touches
The history of the 000 predates that of the Dreadnought; it debuted in 1902 with a 12th-fret joint and was changed to a 14th-fret joint specification in 1934.
While using the same rosewood as the D-28, the "000 (Triple-O)" model features a body that is 15 inches—a full size smaller—and a deeper waist. The rich, resonant mid-low range of the rosewood pairs perfectly with the clear, responsive high frequencies produced by the Triple-O body size! With its fast attack, it boasts unparalleled performance when playing delicate phrases that showcase fingerstyle technique. It is a masterpiece capable of expressing Mr. Kato’s refined chord work and delicate touch without compromise.
*Image for illustrative purposes only. (1935 Martin 000-28)
1945 Martin 000-28
Song used: "Atashi Genki ni Nare"
Like the D-28 mentioned above, the top is made of Adirondack spruce, with multi-stripe binding and herringbone trim Recruit.
The sides and back are made of Brazilian rosewood, with a zigzag pattern on the center strip.
The fingerboard inlays were changed from diamond square inlays to dot inlays starting in 1945.
Around 1941, the tuners were changed from Grover to Kluson ivoroid-button pegs.
Another notable feature is that the bushings supporting the peg shafts were omitted for only two years, 1944 and 1945.
The Downey bridge features a long saddle and white bridge pins.
While Eric Clapton’s 000-42, used on MTV in 1992, is famous for popularizing the 000 (Triple-O) model, there are likely those who were inspired by this instrument after seeing Mr. Kato’s 000-28.
5. Martin D-45SM KK "Kazuhiko Kato Custom Signature Edition"
In 2008, Martin released two signature models exclusively for Japan.
As custom signature models for the duo "Wako"—comprising Kazuhiko Kato and Konosuke Sakazaki—two guitars were released: the D-45SM KK (Kazuhiko Kato), based on the D-45S, and the 00-21 KS (Konosuke Sakazaki), with a look reminiscent of the 00-21NY.
When I wondered why 2008, I speculated—and this is purely conjecture—that the order was placed with Martin around the time "Wako" was formed in 2007, and the signature models were finally released in 2008 when the time was right.
In any case, Martin may not just be a manufacturer, but rather an irreplaceable presence that has always been by their side.
2008 Martin D-45S "KK Custom Signature Edition"
Songs used: "The Long Road to Freedom," "Curry Rice"
The top features Adirondack spruce, ivory-colored binding, abalone shell purfling, and a rosette adorned with beautiful abalone shell inlays Recruit.
The sides and back are made of Madagascar rosewood, with a multicolored center strip.
Like the top, the sides and back feature ivory-style binding accented with abalone shell inlays.
The ebony fingerboard features square diamond inlay position marks, and the pyramid bridge is fitted with a short saddle, creating a truly gorgeous instrument.
The sleek slotted headstock features a Golden Era-style logo crafted from abalone shell, and the tuners are engraved Waverly 3500 pegs Recruit.
It is a luxurious instrument that is reminiscent of the D-45S introduced in 1936.
Getting to Know Kazuhiko Kato...
While writing this article, I revisited Kazuhiko Kato’s recordings and looked at footage and magazines from that era.
The song “Shiroi Iro wa Koibito no Iro” by Betsy & Chris, released in 1969, has a certain nostalgic feel to it and is one of my favorites. When I watched a video of Kazuyuki performing it, I thought, “The vocal melody and the sound of their guitars are so pleasant.” Upon researching the song, I was surprised to discover that Osamu Kitayama of The Folk Song Crusaders and Kazuhiko Kato were involved in writing the lyrics and composing the music.
Also, seeing Kazuhiko Kato play electric guitar with such ease in the video—in addition to his acoustic guitar playing—is something I wouldn’t have known if I hadn’t been writing this column.
Since I’ve been playing mainly electric guitar since my second year of high school, I was shocked by the breadth of Kazuhiko Kato’s musical repertoire, which extends beyond acoustic guitar to include electric guitar as well.
During the live performance of “Yellow Rolls-Royce” by Yumi Matsutoya and Kazuhiko Kato, I was particularly impressed by Kazuhiko Kato’s cool strumming style as he played a sunburst Telecaster.
I would like to conclude this first installment by paying my deepest respects to Kazuhiko Kato, who introduced me to the depths of this wonderful music.
If any of you readers are thinking, “I actually went to see that Tonoban concert!” or “I was so inspired by the sound of the D-45 in that song that I bought a Martin myself,” please share those precious stories with Hoshino at Advance Guitars. I look forward to the day when we can have passionate discussions about guitars together at the shop!
We also welcome your requests regarding musicians you’d like us to feature or stories related to folk songs. For me, firsthand accounts—such as “I actually saw that back then” or “I heard that guitar sound at that concert”—are incredibly valuable and serve as the best textbook of all. If you’d like to share your story, please feel free to contact Hoshino at Advance Guitars.
✉️ aco@tcgakki.com
Well then, see you again in the next installment of “Hoshino’s Folk Journey”!
Written by: Hoshino (Advance Guitars)
Joined the company in January 2025. I primarily play electric guitar, focusing on instrumental music, while pursuing the nuances and expressive power of the instrument.
Favorite artists include B'z, Gary Moore, and Allen Hinds.
His hobby is drawing illustrations using Copic markers.
A few words: By exploring the folk song genre—which hadn’t been part of my musical roots—I discovered the charm of Kazuhiko Kato and learned playing techniques that enhance a song’s expressiveness by using three-finger picking alongside strumming on the acoustic guitar.
I listened to The Folk Crusaders and Kazuyuki so much while writing articles that they became my playlist for my commute to work! I’m currently practicing the three-finger picking technique!
Qualifications & Experience: 2 years as a musical instrument appraiser
▶︎Read my articles here:
Hoshino’s Folk Journey at Advance Guitars
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