Tau Moe
Tau Moe 1908 - 2004
An influential pioneer of the Hawaiian Steel Guitar never became very well known in Hawaii, but spent nearly five decades on the road introducing Hawaiian steel guitar and singing to countries as diverse as India, China and Germany.
Tau Moe was born in Pago Pago, Samoa on August 13, 1908. His father Aupiu Savea Moe and mother Talalupelele Lupe Tuitogama’atoe were American Mormon missionaries. The family, with 11 children, moved to from village to village starting churches, organizing the choir and providing lessons. This is how Tau learned to read and play music. When he was about 11 years old, the Moe family relocated to O’ahu. He was raised in La’ie, near the 1919 Mormon La’ie Hawaii Temple.
Madame Claude Riviere, a French teacher in Honolulu, was very interested in Hawaiian and Polynesian music, having lived in Tahiti, American Samoa, Tonga, New Zealand and other Pacific islands. She gave frequent parties and invited local musicians to entertain. In 1927 she opened her large home on King Street to the public, inviting hundreds of visitors arriving aboard passenger ships to her place, charging admission for the shows. Tau’s uncle got him a job as a guitar player in the show for $2 a day – a large sum of money at that time. Tau would attend school during the week and then travel over 40 miles to Honolulu to play the weekend shows. Sometimes he would walk to save money.
Tau was fascinated with the sound of the steel guitar. A local music store played recorded music over a loudspeaker for passers-by to enjoy. Tau listened every day, and then he would go home and try to imitate the sound. He learned that the artist on his favorite recording – Moana Chimes, was steel guitar star Moses Keakalauloa McCallum, known professionally as M. K. Moke. Tau’s uncle knew M.K. Moke and arranged for one lesson and, at that lesson Tau met Rose, another steel guitar student. Their courtship began that day.
Tau and Rose married, and on December 28, 1927 they left Hawaii by ship to perform as part of Madame Riviere’s show in the Philippines, China, Japan, India, Burma, and Indonesia. She introduced them to Asia as "Madame Riviere's Hawaiians" and their early recordings represent some of the oldest examples of traditional Hawaiian music on disc. These records were purely ethnic in style with traditional accompaniment of guitars, ukulele, steel guitar, and beautiful vocals led by Rose's falsetto singing. They do not sound like the other “modern” Hawaiian recordings of the day, showing the influences of the period before 1915 and giving us a look back at what Hawaiian music sounded like almost a century ago.
When Madame Riviere’s show closed in 1934, the Tau Moe Family troupe began touring on their own. The troupe, now a trio, consisted of Tau, Rose and young son Lani, already a singer, dancer, and ukulele player at age five. After working in India for several months, the Moes traveled to Egypt, performing in the larger cities. From there, their journey took them through Syria, Palestine, Turkey, Greece, Romania, Bulgaria, Yugoslavia, Poland, Russia, France, and Germany.
Tau had become quite popular in Germany. In fact, one night after a show, he was obliged to meet Hitler, Goering, Goebbels, and company. This was uncomfortable for the family as they were friends with many Jewish musicians whom they helped to leave Germany by dressing them up in the family's stage costumes. They also helped smuggle a friend's valuables out of Germany with Rose wearing three fur coats and explaining to the border
guards that people from Hawaii were not acclimated to the cold in Germany.
With the beginning of World War II in 1939, the couple was advised by the American embassy to leave Germany. Taking the warning seriously, the Moes embarked on the first of a series of war-induced moves. They traveled back through Turkey, Israel, and Greece to Lebanon. Their stay was brief however, as Italy declared war there. They continued on to India in hopes of boarding a ship in Baghdad to go home to Hawaii. However, Pearl Harbor had just been bombed and the Pacific Ocean was closed for travel, so the Moe family settled in India for the rest of the war years.
There Tau organized bands and orchestras for the top hotels in the major cities of India, employing a multinational group of musicians, all on the move because of the war. He would transcribe for the latest songs from musical films for performance. According to Tau, show business was very good in India. Daughter Dorian was born in India and soon was part of the act: dancing, singing, and later playing the guitar. Now the Tau Moe Family troupe was a quartet – the Aloha Four.
