I think to do an in-depth history of Hawaiian music would take me days, and you all know how I like to get in-depth on shit. So rather than make this an encyclopedia, I will mention some artists that I think have made an impact on Hawaiian music. You may find a few of these as MP3's, but definitely go out of your way to support their music. Many Hawaiians migrated to the West Coast in the late 60's/early 70's so those of us in the West will definitely find some of the artists I'm about to talk about at used record stores or thrift stores. You just have to do a bit of searching.

is 85 years old and still going strong. You cannot mention Hawaiian music without mentioning this woman's contributions. She definitely could give Eddie Bo a run for his money, as she recorded over 150 singles during her peak years. In the early 60's she would find herself on Hula Records and recorded one of the most popular albums of the modern era, PARTY HULAS! Her style of music is very old style, or what we call cha-lang-a-lang, which mimics the strumming style of the guitar and 'ukulele (ooh-koo-leh-leh). She would go on to release a string of albums. She will forever be known as the woman who gave us "Alika", where she holds a note in the last word in the second to the last song in the verse for awhile, showing the strength of her voice. When you think Hawaiian music, you will think of Auntie Genoa.

had the voice, the look, he was the complete package for people of my grandfather's generation. Before Don Ho, Alfred Apaka was the true ambassador of Hawaiian music, the equivalent of a Frank Sinatra. There's a reason why his albums are found in so many thrift stores, it's because his records were popular. He was signed to Decca and Capitol Records at various points in his career, and it is believed he would have gone on to bigger and better things if he didn't pass away at the age of 41. Musically, he relied on the formula of pop music, but for a generation of people that is slowly disappearing, Alfred Apaka WAS Hawai'i.

Before the term "singer/songwriter" became a badge of pride in pop and rock & roll, people in Hawai'i were doing this as part of the norm. One of the more celebrated singer/songwriters of Hawaiian music was . She too was of my grandfather's era, but the strength of her voice and songs have carried on with each generation of Hawaiian musicians, to where she has become timeless. She was one of the few Hawaiian musicians (and few Hawaiian women for that matter) who had her own radio show during World War II, at a time when Hawaiian music *WAS* the most popular form of music. It is safe to say that every Hawaiian singer alive today owes a bit of their vocal talent to her.

If you've ever dug around for records, you probably have come across your share of 45's on the 49th State and Waikiki record labels. There's a good chance that 's name is on most of them. He was a singer, songwriter, and mulit-instrumentalist, and he was far ahead of everyone throughout his entire career. Every single song he has ever written is now a "Hawaiian standard", attend any good luau and you are going to come across his music a number of times during the night. He would help create one of the most influential record labels in Hawai'i, 49th State Records (named so because there was a push for Hawai'i to become the 49th state in the late 40's/early 50's, before Alaska gained that honor. Statehood was granted for Hawai'i a few months later, but the record label had already gained a reputation for quality Hawaiian music, so the name stayed. Most of the work on 49th State were recorded in the living rooms of the artists, just to give the music a more "home" feel and it worked). By running 49th State, he also helped start the careers of countless Hawaiian artists.

There have been many Hawaiian slide guitar players since the early 20th century, and for most of them it all falls back on . You can read his story in the link, but he was the one who helped bring Hawaiian music to those who were fascinated with movies of the time (many of which were Hawaiian based). His playing style, considered revolutionary for its time, made a big influence on thousands of guitarists who never knew a stringed instrument of any kind could be played like that. He had a direct influence on country music, especially Hank Williams. If there is anyone to blame on the "twang" in country, blame Sol Ho'opi'i. Robert Randolph? You have to go back to Sol Ho'opi'i to hear where it all came from.
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These are the old guys. The following will consist of people who made an impact on my life, what I consider *my* music.

