Advance Guitars: Hoshino's Folk Journey
~Folk Songs and Acoustic Guitars~
Part 3: Nobuyasu Okabayashi
Hello.
My name is Hoshino from Advance Guitars in Shinjuku Ward (Shin-Okubo), Tokyo.
This series was born out of a simple curiosity: “Who actually played those famous songs, and what kind of acoustic guitars were they played on?”—a question sparked by the journey of “folk songs,” which swept Japan from the late 1960s through the 1970s, all the way to the “New Music” movement of the 1980s.In “Advance Guitars Hoshino’s Folk Journey: Folk Songs and Acoustic Guitars,” I’ll focus on the folk song artists and the guitars they used.
What kind of guitars were chosen behind the scenes of these classic songs, for what reasons, and what kind of tones did they produce?
As I write, I’ll deepen my understanding through the lens of my obsessive perspective as a professional music store clerk and my spirit of inquiry as a genuine music fan.
Part 3: “The Solitary Genius” Nobuyasu Okabayashi and Master Luthier Terry Nakamoto
The theme of Part 3 is Nobuyasu Okabayashi, a solitary figure indispensable to the history of Japanese folk rock.
We’ll delve into the deep connection between his spirit—as a voice of his era—and “Terry’s Terry,” which now reigns as Japan’s premier guitar. We’ll unravel the true nature of the ultimate sound that the man known as “God” ultimately achieved.
What is the background behind Nobuyasu Okabayashi being called the “God of Folk”?
“Nobuyasu Okabayashi grew up listening mainly to classical music and hymns from an early age, as his father was a Christian pastor.
At the time, he reportedly believed that ‘any music other than classical or hymns was the devil’s music.’
Such was the fervor of Nobuyasu Okabayashi’s Christian faith that he aspired to become a pastor. In 1966, he enrolled in the Faculty of Theology at Doshisha University, but due to internal issues—such as the treatment of a troubled girl at his family’s church—he gradually began to harbor doubts about his faith.
In 1967, after much anguish, Nobuyasu Okabayashi found himself in Sanya, a district in Tokyo known as a “doya street.” These “doya streets” were neighborhoods teeming with day laborers struggling under harsh physical labor and poverty in the shadow of Japan’s period of rapid economic growth. His visit there to Pastor Kanai, who was providing support to these workers, would change not only his own life but also the history of Japanese music.
Nobuyasu Okabayashi, then 20 years old, had come to Sanya burdened by anguish but driven by a sense of justice as a seminary student, vowing, “I want to be a source of strength for the workers!” In response, Reverend Kanai unleashed a barrage of harsh words: “What are you here for? Do you think you’ve come to save the workers? Don’t be so presumptuous.”“If you really want to understand, don’t be the one doing the saving—become a day laborer yourself and try living by drinking the same muddy water.”
It was these very words that led Nobuyasu Okabayashi to abandon his studies as a seminary student and settle in the shantytown as a day laborer.
Life there consisted of sweating it out on construction sites during the day and soothing the day’s labor with cheap shochu at night. I imagine that there, among “real human beings,” there was a raw reality of life and death where sympathy or pity from above held absolutely no sway.
“Yamaya Blues” (1968), considered Nobuyasu Okabayashi’s signature song, conveys the loneliness he felt in Yamaya and the cries of the working class, set to the sound of record crackle and guitar arpeggios.
When I first heard this song while writing this column, I thought, “What a dark song.” But after learning Nobuyasu Okabayashi’s story, I began to listen to it with a deep sense of empathy, realizing, “This is how he must have felt while living in Yamaya.”
The era when “Yamaya Blues” was released coincided with the height of the “Kansai Folk” and “Underground Folk” booms. Nobuyasu Okabayashi’s songs expressing a rebellious spirit—such as “My Friend” (1968) and “Screw You Song” (1969)—instantly struck a chord with young people, and before long, he came to be hailed as the “God of Folk.”
Although “Yamaya Blues” was Nobuyasu Okabayashi’s debut single, it’s said that the original plan was to release “Honjama, Ojamasu” (Side A)—a retitled version of “Kusokurae-bushi”—paired with “Yamaya Blues” (Side B). However, there’s an anecdote that due to the radical nature of its lyrics, “Yamaya Blues”—which had been intended for the B-side—was instead released as the debut single.