Following the end of the war, the Moes increasingly shifted their focus from traditional Hawaiian music to more contemporary music. The group continued to tour, picking up gigs in Paris, Copenhagen, London, Shanghai and beyond. In fact, the family had performed in every Western European country, all of Southeast Asia and Australia, New Zealand, Fiji, and Tonga. They performed on the S.S. Queen Elizabeth I and II, at the Moulin Rouge and a casino in Monte Carlo. They appeared with Maurice Chevalier in Paris and with Josephine Baker in Venice. The troupe performed for many international figures including Winston Churchill, Aristotle Onassis - a famly friend, Mahatma Gandhi and King Farouk of Egypt.
They traveled through the 1950s and 1960s, recording, performing, and appearing in television and films. By the late '60s, the family group had become heavily rooted in rock & roll. Their music became more modern, as can be heard on their many European recordings. In the late 1970s, Tau decided more than five decades on the road was enough. The whole family retired to La’ie, Tau's childhood home.
Producer Bob Brozman had discovered one of their early records in a used record store and encouraged the Moe family to record an album, Ho'omana'o I Na Mele O Ka Wa U'i, Remembering the Songs of Our Youth. This album was selected for the prestigious Library of Congress American Folk Music and Folklore Recordings list in 1989.
Unfortunately that would be the family’s last recording together. Rose passed away in 1998 after suffering from Alzheimer’s disease and Lani died in 2002. Tau was recognized at the State Capitol in February 2003 for his lifelong ambassadorship of Aloha and Hawaiian music to the world. He had said “There are hundreds of steel guitarists who played much better than I, but in many places we were to the first to whom the Lord gave the opportunity (to play).” He died on June 24, 2004 in La’ie at the age of 95.
The story of the Tau Moe and his family is perhaps one of the most incredible 20th century traveling musician stories to be found anywhere. An influential pioneer of the Hawaiian steel guitar, Tau Moe never became very well known in Hawaii but spent nearly five decades on the road introducing Hawaiian steel guitar and singing around the world.
An influential pioneer of the Hawaiian Steel Guitar never became very well known in Hawaii, but spent nearly five decades on the road introducing Hawaiian steel guitar and singing to countries as diverse as India, China and Germany.
Tau Moe was born in Pago Pago, Samoa on August 13, 1908. His father Aupiu Savea Moe and mother Talalupelele Lupe Tuitogama’atoe were American Mormon missionaries. The family, with 11 children, moved to from village to village starting churches, organizing the choir and providing lessons. This is how Tau learned to read and play music. When he was about 11 years old, the Moe family relocated to O’ahu. He was raised in La’ie, near the 1919 Mormon La’ie Hawaii Temple.
Madame Claude Riviere, a French teacher in Honolulu, was very interested in Hawaiian and Polynesian music, having lived in Tahiti, American Samoa, Tonga, New Zealand and other Pacific islands. She gave frequent parties and invited local musicians to entertain. In 1927 she opened her large home on King Street to the public, inviting hundreds of visitors arriving aboard passenger ships to her place, charging admission for the shows. Tau’s uncle got him a job as a guitar player in the show for $2 a day – a large sum of money at that time. Tau would attend school during the week and then travel over 40 miles to Honolulu to play the weekend shows. Sometimes he would walk to save money.
Tau was fascinated with the sound of the steel guitar. A local music store played recorded music over a loudspeaker for passers-by to enjoy. Tau listened every day, and then he would go home and try to imitate the sound. He learned that the artist on his favorite recording – Moana Chimes, was steel guitar star Moses Keakalauloa McCallum, known professionally as M. K. Moke. Tau’s uncle knew M.K. Moke and arranged for one lesson and, at that lesson Tau met Rose, another steel guitar student. Their courtship began that day.
Tau and Rose married, and on December 28, 1927 they left Hawaii by ship to perform as part of Madame Riviere’s show in the Philippines, China, Japan, India, Burma, and Indonesia. She introduced them to Asia as "Madame Riviere's Hawaiians" and their early recordings represent some of the oldest examples of traditional Hawaiian music on disc. These records were purely ethnic in style with traditional accompaniment of guitars, ukulele, steel guitar, and beautiful vocals led by Rose's falsetto singing. They do not sound like the other “modern” Hawaiian recordings of the day, showing the influences of the period before 1915 and giving us a look back at what Hawaiian music sounded like almost a century ago.
When Madame Riviere’s show closed in 1934, the Tau Moe Family troupe began touring on their own. The troupe, now a trio, consisted of Tau, Rose and young son Lani, already a singer, dancer, and ukulele player at age five. After working in India for several months, the Moes traveled to Egypt, performing in the larger cities. From there, their journey took them through Syria, Palestine, Turkey, Greece, Romania, Bulgaria, Yugoslavia, Poland, Russia, France, and Germany.
