Ka Wai Ola - Office of Hawaiian Affairs, Volume 15, Number 3, 1 March 1998 — ʻElua Kāne captures nostalgia in ʻUkulele Boy CD release [ARTICLE+ILLUSTRATION]

ʻElua Kāne captures nostalgia in ʻUkulele Boy CD release

By Manu Boyd Hula Records' 1997 release of "'Ukulele Boy" has definitely put 'Elua Kāne on the island music map. Literally "two men," 'Elua Kāne is the duo of Damien Farden and Tau Greig (pictured above) who find eommon ground in their love for performing Hawaiian music, their commitment to excellence and family roots in Lahaina, Maui. Damien Farden grew up in a family well-known on the Hawaiian music scene for decades, having produced some of the "movers and shakers" of the Hawaiian cultural renaissance including Irmgard Aluli, Emma Sharpe and Kekua Femandez. Irmgaid Farden Aluli's own musical compositions and collaborations include "Puamana" , "KāikaHoe," "Boyfrom Laupāhoehoe," "Ku'u Pete," "Nā Hoa He 'e Nalu," "E Maliu Mai" and " 'Ōpae Ē," and have eamed her many honors. This month, she will be inducted to the Hawaiian Music Hall of Fame (see Calendar, 3/26 "E Hi'ipoi 'la"). Nephew Damien Farden himself is following in the footsteps of the elder Fardens as a budding song writer. "'Ukulele Boy," one of his first attempts at haku mele (song composition) is one of the clear hit of the compact disk. Reminiscent of the Waikīkī beach boys' kanikapila jam sessions, the tune is toe-tap-ping, the vocals rich and the 'ukulele playing elean. No doubt the feature of Troy Femandez on the cut is a perfect fit. An "'ukulele boy" himself, Femandez is a member of the hot, new island music group, "Pālolo," as well as the former "Ka'au Crater Boys," and has picked, plucked and strummed on a handful of recordings by other artists.

Tau Greig, the elder of the duo, was bom and raised in Lahaina. With four children and five mo'opuna (grandchildren), Tau is also a woodworker, who carves works of art for the sheer enjoyment of it. Paddling and weight training also keep him busy between gigs and musical trips abroad. The duo, though well versed in traditional Hawaiian as

well as contemporary performance, does an impressive job in preserving "hapahaole" music where the mode is English, but the mood is Hawaiian. "Floating Leis," "You're at a Lū 'au Now" and "Let's Go Around the lsland" reflect the romance of a bygone era that few groups today

ean adequately capture. The Hawaiian selections, old and new, are well presented and upbeat. "NāAli'i," composed by Samuel Kuahiwi, is dedicated to the Royal Order of Kamehameha. "Papa Sia" is about "Papa dear" spending time too mueh at a Kewalo "watering hole." Welaka hao! Rose M. Look honors her

close friend and co-worker "Pualani," Tau's wife in "He U'i 'o Pualani." The lilting, danceable tune describes her warmth, loving heart and hospitality. Rev. Dennis Kamakahi's "Lei Kupukupu," captures the deli-

cately scented palapalai and pala'ā fems woven into leis for special occasions. The tune is catchy and is sure to become another Kamakahi classic. The final selection "He Aloha Hawai'i," another Damien Farden composition, is a majestic tribute to navigators past and present.

U I I kulele Boy" is an easy-going I collection of classics and I originals that appeals to all I I ages, kama'āina and mahhini \J alike. The CD cover depicts

the duo strolling along the beach at Ka'ōhao (Lanikai), approacing Tau's mo'opuna, Kamana Greig, stmmming in his coconut hat. Liner notes include song lyrics and translations, a must for the increasingly

informed listener, particularly in the realm of 'ōlelo Hawai'i. The project was produced by Don McDiarmid, Jr. and Donald P. "Fhp" McDiarmid, III for Hula Records, and is available "mai 'ō a 'ō" (here, there, everywhere) throughout the islands. Tune up and tune in! ■