. Even the name gives me chicken skin. For all intents and purposes, if you are in anyway sane and have ears, he is the first person you should listen to. He started out as being a wicked man on the slide guitar, but eventually move on to playing ki ho'alu, or slack key guitar. He had a sweet voice that was reminiscent of his generation, and I am sure John K. Almeida's voice was an influence on him too. He started his career in the 1940's, releasing a string of singles that would carry him and his music throughout the 50's and 60's. While other artists tended to do songs in a "popular" fashion, Gabby Pahinui had a "backyard" style, where one could pull up a bucket, talk story, drink a beer or two, and sing until the chickens started going. It was very "down home" and for many people of my dad's generation, Gabby Pahinui brought them a sense of Hawai'i that was still present, but in a way was slowly disappearing. Gabby's voice would change with age, getting a bit rough around the edges but this gave him a character that no one before or since has had. That's what Gabby added to his music, character. When you saw a picture of him smiling, you felt his music and you felt his presence, as if he was welcoming you to his house for music and dinner. He released a number of great albums on Hula before he would join to create the group, the Sons Of Hawai'i. The union between Kamae (an influential 'ukulele player in his own right) and Pahinui was strong. This would eventually result in the album THE FOLK MUSIC OF HAWAI'I, released in 1971 on Panini. There was something in the air in the world of Hawaiian music, and this was one of many albums of the time that people bought like crazy. The original LP came with a booklet and a bonus 45, presenting the music and the musicians in a manner that was similar to other forms of music that demanded equal respect. A lot of these songs were standards before the Sons of Hawai'i recorded them, but in this setting they would set the standard for all Hawaiian music in the 1970's. They included "Kanaka Waiwai", "Mauna Alani", "Waikiki Hula", "Manu Kapahula", "I Love Christmas", and "No Ke Ano Ahiahi", which loosely translates to "when the evening comes". It is this version that moved Medeski Martin & Wood to cover the song in Pahinui's honor on their COMBUSTICATION album. (If you have the MMW show from 4/1/98 in Seattle, listen to their version of the song, and at the end you will hear some guy yelling out "HANA HOU!" That's me.)

Soonafter, Gabby Pahinui would record an album that would pretty much define him and his music. This album was , released in 1972. Because the original cover was similar in style and color to LED ZEPPELIN II (which had the nickname THE BROWN BOMBER), GABBY is still widely known as "The Brown Album". This is a very "down home" album, as it features the musicianship of his two best friends (Atta Issacs and Joe Gang) and his four songs (Philip, Bla, Cyril, and Martin). The photo inside of the cover, showing all of them playing in the backyard, is the exact vibe this album gave off, and for me it was a experience I had many times when my dad and uncle would play music. The album begins with the original 1947 version of "Hi'ilawe" that he recorded, and ends with a 1972 version, which he recorded on his 51st birthday. It then ends with "Aloha O'e" where he returns to the instrument that started his career, the slide guitar. When "Aloha 'Oe" begins, and it becomes the end of the album, one can't help but feel heartbroken. I can't hear it without crying, for he captures a time in Hawaiian music and Hawai'i in general that used to be everywhere, but almost feels as if it doesn't exist. He would continue to record great album after great album. It would eventually lead to a collaboration with Ry Cooder, whose style of playing is highly influenced not only by Gabby Pahinui but most Hawaiian music in general. He brought Gabby and his friends to California to record an album dedicated to the feelings Cooder got when he would listen to Hawaiian music. The end result was CHICKEN SKIN MUSIC, where Gabby is featured on two songs. While Gabby had always been a Hawaiian favorite, with Cooder being signed to Reprise it helped turn Pahinui into a folk hero of sorts. It would lead to Warner Bros. releasing a Gabby Pahinui album, . Cooder joined Pahinui, his family and friends, for a recording session that happened on the Big Island in an area that didn't have any electricity. Generators were brought in, so all they had was the music and good times. The song that still gets airplay to this day is "Moonlight Lady", sung by Bla Pahinui. After the track was done, Ry Cooder asked Gabby Pahinui to come with him to Los Angeles as Cooder had an idea. Cooder helped create a score that would back up the song. As the story goes, Pahinui was shocked to see an orchestra set up to play on a Pahinui song. Eventually, Cooder would start the original track and the orchestra would play the arrangement that Cooder composed. After hearing it, it is said that Pahinui sat down and cried, because it was so beautiful to hear.

Pahinui continued playing, performing, and recording for the rest of the 70's, and in his last days found a new hobby in golfing. Heavy drinking, and a work-related accident, would lead to wear and tear of his body before he died in 1980 at the age of 59. Many say that when he died, he took the true essence of Hawaiian music with him.
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When began in the late 1960's, they were nothing more than the backing band for singer Palani Vaughan. Peter Moon was the backbone behind the Sunday Manoa, and soon he and Vaughan would move their separate ways (Vaughan would have a very successful solo career, especially in the mid 70's with a series of three albums representing the monarchy of King David Kalakaua. The annual Merry Monarch hula festival is named in Kalakaua's honor for his love of music and hula.)