Tau had become quite popular in Germany. In fact, one night after a show, he was obliged to meet Hitler, Goering, Goebbels, and company. This was uncomfortable for the family as they were friends with many Jewish musicians whom they helped to leave Germany by dressing them up in the family's stage costumes. They also helped smuggle a friend's valuables out of Germany with Rose wearing three fur coats and explaining to the border
guards that people from Hawaii were not acclimated to the cold in Germany.
With the beginning of World War II in 1939, the couple was advised by the American embassy to leave Germany. Taking the warning seriously, the Moes embarked on the first of a series of war-induced moves. They traveled back through Turkey, Israel, and Greece to Lebanon. Their stay was brief however, as Italy declared war there. They continued on to India in hopes of boarding a ship in Baghdad to go home to Hawaii. However, Pearl Harbor had just been bombed and the Pacific Ocean was closed for travel, so the Moe family settled in India for the rest of the war years.
There Tau organized bands and orchestras for the top hotels in the major cities of India, employing a multinational group of musicians, all on the move because of the war. He would transcribe for the latest songs from musical films for performance. According to Tau, show business was very good in India. Daughter Dorian was born in India and soon was part of the act: dancing, singing, and later playing the guitar. Now the Tau Moe Family troupe was a quartet – the Aloha Four.
Following the end of the war, the Moes increasingly shifted their focus from traditional Hawaiian music to more contemporary music. The group continued to tour, picking up gigs in Paris, Copenhagen, London, Shanghai and beyond. In fact, the family had performed in every Western European country, all of Southeast Asia and Australia, New Zealand, Fiji, and Tonga. They performed on the S.S. Queen Elizabeth I and II, at the Moulin Rouge and a casino in Monte Carlo. They appeared with Maurice Chevalier in Paris and with Josephine Baker in Venice. The troupe performed for many international figures including Winston Churchill, Aristotle Onassis - a famly friend, Mahatma Gandhi and King Farouk of Egypt.
They traveled through the 1950s and 1960s, recording, performing, and appearing in television and films. By the late '60s, the family group had become heavily rooted in rock & roll. Their music became more modern, as can be heard on their many European recordings. In the late 1970s, Tau decided more than five decades on the road was enough. The whole family retired to La’ie, Tau's childhood home.
Producer Bob Brozman had discovered one of their early records in a used record store and encouraged the Moe family to record an album, Ho'omana'o I Na Mele O Ka Wa U'i, Remembering the Songs of Our Youth. This album was selected for the prestigious Library of Congress American Folk Music and Folklore Recordings list in 1989.
Unfortunately that would be the family’s last recording together. Rose passed away in 1998 after suffering from Alzheimer’s disease and Lani died in 2002. Tau was recognized at the State Capitol in February 2003 for his lifelong ambassadorship of Aloha and Hawaiian music to the world. He had said “There are hundreds of steel guitarists who played much better than I, but in many places we were to the first to whom the Lord gave the opportunity (to play).” He died on June 24, 2004 in La’ie at the age of 95.
The story of the Tau Moe and his family is perhaps one of the most incredible 20th century traveling musician stories to be found anywhere. An influential pioneer of the Hawaiian steel guitar, Tau Moe never became very well known in Hawaii but spent nearly five decades on the road introducing Hawaiian steel guitar and singing around the world.
Jules Ah See
Jules Cryles Ah See (Jules Ah See) 1924 - 1960
Steel guitarist for Alfred Apaka's "Hawaiian Village Serenaders". Played on the Hawai'i Calls radio show in the 1950's. A child prodigy, he was considered one of the greatest steel guitarists developed in Hawai'i.
Jules Cryles Ah See was born in Lahaina Maui on June 19, 1924. His father was Peter Lee Ah See and his mother, Marianne Pepe Hew Siu. He was the youngest of seventeen children. Revered as one of the one of the greatest steel guitarists developed in Hawaii, he had always loved music.
Jules was a child prodigy, sneaking out of bed at two years old to listen to the grownups playing. Self-trained, he began his musical career in his early teens with Johnny Almeida, father of Pua Almeida.
