How Japan Perfected the Art of the Guitar Copy: The Rise of Tokai, Greco, and Fender Japan in the 1980s

How the Japanese Guitar Industry Came of Age with ’80s Gibson and Fender Clones

The 1960s and ’70s laid the groundwork for Japan’s guitar industry, but it was in the 1980s that things truly flourished. Japanese manufacturers like Tokai and Greco began producing high-quality and incredibly accurate replicas of classic American electric guitars, particularly models from Gibson and Fender. This period, often referred to as the “Lawsuit Era,” marked a dramatic evolution in craftsmanship—so much so that even the original brands began to take notice.

Tokai’s LS Series: A Benchmark in Les Paul Clones

Keith Anderson, a specialist in Japanese guitars and the owner of Gas Station Guitars, praises Tokai’s LS Series from the late 1970s to the mid-1980s as some of the best Les Paul-style guitars ever made. Originally known as the Reborn series and later rebranded as Love Rock, these instruments ranged from the LS-50 to the LS-120. The LS-50 served as the entry-level model with a three-piece top. Despite what some purists might say about multi-piece tops, these guitars delivered exceptional quality and tone.

As the series progressed, so did the features. The LS-60 introduced a two-piece top, while the LS-80 offered a nitrocellulose finish, typically reserved for higher-end guitars. The LS-120, released around 1983–1984, stood at the top of the lineup with premium specifications and a nitro finish.

Greco’s High-End Craftsmanship and Iconic Pickups

Greco, another prominent Japanese brand, competed closely with Tokai. Their flagship Les Paul-style model, the EGF-1200, was considered royalty among vintage Japanese guitars. Though many of these models featured flame maple veneer tops to achieve a visually stunning appearance, some rare solid-top versions exist and are highly collectible today.

A key differentiator for Greco was the use of Maxon’s highly coveted Dry Z pickups, found in the EGF-1200. These pickups have become sought-after in their own right, often elevating the market value of any guitar that houses them.

Tokai vs. Greco: A Matter of Preference

While Anderson personally prefers Tokai for their exceptional build quality during the golden period of 1978–1985, he acknowledges that both brands were producing guitars that matched—or even exceeded—the quality of American-made instruments at the time. The only weak point in the lower-end Tokai models, such as the LS-50, was the stock electronics. However, replacing the pickups easily turned these guitars into professional-grade instruments.

The Fender Japan Story: From Clones to Official Partnership

Throughout the 1970s, Japanese manufacturers were producing Fender-style guitars with mixed results. However, Tokai’s Springy Sound Stratocaster copies caught Fender’s attention for their outstanding quality. Although Fender initially considered partnering with Tokai, they ultimately chose Fujigen as their official Japanese builder. Fujigen began producing authorized Fender Japan models in the early 1980s and continued until 1997, when Dyna Gakki took over, briefly assisted by Tokai.

Reissues vs. Replicas: The Fender Japan Approach

Fender Japan didn’t aim to produce exact replicas of classic American guitars. Instead, they offered models that evoked the spirit of certain eras, such as the ST-62 (inspired by the 1962 Stratocaster) or the ST-72. These guitars often featured more varied finishes than their American counterparts, as well as a wider variety of tonewoods, including basswood, alder, and ash. Japanese Fender necks tended to be slimmer than U.S. models, especially on offset guitars.

The Offset Evolution and Grunge Influence

In the early years, Fender Japan mainly produced Stratocasters and Telecasters. Offsets like Jaguars, Jazzmasters, and Mustangs didn’t see significant production until the early 1990s. The grunge movement—particularly bands like Nirvana—boosted their popularity. Earlier Jazzmasters and Jaguars from the ’80s featured sen ash bodies and Fender-stamped neckplates, while later mass-production models shifted to alder and dropped some of those vintage-style appointments.

One standout from the 1980s was an Esquire Custom made in Japan—an underappreciated gem in terms of build and tone. However, the “Micawber” Telecaster clones, modeled after Keith Richards’ iconic guitar, were notoriously heavy due to the use of dense white ash from Fujigen’s stock. Some of these guitars weighed over 4.5 kg (roughly 10 lbs), heavier than many Les Pauls.

The CIJ Q-Serial Era: A Later Peak in Quality

Anderson points out that one of his favorite periods for Fender Japan craftsmanship came much later—between 2002 and 2004—during the so-called “CIJ Q-serial” era at Dyna Gakki. These guitars featured top-tier craftsmanship, excellent quality control, and thoughtful design choices.

A Growing Appreciation for Japanese Craftsmanship

Back in the 1980s and ’90s, Fender Japan guitars were often overlooked—seen as budget alternatives rather than serious instruments. However, as production has largely shifted to Mexico, musicians and collectors alike have developed a newfound appreciation for the meticulous craftsmanship and reliability of Japanese-made guitars from this golden era.

Whether it’s a Tokai LS, a Greco EGF, or a Fender Japan ST-62, these instruments continue to stand the test of time—offering players vintage tone, exceptional build quality, and undeniable value.