When the Sunday Manoa recorded HAWAIIAN TIME, Peter Moon was creating arrangements that were not commonplace in Hawaiian music, leaving some to wonder if what he was doing was "right". A year later, he dropped two members and brought on two new people, Robert and Roland Cazimero. It is this lineup that gave the world the flawless album known as . Released in 1969, just as Run-DMC helped separate the old school into the new, Sunday Manoa did the same with Hawaiian music on this album, which was subtitled "Contemporary Hawaiian folk music". What was different? Peter Moon helped bring folk and rock influences into Hawaiian music, specifically the "California sound" that was already popular. No one had ever done what the Sunday Manoa did on this album, especially in the album's opener, (audio sample). The song itself (about King David Kalakaua) was a Hawaiian chant, but here it was updated in a fashion that had never been done. The introduction, consisting of nothing but Hawaiian percussion, seemed to be a "calling of the tribes" if you will, making a bold statement for the song and the rest of the album. While the album was credited as "Peter Moon & The Sunday Manoa", it was truly a group effort for you also had find musicians with the two Cazimero brothers. Robert Cazimero's voice would soon become the group's trademark, and along with brother Roland would create some very nice harmonies. Add to that the voice of Peter Moon, and for many the Sunday Manoa was Hawai'i's own Crosby Stills & Nash. Pretty much every Hawaiian who moved to the West Coast in the late 60's/early 70's would take this album with them, as this became their reminder of home. The album continues to be one of Hula Record's best sellers.

Two years later, the group would record their second album under this lineup, another flawless masterpiece called (released in 1972). This album would feature such songs as "Hula Lady" "Kilakila O Moanalua/Moanalua", "The Queen's Jubilee", and "Honolulu I Am Coming Back Again". Gabby Pahinui was asked to join them on this album (open up the original gatefold album and it is Gabby you see reading the newspaper in the photo of the band hanging out at a store in downtown Honolulu.) Gabby played the slide guitar in the beautiful "Pa'au'au Waltz", which was complimented by Moon's guitar and 'ukulele solos.

A year later, the group would record yet another album, this time showing much maturity. This would result in their last album, . The musicianship was tight, the song selection was great, the arrangments were on the money, and the recording is easily one of the best they've done. They incorporated a string section for a few of the songs. It is this album that features what I feel is the best Hawaiian song ever made, and a one that makes me instantly homesick when I hear it, "A Hawaiian Lullaby".

The group would continue to perform as a group for two more years, including a stop at the . Soon, however, Peter Moon and the Cazimero Brothers would soon split and each would form their own careers. would create The Peter Moon Band, releasing a string of albums that showed his love of Hawaiian music and his talents as a musician in general. started a career together and have released a number of songs that have also become standards. Yet these three albums as the Sunday Manoa continues to influence EVERYONE who still records Hawaiian music today, for their impact has year to be full measured. What used to be considered "controversial" is now part of the norm.
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While the Sunday Manoa were doing everything to widen the boundaries of Hawaiian music, were a group who wanted to do the same, while sticking to the traditions of their culture and upbringing. Guitarist Ledward (Led) Ka'apana was a huge fan of jazz and blues, as was his brother Nedward (Ned) Ka'apana. Cousin Dennis Pavao played guitar as well, and could sing in tenor as well as a sweet falsetto that blew people away. While most of the Hawaiian music coming out originated from Oahu, there weren't too many people from the outer islands getting a lot of recognition at the time. Hui Ohana were from the Big Island, and their vocal harmonies were far different from what anyone had ever heard. Performing in Waikiki would lead to them being signed by Lehua Records, who released . As the title suggests, it was a mix of the old and the new, and this album became an instant classic. A year later they were back in the studio one more time with , featuring such songs as "Kaimana Hila" (when I climbed Diamond Head three years ago, this was the song I sang as I slowly made my way up), "He Aloha No Waimea", and "Vahine Motu".

was their third album where they decided to shine the spotlight on Led and Ned's mom, Tina Ka'apana. Her style of singing was uncommon to most outside of the Big Island, and this would eventually lead to a successful solo career with a series of albums on Poki.

Even by 1974, the amount of Hawaiian music coming out in Hawai'i could be counted with one hand. Yet there was a renaissance waiting to happen, people wanted to hear their music and Hui Ohana were at the forefront. The release of had the group in a recording studio, playing live in front of friends as if it was at a luau in their backyard. They got a hit single with this album in the form of "Macao".

was their fifth album in as many years. As the album cover shows, they were very popular but never once forgot their Big Island roots. The music is representative of that, and it would become their last album for Lehua Records before moving on to Poki, releasing a bunch of albums before they decided to let the group rest for awhile.

would form the group Na Leo Kani O Punahele. Their debut album would feature a song that would become Ka'apana's trademark song, the classic "I Kona". It was enough for him to change the name of the group to I Kona, and his career with I Kona would carry him through to the 80's and 90's. With a number of concert performances in the mainland, Led would begin to find an audience outside of Hawaiian music, finding a following among the folk crowds and fans of guitar music. He would eventually find himself signed to George Winston's Dancing Cat label, his Hawaiian music division. Ka'apana eventually would do music with everyone from Bob Brotzman to Taj Majal, and he continues to gain a following with new releases every year.