He did bird and animal imitations on his steel guitar and effectively imitated such legendary players as David Keli’i, Tommy Castro, Andy Iona, Dick McIntire and Sol Ho’opi’i. He played with many groups at the best hotels in Hawai’i, performing at such spots as the Royal Hawaiian Hotel with Ray Andrade, Andrew Bright and Benny Kalama at the Moana Hotel. He played at the Kewalo Inn and with Herb Low at LeRoy's.
He played steel guitar for Alfred Apaka’s Hawaiian Village Serenaders at the Hawaiian Village Tapa Room from 1955-1960 and he was a member of George Kainapau and his Island Serenaders from 1956 through 1957. The Island Serenaders that played with George Kainapau were Jules Ah See
on steel guitar, Kaipo Miller on stand up bass, and Sonny Kamahele on guitar. They performed twice a night with a cocktail show followed by a dinner show, in the Ale Ale Kai Room of the Kaiser Hawaiian Village.
Jules had two Magnatone double 8 with three legs steel guitars. One was used indoors at the Tapa Room, while the other was used for outdoor gigs like the open air confines of the Ale Ale Kai Room.
He was a regular steel guitarist on the world-wide broadcast of Hawaii Calls radio shows in the mid 1950’s; his steel guitar was heard by millions. He
was the featured steel-guitarist on numerous albums with Alfred Apaka, Benny Kalama and Pua Almeida. At times he used the pedal steel; he was a trend setter.
He was a truly gifted entertainer, a born comic, a talented singer, and virtuoso. His version of the song 'No Huhu" remains a classic. This was his favorite comedy song and he had gradually changed it to its present version for the delight and entertainment of all. No Huhu in its original version was written by Alvin Kaleolani Isaacs.
He was only 35 when he tragically passed away on June 12, 1960, just days short of his 36th birthday. His potential was fantastic. Fellow musicians were constantly amazed by his versatility and showmanship. Many of the local steel guitarists look upon Jules as a model to emulate.
Jules Ah See was one of Hawaii's most colorful and talented musicians of all time. Aconsummate steel guitarist who was known for attacking his notes
with uncanny precision. He is remembered for his precise playing, his definitive background fills, and his use of uncommon tuning for solo breaks.
Steel guitarist for Alfred Apaka's "Hawaiian Village Serenaders". Played on the Hawai'i Calls radio show in the 1950's. A child prodigy, he was considered one of the greatest steel guitarists developed in Hawai'i.
Jules Cryles Ah See was born in Lahaina Maui on June 19, 1924. His father was Peter Lee Ah See and his mother, Marianne Pepe Hew Siu. He was the youngest of seventeen children. Revered as one of the one of the greatest steel guitarists developed in Hawaii, he had always loved music.
Jules was a child prodigy, sneaking out of bed at two years old to listen to the grownups playing. Self-trained, he began his musical career in his early teens with Johnny Almeida, father of Pua Almeida.
He did bird and animal imitations on his steel guitar and effectively imitated such legendary players as David Keli’i, Tommy Castro, Andy Iona, Dick McIntire and Sol Ho’opi’i. He played with many groups at the best hotels in Hawai’i, performing at such spots as the Royal Hawaiian Hotel with Ray Andrade, Andrew Bright and Benny Kalama at the Moana Hotel. He played at the Kewalo Inn and with Herb Low at LeRoy's.
He played steel guitar for Alfred Apaka’s Hawaiian Village Serenaders at the Hawaiian Village Tapa Room from 1955-1960 and he was a member of George Kainapau and his Island Serenaders from 1956 through 1957. The Island Serenaders that played with George Kainapau were Jules Ah See
on steel guitar, Kaipo Miller on stand up bass, and Sonny Kamahele on guitar. They performed twice a night with a cocktail show followed by a dinner show, in the Ale Ale Kai Room of the Kaiser Hawaiian Village.
Jules had two Magnatone double 8 with three legs steel guitars. One was used indoors at the Tapa Room, while the other was used for outdoor gigs like the open air confines of the Ale Ale Kai Room.
He was a regular steel guitarist on the world-wide broadcast of Hawaii Calls radio shows in the mid 1950’s; his steel guitar was heard by millions. He
was the featured steel-guitarist on numerous albums with Alfred Apaka, Benny Kalama and Pua Almeida. At times he used the pedal steel; he was a trend setter.