The Disappearance of the “God of Folk” and His Story with the “Queen of the Pop Music World”
Just as the frenzy surrounding Nobuyasu Okabayashi—hailed as the “God of Folk” by many young people and the general public—seemed to be going smoothly, an incident occurred.
The title of “God” gradually began to weigh on Nobuyasu Okabayashi…
As the public increasingly hailed him as the “guru of the youth,” expectations and calls for him to incorporate political messages into his songs grew louder.The gap between his desire to sing songs based on his own experiences—such as “Yamaya Blues”—and the public’s demand that he sing political messages once again caused Nobuyasu Okabayashi great anguish. In 1971, just three years after his debut, he suddenly vanished from the music scene after his final performance at the 3rd All-Japan Folk Jamboree held in Sakashita Town, Ena District, Gifu Prefecture.
Nobuyasu Okabayashi went into seclusion in a rural village in Kyoto Prefecture for about four years. While completely cutting himself off from music and living a mud-splattered rural life, he may have been taking time to reflect on himself. It is said that he even hid the fact that he was “Nobuyasu Okabayashi” from those around him.
Then, an event occurred that brought Nobuyasu Okabayashi, living this rural life, back into the world of music. As he entered his fourth year in the countryside, he was struck by the voices of Hibari Misora and Michiya Mitsuhashi, which he happened to hear on the TV he was casually watching.Until then, Nobuyasu Okabayashi had been deeply immersed in American folk and rock music, viewing pop songs and enka as symbols of commercialism and outdated. What struck him, however, was not the music he had previously sung—which involved translating English lyrics into Japanese and singing to a 2/4 or 4/4 rhythm—but rather the uniquely Japanese 1/3 rhythm and the beautifully sung melodies.
“Moonlit Night Train,” which would later become a classic, was a song Nobuyasu Okabayashi wrote in a rural village while thinking of Hibari Misora. He recorded it on a cassette tape and sent it to an illustrator he knew, Seitaro Kuroda; from there, it made its way to lyricist Osamu Yoshioka and eventually reached Hibari Misora herself.Hibari Misora herself pleaded to sing the song, and a miraculous encounter took place between her and Nobuyasu Okabayashi at the recording studio. In 1975, Hibari Misora’s single was released, featuring “Moonlit Night Train” on the A-side and “In the Flow of the Wind” on the B-side. It seems this collaboration came about because Hibari Misora took a liking not only to Nobuyasu Okabayashi’s “Moonlit Night Train” but also to “In the Flow of the Wind.”From then on, Nobuyasu Okabayashi and Hibari Misora became drinking buddies and deepened their friendship.
There is an anecdote from the 1970s that Hibari Misora sent a letter to Nobuyasu Okabayashi. The letter contained a poem; although he couldn’t grasp its worldview at the time and was unable to turn it into a song, he found the letter in a drawer while organizing his home in 2009. After a span of about 35 years, he released “Requiem ~The Lark in the Wheat Field~” (2010).
The complete spiritual resurrection Nobuyasu Okabayashi achieved with “Enya Totto”
In 1975, after four years of rural life, Nobuyasu Okabayashi returned to the world of music. He moved from CBS Sony, where he had previously been signed, to Nippon Columbia. Unlike his earlier “labor songs,” which passionately recounted his personal experiences, he released *Utsushie* (1975), an album featuring enka and kayōkyoku-style songs.What Nobuyasu Okabayashi ultimately arrived at was not Western 8-beat rock or folk music, but rather the rhythms inherent in Japanese folk songs and Bon Odori dances—that was “Enya Totto.”
There is also a legendary story from December of that same year, when he held his first solo concert in about four years at the “Nobuyasu Okabayashi Recital: Nakano Sunplaza” at Nakano Sunplaza: Hibari Misora herself reportedly came up on stage from the audience and sang “Kaze no Nagare ni” (In the Flow of the Wind).
Hidden within Nobuyasu Okabayashi’s musical style were his escape from the anguish that earned him the title “God of Folk Music,” the grueling physical labor he endured in Yamaya, and the rhythms of enka and kayōkyoku he encountered during his rural life. These elements may well have been the key to forging his own unique musical style.
The Japanese-made guitars that support Nobuyasu Okabayashi’s “Enya-Totto Music”
In “Enya-Totto Music,” which incorporates the traditional Japanese rhythms Okabayashi pursues, there lies a hidden dedication to prioritizing excellent tone while ensuring the instruments can withstand harsh performance conditions. In particular, “a rich, resonant sound, durability, and a beautiful tone” are precisely what Nobuyasu Okabayashi seeks.