I found out 10 years ago that after Hui Ohana ended for awhile, moved here to the Tri-Cities in Washington State. To this day I don't know why, since this isn't exactly a place that has a huge Hawaiian community. Nonetheless, he was here for a few years before moving back home to start what would become a very successful solo career.

Hui Ohana managed to record one last studio album in the mid-80's, but never returned to the studio again as a group (they would perform from time to time). Dennis Pavao died a few years ago, taking away one element of the "ohana" they all shared.
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It is safe to say that the Kamakawiwo'ole brothers in were big buggahs. But when they were both alive, they helped record some of the best Hawaiian music in the 1970's and early 1980's. Skippy Kamakawiwo'ole was my uncle's best friend, playing music and football together in Kaimuki. Like my uncle, Skippy loved to play guitar and would play it everywhere he went. Skippy's brother was Israel, and "Iz" would be seen everywhere with 'ukulele in hand, trying to win girl's hearts. Eventually, the Kamakawiwo'ole's would move from Kaimuki to Waianae, and that is where they met Jerome Koko. This union would result in the formation of the Makaha Sons Of Ni'ihau, a group whose vocal harmonies were very different from Sunday Manoa and Hui Ohana. They shared a love for rock, pop, and country too (to the point where many Hawaiians believe they were the first one to perform Crosby Stills & Nash's "Wasted On The Way"). Skippy died in 1982, and the group shrunk down to a quartet. Due to heavy money disputes that left Israel Kamakawiwo'ole broke and on welfare (which in itself is another post altogether), he left the group and started his own solo career. There had never been this bitterness in Hawaiian music before, generally everybody "talk stink" but "no say nothing". This ordeal was made public knowledge, and soon people started hearing stories which came out, which to sum it up said "how can Israel be in a group where he is the lead singer, the main attraction, where he writes a good portion of the music, and yet be close to penniless?" As a solo artist, Israel showed that his voice and heart were as big as him, and he never once hid behind his big body. Israel would surprise people with the kind of songs he would cover, showing many that he was more diverse than most people assumed. Just as he did with the Makaha Sons Of Ni'ihau, he would show a political side to his music, such as the push for sovereignty and a need for respect towards Hawai'i and it's people, culture, and language. He recorded a medley of two songs, "Somewhere Over The Rainbow" and "What A Wonderful World", and it seemed funny to some that here was a man so big singing a song with a childlike demeanor. It would receive a bit of radio airplay in Hawai'i but that was it. His health caught up to him and he passed away at 38. The medley would be used in the credits for "Meet Joe Black", and it was one of the few times where music in the credits gained national attention. Everybody had to know who did this sweet song. The song would later be used for an eToys commercial. By this point, the love for Israel in Hawai'i grew to a much higher level, with many people seeing him as a man whose life and career was cut too short. Personally, the best use of "Somewhere Over The Rainbow" was in the last episode of ER that featured the character of Dr. Greene. Everybody in Hawai'i had heard about the ER crew shooting in Hawai'i, and those who followed the show knew that Dr. Greene had an inoperable brain tumor. Then the episode aired. I already anticipated what was going to happen, but nothing could help me prepare for what was to happen. Dr. Greene (played by Anthony Edwards) walked outside to sit down, and played a song that his daughter had on her CD Walkman. As soon as the 'ukulele played, I knew what was going to happen, and personally it became one of the saddest moments I ever experienced with a TV show. Dr. Greene began to see life flash before him, as he heard Israel sing and play in his ears. The "rainbow" is very symbolic, and whomever wrote that episode definitely did their research. That scene right there was perfect, and personally I didn't want to see an episode of ER again. That, to me, was the end. Unfortunately, Israel was never able to see what effect he and his voice was able to do for the world. A few months previous, magazines such as "Entertainment Weekly" and "TV Guide" finally showed photos of Israel, and his music now has a following in the mainland.
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There are so many other groups to choose from, but for me this is the best place to start. Other people of interest include:

* Kawai Cockett
* Olomana
* Cecilio & Kapono (Hawaiian folk/rock, a duo who were signed to Columbia Records in 1974)
* Country Comfort (along the lines of Cecilio & Kapono with a huge country influence)
* Kalapana
* Loyal Gardner
* Melveen Leed
* The Lim Family
* Keali'i Reichel
* Sean Na'au'ao
* Amy Hanaiali'i Gilliom
* Willie K.
* Na Leo Pilimehana
* Ale'a
* Robi Kahakalau
* Jake Shimabukuro
* Sonny Ching
* Mark Keali'i Ho'omalu

I can go on and on. In terms of my own family, my first cousin is jazz singer Nohelani Cypriano, and my Auntie Elodia is married to slack key guitar legend Raymond Kane, thus he is uncle by marriage.