He was a truly gifted entertainer, a born comic, a talented singer, and virtuoso. His version of the song 'No Huhu" remains a classic. This was his favorite comedy song and he had gradually changed it to its present version for the delight and entertainment of all. No Huhu in its original version was written by Alvin Kaleolani Isaacs.
He was only 35 when he tragically passed away on June 12, 1960, just days short of his 36th birthday. His potential was fantastic. Fellow musicians were constantly amazed by his versatility and showmanship. Many of the local steel guitarists look upon Jules as a model to emulate.
Jules Ah See was one of Hawaii's most colorful and talented musicians of all time. Aconsummate steel guitarist who was known for attacking his notes
with uncanny precision. He is remembered for his precise playing, his definitive background fills, and his use of uncommon tuning for solo breaks.
Andy Iona
Andrew Aiona Long (Andy Iona) 1902 - 1966
One of Hawaii's most famous musicians in the 1930s. He and his band, "Andy Iona and his Islanders" recorded hundreds of songs, and performed or composed for several movies.
Andrew Aiona Long was born on January 1, 1902 in Waimea, Kauai to Louise and William Aiona. Andy’s parents were skilled and dedicated exponents of Hawaiian music. They had many moments of frustration trying to get young Andy to keep up with his schooling -but Andy was born to play and write music. A composer, songwriter and conductor, Andy Iona was one of the most talented musicians and composers in the history of Hawaiian music.
Andy was educated at Kamehameha School for Boys and Henri Berger's Private School of Music in Honolulu, where he learned the Arthur Lange Method of Arranging. After 2 years at Kamehameha School, he quit school. He landed in the Boy’s Industrial School - a bad boy’s institution. But, within one month Andy’s skill with the saxophone earned him a soloist’s position with the Royal Hawaiian Band under Mekia Kealakai’s leadership. Later, he joined Johnny Noble’s orchestra at the Moana Hotel and was soon known throughout the Islands as the “Saxophone Wizard’. Andy moved to the California in 1921 and was immediately sought after for his saxophone ability.
It wasn’t until the late 1920’s that Andy concentrated on his steel guitar artistry. He managed to master the saxophone, clarinet, and the steel guitar despite the loss of his right thumb in an accident in the machine shop at school. He played an excellent steel guitar with 3 finger picks – one turned backwards for strumming. To those who watched Andy play steel guitar, it was a display of magical coordination in compensating for a missing thumb.
He made many recordings with Sam Koki, Danny Stewart, and Allen Kila. This brotherly ‘Four Horsemen” of Hawaiian music often switched chores on the steel, changed arrangements, changed artist credits—making out like 4 different groups, which was actually only one group.
In 1931 he formed “Andy Iona and His Islanders”. Various configurations of “The Islanders”included: Sam Koki, Danny Stewart, Splash (or Freckles) Lyons, Allen Kila, Gary Speare, George Archer, Harry Baty, and Joe Nawahi. The group went on to world wide acclaim, appearing in hotels and theatres and on records. They recorded hundreds of songs, and performed or composed for several movies. During his career, Andy also recorded with the Sol Ho’opi’i Trio and in 1937, he recorded with Louis Armstrong.
While in New York, Andy offered his services for the 1937 opening of the famed Hawaiian Room at the Lexington Hotel. He organized an orchestra with great names, such as Lani McIntire and Ray Kinney, and was engaged there for several years. His music was a mix of traditional Hawaiian,
Hapa Haole and Pop Standards of the day. It was said that he could do an entire orchestra arrangement without working on an instrument and then turn it over to the band and they would play it without a hitch.
In addition to recording hundreds of tunes, he also appeared in some Hollywood films including: I Cover Chinatown in 1936 - where he played the leader with 'His Recording Hawaiians' and in 1939, Honolulu, the MGM film starring Eleanor Powel - again playing the part of a Hawaiian bandleader. Andy composed the song "Sweeter All the Time" heard in the 1936 film Racing Lady, - credited as 'Andy Iona Long’ and was the background music director for My Little Grass Shack in 1942. He was an uncredited lyricist for some of the songs in the 1943 film Rhythm of the Islands, a pre-World War II film starring Betty Grable. In addition, he toured with ice skating star Sonja Henie's troupe for 12 years.
