Yamaha SG-2A Solid Body Electric Guitar (1968)
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Yamaha SG-2A Model Solid Body Electric Guitar (1968), made in Hamamatsu, Japan, serial # 6885, Candy Blue finish, hardwood body, maple neck with rosewood fingerboard, original black hard shell case.
This Yamaha SG-2A was one of this venerable Japanese company's mid-higher end solidbodies in the 1960s, along with the similar looking SG-5 and the gold plated SG-7. These immediately distinctive and super flashy instruments were by any standard the finest electric guitars made in Japan up to that point. The design is highly original and wildly eccentric, earning the nickname "Flying Samurai" among others. Notwithstanding its eccentric looks the instrument is built to a much higher quality and design standard than other Japanese electrics from this period, many of which were spotty at best. Yamaha was a highly diversified company but all of their products manifested a commitment to quality and the highest grade workmanship.
The company launched the "SG" solid electric line in 1966, having already made inroads in the global acoustic guitar market. The range was distinguished by a visually striking progression of highly asymmetrical bodies, the flagship SG-7 and its kin being the most unusual. In comparison to some of the lower end models, these rather look as if they had been originally designed the other way round and at the last minute flipped over! The elongated sculpted horn on the treble cutaway side balances a large offset body curve at the other end, both of which would make more visual (and ergonomic) sense the other way round! The dynamic but oddball look is enhanced by a very long thin headstock reminiscent of a hockey stick and/or samurai sword; strikingly modern for 1966; it would not look out of place on a 1990s guitar!
The SG-2A was not intended for export but primarily aimed at Japan's domestic market, then in an electric guitar frenzy at levels even exceeding the US. Yamaha solicited design input from Takeshi Terauchi, one of the country's leading young rock'n'roll players of the day. His hot instrumental style was heavily inspired by the Ventures, down to the black Mosrite he played with the Blue Jeans, his signature band. Yamaha was really the only company in Japan at the time that could offer a similar quality instrument, so the endorsement worked both ways. One wonders if the "reversed" body with its elongated treble-side horn and swooping upper curve was a nod to Mosrite as well.
Probably due to Terauchi's input the "Flying Samurai" SGs inherited some Mosrite-esqe elements, particularly a slim neck with a zero fret. The serial number is stamped in the fingerboard exactly as Semie did it in California! The vibrato tailpiece is similar to the familiar Fender Jazzmaster/Jaguar design with an internal spring mechanism paired with an elaborate roller-saddle bridge. This excellent design has a smooth and wide-ranged feel that is rather Mosrite-like, even arguably superior in operation.
The SG-2A is basically the same as the SG-5 and -7 except for the pickup configuration. It retains the angled single-coil at the neck, yet another Mosrite-like touch. This model lacks unique double/single coil pickup in the bridge position, having just another single-coil unit. The two pickups are wired to a three-way switch with master volume and tone controls, once again similar to the standard Mosrite layout.
The 22-fret maple neck is bolted on; hidden under a decorative rear plate the four neck attachment screws surround a discreet truss-rod access point, an idea borrowed from Burns. The beautiful "Candy Blue" finish is on a level with Fender and Mosrite, and the ABS plastic pickguard is similar to the material both companies used.
The early SG series were never officially sold in the US market, so this is a rare guitar here. The entire original Yamaha SG line was discontinued by 1971, replaced by a line of well-crafted but far more conventional-looking guitars with none of its exuberant style. Despite a wildly eccentric profile this is a serious instrument, at least equal to many European and even American guitars of the era. This is a truly superb example, an excellent player and one of the most distinctive guitars of the 1960s both visually and sonically.
Overall length is 40 3/4 in. (103.5 cm.), 13 1/2 in. (34.3 cm.) wide at lower bout, and 1 3/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 24 3/4 in. (629 mm.). Width of nut is 1 in. (25 mm.).
This is an very clean and all original guitar, looking not much played over nearly 60 years. This is one of the best preserved 1960s vintage Yamaha electrics we have seen, a lovely find for the rarity of this model here. The all-original metallic blue lacquer finish has only some scratching on the back and small dings and dents, (one in particular noticeable on the upper top) and still shines like it did in 1968!
The fittings and electronics remain original, complete and very clean for a nearly 50 year old instrument; even the original trem arm is present. The rosewood fret board and original thin frets show only the most minimal wear. This is a great playing and sounding example of this eccentric Japanese masterwork, seldom encountered on this side of the Pacific. It resides in the original black hard case with some repaired damage along the back edges; the cool original Yamaha-branded red leather strap and tool kit remain in the pocket. Overall Excellent Condition.
