Surfing’s vibrant culture has profoundly impacted various art forms, from movies and paintings to literature and, notably, music, especially since its surge in popularity in the 1960s. The allure of a lifestyle centered around beaches, waves, and the exotic appeal of tropical destinations quickly became a lucrative theme within the entertainment industry. Numerous artists embraced surfing as a source of inspiration, weaving it into their creative works and performances. Interestingly, this incorporation of surf culture has generally been a positive influence for those seeking creative expression or commercial success. From Marvel’s comic creation, the “Silver Surfer,” to Hollywood’s quintessential surf girl in “Gidget,” and the surf rock anthems of The Beach Boys, surfing’s iconography is rich and diverse, encompassing a wide spectrum of images, from objects and individuals to behaviors, fashion trends, and natural settings.
Among these iconic symbols, the surfboard stands out as a particularly compelling element. Its sleek, functional design has long captivated audiences, evoking dreams of effortlessly gliding across sun-kissed waves. Surf imagery often transports us to an idealized state of bliss and excitement. The thrill of riding a perfect wave, encapsulated in a barrel of translucent blue, feels within reach. This longing for the ultimate moment of joy leads us to consider: if surfboards embody such exhilaration, could they also be a source of musical inspiration?
Masayoshi Takanaka with his signature light blue surfboard guitar, a symbol of his unique blend of surf and city pop music.
Masayoshi Takanaka: Japan’s City Pop Guitar Innovator
Masayoshi Takanaka is a celebrated figure in Japanese fusion music, renowned for his genre-bending approach that seamlessly blends jazz, rock, funk, and samba into a distinctive tropical sound. Born in Tokyo in 1953, Takanaka’s music is frequently characterized as uplifting, feel-good, and richly melodic, with his exceptional guitar playing as the central element. He is often compared to Japan’s answer to Carlos Santana, with guitar riffs that are so emotionally charged they almost seem to sing, infusing his largely instrumental compositions with vibrant energy and feeling.
Takanaka’s musical journey began in the 1970s with his participation in bands such as Flied Egg and the Sadistic Mika Band. However, it was his solo career that truly allowed his unique musical vision to flourish. His debut solo album, “Seychelles” (1979), marked the inception of his signature tropical fusion style, drawing inspiration from jazz fusion, city pop, samba rhythms, and a hint of disco flair. His deep appreciation for Brazilian music, particularly samba, is evident in albums like “Brasilian Skies.” Between 1976 and 2011, Takanaka produced nearly 40 studio albums, exploring an extensive and diverse range of musical territories. His influence extends beyond Japan, reaching a global audience partly due to the algorithms of platforms like YouTube, which introduced his fresh and positive sound to younger generations. Artists like Grimes, Engelwood, and Flamingosis have sampled his work, highlighting his lasting impact on contemporary music. Even in the later stages of his career, Takanaka has remained musically adventurous. The 1990s saw his music evolve with a more contemporary edge, aligning with prevailing musical trends. In 2000, he established his own record label, Lagoon Records, further solidifying his independence and creative control. He continues to be an active presence in the music scene, touring and showcasing his innovative instruments, including a guitar shaped like a miniature train set and his now-famous surfboard guitar, a true testament to his originality and showmanship.
The Genesis of the Surfboard Guitar
The concept for Masayoshi Takanaka’s iconic surfboard guitar originated in 2003 through a collaboration between the musician and Japanese master luthier Takeda Yutaka. Takanaka envisioned an instrument that would visually and sonically capture the laid-back, beach-inspired essence of his unique “surf sound,” which carries a slightly psychedelic edge. The idea of a surfboard-shaped guitar arose from Takanaka’s reflections on living life to the fullest, prompted by the passing of a close friend. “When Shigeru Naruke passed away, it made me think,” Takanaka recounted. “You can do what you want while you’re alive. Once you’re gone, you can’t do anything. So, I decided to create a surfboard guitar.”
Takanaka further explained his inspiration, “I was jumping ahead a bit, but I was thinking, ‘Come to think of it, surfing was really popular during the Bubble Era… I have a summer song that would go perfectly with it…’ and then I thought it would be interesting to make a surfing guitar. I was told it would be difficult to make.” Having lived in the Bahamas, Takanaka had deeply absorbed a tropical atmosphere, which became a core element of his music. He felt a surfboard guitar would be the perfect visual and sonic complement to his summery, beach-themed compositions. Takeda Yutaka, a long-time admirer of Takanaka’s music and an expert in crafting custom guitars, found the proposition both thrilling and daunting. The challenge was immense: how to transform this unconventional idea into a playable reality? How could he construct the world’s first true “surf guitar,” a term typically associated with the surf music genre, but in this case, a literal surfboard guitar?
After thorough discussions, Masayoshi and Takeda opted for a creative approach: modifying an actual surfboard. Their plan involved hollowing out a surfboard and integrating a functional guitar mechanism within it. Takeda emphasized his commitment to functionality, stating, “I was determined it wouldn’t just be a novelty item, so I built it with true instrument quality in mind.” He elaborated on the construction process: “The surfboard itself is hollow, which means you can’t directly attach the neck or hardware. So, I mounted the neck to a small, solid wooden body and then securely screwed it into the back of the surfboard.” Playability was a key concern throughout the design. “To ensure it wasn’t too cumbersome to play, we made sure to keep the weight manageable and allowed sufficient space around the neck for comfortable access.” Maintenance was also considered: “For ease of maintenance, the guitar components are designed to be removable.” Remarkably, Takeda and his team completed the guitar just in time for Takanaka’s rehearsals before an event. “We delivered it to the studio right before the event. Of course, we made no compromises on the guitar’s quality, ensuring it was a piece of craftsmanship we could be proud of.”
The Reality of Playing a Surfboard
The construction of the surfboard guitar proved to be such an intricate and demanding process that Takeda later admitted he would likely never undertake a similar project again. The surfboard guitar made its debut in a light blue finish during Takanaka’s live tours in 2004 and 2005. It was subsequently repainted in a striking red for later performances, becoming a visual signature for the artist. Despite its iconic status, Takanaka acknowledged the guitar’s practical limitations. Its weight and unusual shape made it challenging to play, restricting its use to just a few select songs during each concert. “It’s hard to play, just as you’d expect,” Takanaka confessed. “I mainly use it because I hope the audience will find it entertaining, though I do wonder if some people think I’m just being silly.”
He further detailed the physical demands: “It weighs about six kilograms [13.2 pounds]. Playing just two songs with this guitar in a concert can be quite tiring.” Due to these factors, Takanaka concluded, “It’s best to use it sparingly, for special moments.” Nevertheless, the surfboard guitar has undeniably become a highlight of his performances. Its appearance on stage invariably ignites excitement and euphoria among the audience, turning each performance into a memorable spectacle. Has Masayoshi Takanaka ever actually surfed? Probably not. However, his affinity for surf culture imagery continued to influence his work, as evidenced by his 2004 studio album, “Surf & Turf,” its title a playful nod to the popular seafood and steak dish.
Words by Luís MP | Founder of SurferToday.com