YAMAHA L-54 Custom (1977)
This custom-order system began with the concept of “creating the sound the artist seeks, rather than relying on existing models.” Terry Nakamoto (Terumi Nakamoto), who oversaw the project, felt that “these guitars lacked the impact needed to impress them,” so he crafted four guitars—later dubbed the “Four Heavenly Kings of the L Series”—at Bass. Those models are the L-51, L-52, L-53, and L-54.
This instrument is one of the L-54s with a Western-style body that Nobuyasu Okabayashi commissioned from Bass. When placing the order, he told Terry Nakamoto, “I want it to have a great tone, be sturdy, and have a raw, unrefined sound.”
Records indicate that this instrument, crafted according to the above specifications, features thicker wood throughout and a simple, unadorned appearance with no position marks. While its appearance resembles that of the L-51, it is a unique instrument with a different body size. Nobuyasu Okabayashi states, “I met Mr. Nakamoto in 1977, and ever since he made this one (the L-54 Custom) for me, I’ve played nothing but Yamaha. I was captivated by Terry Nakamoto’s personality.”
*Image is for illustrative purposes only. (1975 L-54 Custom)
Terry’s Terry TJ-100 Custom
*Image is for illustrative purposes only. (TJ-100)
"Terry’s Terry," the brand led by Terry Nakamoto
Mr. Nakamoto crafts each guitar by hand, and each instrument is delivered to its owner with an internal leather label bearing his handwritten signature.
The instrument used by Nobuyasu Okabayashi features an abalone shell rosette and snowflake inlays. While the model in the photo also has abalone shell purfling, this detail was not present on the instrument used by Nobuyasu Okabayashi. This suggests that he prefers a design that is as simple as possible.
Terry's Terry TMJ-051 Custom
A YAMAHA L-51, characterized by its asymmetrical body, was crafted as model Bass.
The distinctive features of this instrument include retaining the original body shape, pickguard, and bridge design, while the headstock has been reshaped to the Terry’s Terry style. It is also evident that the fingerboard and bridge are made of rosewood rather than ebony. Furthermore, as with the previous model, there is no abalone shell inlay, resulting in a simple finish.
*Image is for illustrative purposes only. (1955 D-28)
This is the TS-100 Custom, featuring an eye-catching three-tone sunburst finish. Unlike the two Terry’s Terry models introduced earlier, this one features abalone shell inlays adorning the body’s edges.
Maple binding adorns the body, the sides of the fingerboard, and the headstock. This guitar exudes a subtle elegance and beauty distinct from the natural finish.
Getting to Know Nobuyasu Okabayashi...
I was reminded once again that singers active during the late 1960s and 1970s—when “underground folk” was all the rage—faced criticism from young people and the general public for commercialism, and went through a period of suffering as they reevaluated their self-confidence.
It was surprising to learn that, just as Tomoya Takaishi—whom I introduced in the second installment—moved to Nadasho Village and distanced himself from music, Nobuyasu Okabayashi also distanced himself from music while living in a rural village. I was also shocked to learn that in 1969, due to mental exhaustion caused by an overloaded schedule and the expectations of his listeners, he canceled a concert in Osaka at the last minute, left a note saying, “I’m going to cure my diarrhea,” and disappeared.
Furthermore, Nobuyasu Okabayashi—who stood alongside Happy End, Hibari Misora, and Osamu Kitayama—shook the very foundations of his era. The encounters he attracted throughout his tumultuous life were, I believe, the greatest miracles etched into the history of Japanese music.Listening once again to classics like “Yamaya Blues” and “Tulip Appliqué”—not to mention “A Love Song Dedicated to You” and “My Friend”—I found myself wanting to get to know Nobuyasu Okabayashi even more deeply.
If you have any stories to share—such as “Here’s an anecdote about Nobuyasu Okabayashi!” “You should definitely check out this song,” or “I witnessed his disappearance firsthand”—please do share them with us!
We’re also looking forward to your requests for musicians you’d like us to feature in the future, as well as stories related to folk songs. For me, firsthand accounts—like “I actually saw it back then” or “I heard this 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 TCGAKKI, 2025. He primarily plays 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.
Qualifications and Experience: 10 years as a musical instrument salesperson, 2 years as a musical instrument appraiser
▶︎Click here for articles written by this author
If you found this article helpful, please show your support!