For the most part, the artists I mentioned here stick to the traditions of Hawaiian music to some degree. Even with groups like Cecilio & Kapono, Country Comfort, and Kalapana who would be at times more rock than Hawaiian, there are Hawaiian qualities in their music that made them very popular on AM radio in the mid to late 1970's.

The death of Bob Marley would lead to many Hawaiians enjoying reggae to the point where they would incorporate the music as their own. What was called "Island Style" is known as "Jawaiian music" and in my opinion this has killed Hawaiian music many times over. Some of it is cute, but most of it is watered down reggae, and I refuse to be a fan. There are a few people who have incorporated reggae into their sound but are actually not too bad. They include "Sistah" Robi Kahakalau and Sean Na'au'ao. Na'au'ao did an interview where he said his fans wanted him to do more traditional Hawaiian music, something he hadn't done for awhile. That resulted in the beautiful "Ka Pilina" and he found many fans coming to him. Afterwards, he released two albums, one to please both of his audiences.
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Hawai'i was definitely influenced by other forms of music, but because it is so far removed, they never caught on, with a few exceptions. Seawind was a band fronted by Pauline Johnson, and they found themselves signed to CTI Records before moving to A&M. They caught the ears of Michael Jackson, and Seawind made their way onto the OFF THE WALL album.

Yvonne Elliman calls Manoa her home, and would make herself known by being a part of the "Jesus Christ Superstar" cast. She would find her way into the movie version, and that made her an instant star. A few years later, she would record a song that to most of the world was her only hit, "If I Can't Have You". In Hawai'i however, radio would give much radio airplay to "Hello Stranger", "I Can't Get You Outa My Mind", and "Love Me". Before Amerie, Michelle Branch, and Vanessa Carlton made Asian-blends hip, Yvonne Elliman was doing her thing before anyone knew what she was. Elliman had lived in Malibu in recent years before moving back home in the last year.

In the late 60's and early 70's, there were many rock bands in Hawai'i, but they were looked upon as "bad" since as a Hawaiian you were expected to like Hawaiian music and that was it. If you looked outside for influences, you weren't worthy, which is why the Sunday Manoa were seen as being against the grain. Some of these Hawaiian rock records (psychedelic, hard rock, heavy metal, and even jazz) are now being looked at today from a different perspective, the outcasts of Hawaiian music if you will. It is an area that is still being explored and properly archived, and hopefully when I move back I'll be able to take part in the research for it.

Today, Hawaiian music and Jawaiian music remain the bread and butter of the Hawaiian music industry, which is going through hard times as much as any localized music scene. There are people back home who do record blues, jazz, soul, metal, hip-hop, and electronica, but continue to remain on the fringe. Nonetheless, the community within each are strong and show a sense of support that is common among the Hawaiian music community, and Hawaiians in general. Here are a few links some of you may want to look into:

* is a good source for most of the music that is discussed here in The Lesson.
* is the radio station for the University of Hawai'i, and they are "Hawai'i's only alternative". Lots of quality radio shows on there.
* is the site founded by Kavet Omo, a/k/a Kavet The Catalyst, whom I've posted about a few times in the past. He raps, DJ's, promotes shows, he does it all.
* is a hip-hop label founded by my friend, Lauren Muneoka. She's released a small number of records and CD's so far, including the new LP by Old Joseph. If you haven't heard him, you should. She is also preparing an album by Topic, whom I hope will blow people away as Topic has with me. A label to watch.
* is one of the top DJ crews in Honolulu, don't front.
* is the weekly tabloid paper there, and they often feature a healthy listing of events happening there on a regular basis. They also offer articles that the two main papers there don't cover.

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A lot of times I feel I am too far from the source, but my inspiration continues to be Hawai'i and the people there. I want to be a part of this and what they do, and for me I will forever represent Hawai'i in everything that I do.
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"Ua mau ke 'ea o ka aina i ka pono"
(The life of the land is perpetuated in righteousness)



p.e.a.c.e.
-John Book

THE HOME OF BOOK-NESS:
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