This Yamaha SG-2A was one of this venerable Japanese company's mid-higher end solidbodies in the 1960s, along with the similar looking SG-5 and the gold plated SG-7. These immediately distinctive and super flashy instruments were by any standard the finest electric guitars made in Japan up to that point. The design is highly original and wildly eccentric, earning the nickname "Flying Samurai" among others. Notwithstanding its eccentric looks the instrument is built to a much higher quality and design standard than other Japanese electrics from this period, many of which were spotty at best. Yamaha was a highly diversified company but all of their products manifested a commitment to quality and the highest grade workmanship.
The company launched the "SG" solid electric line in 1966, having already made inroads in the global acoustic guitar market. The range was distinguished by a visually striking progression of highly asymmetrical bodies, the flagship SG-7 and its kin being the most unusual. In comparison to some of the lower end models, these rather look as if they had been originally designed the other way round and at the last minute flipped over! The elongated sculpted horn on the treble cutaway side balances a large offset body curve at the other end, both of which would make more visual (and ergonomic) sense the other way round! The dynamic but oddball look is enhanced by a very long thin headstock reminiscent of a hockey stick and/or samurai sword; strikingly modern for 1966; it would not look out of place on a 1990s guitar!
The SG-2A was not intended for export but primarily aimed at Japan's domestic market, then in an electric guitar frenzy at levels even exceeding the US. Yamaha solicited design input from Takeshi Terauchi, one of the country's leading young rock'n'roll players of the day. His hot instrumental style was heavily inspired by the Ventures, down to the black Mosrite he played with the Blue Jeans, his signature band. Yamaha was really the only company in Japan at the time that could offer a similar quality instrument, so the endorsement worked both ways. One wonders if the "reversed" body with its elongated treble-side horn and swooping upper curve was a nod to Mosrite as well.
Probably due to Terauchi's input the "Flying Samurai" SGs inherited some Mosrite-esqe elements, particularly a slim neck with a zero fret. The serial number is stamped in the fingerboard exactly as Semie did it in California! The vibrato tailpiece is similar to the familiar Fender Jazzmaster/Jaguar design with an internal spring mechanism paired with an elaborate roller-saddle bridge. This excellent design has a smooth and wide-ranged feel that is rather Mosrite-like, even arguably superior in operation.
The SG-2A is basically the same as the SG-5 and -7 except for the pickup configuration. It retains the angled single-coil at the neck, yet another Mosrite-like touch. This model lacks unique double/single coil pickup in the bridge position, having just another single-coil unit. The two pickups are wired to a three-way switch with master volume and tone controls, once again similar to the standard Mosrite layout.
The 22-fret maple neck is bolted on; hidden under a decorative rear plate the four neck attachment screws surround a discreet truss-rod access point, an idea borrowed from Burns. The beautiful "Candy Blue" finish is on a level with Fender and Mosrite, and the ABS plastic pickguard is similar to the material both companies used.
The early SG series were never officially sold in the US market, so this is a rare guitar here. The entire original Yamaha SG line was discontinued by 1971, replaced by a line of well-crafted but far more conventional-looking guitars with none of its exuberant style. Despite a wildly eccentric profile this is a serious instrument, at least equal to many European and even American guitars of the era. This is a truly superb example, an excellent player and one of the most distinctive guitars of the 1960s both visually and sonically.
Overall length is 40 3/4 in. (103.5 cm.), 13 1/2 in. (34.3 cm.) wide at lower bout, and 1 3/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 24 3/4 in. (629 mm.). Width of nut is 1 in. (25 mm.).
This is an very clean and all original guitar, looking not much played over nearly 60 years. This is one of the best preserved 1960s vintage Yamaha electrics we have seen, a lovely find for the rarity of this model here. The all-original metallic blue lacquer finish has only some scratching on the back and small dings and dents, (one in particular noticeable on the upper top) and still shines like it did in 1968!
The fittings and electronics remain original, complete and very clean for a nearly 50 year old instrument; even the original trem arm is present. The rosewood fret board and original thin frets show only the most minimal wear. This is a great playing and sounding example of this eccentric Japanese masterwork, seldom encountered on this side of the Pacific. It resides in the original black hard case with some repaired damage along the back edges; the cool original Yamaha-branded red leather strap and tool kit remain in the pocket. Overall Excellent Condition.