Joining ASCAP in 1940, his popular song compositions include Sand, How'd Ya Do?, South Sea Island Magic, Maui Moon, South Sea Lullabies, Ku’u Ipo, the Palm Trees Sing Aloha, and A Million Moons Over Hawaii. In fact, in 1940 Bing Crosby dropped into the ‘Hollywood Tropics” club to hear Andy sing his latest composition “A Million Moons Over Hawaii”. Bing was said to be planning to sing the song himself but never did. Andy appeared on the Kraft Music Hall with Bing Crosby and many others. He joined staff of Oahu Guitar Studios and published steel guitar instruction books.
Andy married a well-known hula dancer, Leimomi Woodds, and raised 3 daughters, Lanette, Edre, Andrea. His sister, Miulan Naiwa, was a singer with the Royal Hawaiian Band. He spent his autumn years in California in semi-retirement and passed away on November 9, 1966 at the age of 64 in Santa Anita, California.
Andy Iona’s musical contributions to Hawaiian music are legion. He was one of Hawaii's most influential musicians; one of the sentinels that kept the torches burning in far away places – flaming the hearts of lovers of Hawaiian music.
One of Hawaii's most famous musicians in the 1930s. He and his band, "Andy Iona and his Islanders" recorded hundreds of songs, and performed or composed for several movies.
Andrew Aiona Long was born on January 1, 1902 in Waimea, Kauai to Louise and William Aiona. Andy’s parents were skilled and dedicated exponents of Hawaiian music. They had many moments of frustration trying to get young Andy to keep up with his schooling -but Andy was born to play and write music. A composer, songwriter and conductor, Andy Iona was one of the most talented musicians and composers in the history of Hawaiian music.
Andy was educated at Kamehameha School for Boys and Henri Berger's Private School of Music in Honolulu, where he learned the Arthur Lange Method of Arranging. After 2 years at Kamehameha School, he quit school. He landed in the Boy’s Industrial School - a bad boy’s institution. But, within one month Andy’s skill with the saxophone earned him a soloist’s position with the Royal Hawaiian Band under Mekia Kealakai’s leadership. Later, he joined Johnny Noble’s orchestra at the Moana Hotel and was soon known throughout the Islands as the “Saxophone Wizard’. Andy moved to the California in 1921 and was immediately sought after for his saxophone ability.
It wasn’t until the late 1920’s that Andy concentrated on his steel guitar artistry. He managed to master the saxophone, clarinet, and the steel guitar despite the loss of his right thumb in an accident in the machine shop at school. He played an excellent steel guitar with 3 finger picks – one turned backwards for strumming. To those who watched Andy play steel guitar, it was a display of magical coordination in compensating for a missing thumb.
He made many recordings with Sam Koki, Danny Stewart, and Allen Kila. This brotherly ‘Four Horsemen” of Hawaiian music often switched chores on the steel, changed arrangements, changed artist credits—making out like 4 different groups, which was actually only one group.
In 1931 he formed “Andy Iona and His Islanders”. Various configurations of “The Islanders”included: Sam Koki, Danny Stewart, Splash (or Freckles) Lyons, Allen Kila, Gary Speare, George Archer, Harry Baty, and Joe Nawahi. The group went on to world wide acclaim, appearing in hotels and theatres and on records. They recorded hundreds of songs, and performed or composed for several movies. During his career, Andy also recorded with the Sol Ho’opi’i Trio and in 1937, he recorded with Louis Armstrong.
While in New York, Andy offered his services for the 1937 opening of the famed Hawaiian Room at the Lexington Hotel. He organized an orchestra with great names, such as Lani McIntire and Ray Kinney, and was engaged there for several years. His music was a mix of traditional Hawaiian,
Hapa Haole and Pop Standards of the day. It was said that he could do an entire orchestra arrangement without working on an instrument and then turn it over to the band and they would play it without a hitch.
In addition to recording hundreds of tunes, he also appeared in some Hollywood films including: I Cover Chinatown in 1936 - where he played the leader with 'His Recording Hawaiians' and in 1939, Honolulu, the MGM film starring Eleanor Powel - again playing the part of a Hawaiian bandleader. Andy composed the song "Sweeter All the Time" heard in the 1936 film Racing Lady, - credited as 'Andy Iona Long’ and was the background music director for My Little Grass Shack in 1942. He was an uncredited lyricist for some of the songs in the 1943 film Rhythm of the Islands, a pre-World War II film starring Betty Grable. In addition, he toured with ice skating star Sonja Henie's troupe for 12 years.
Joining ASCAP in 1940, his popular song compositions include Sand, How'd Ya Do?, South Sea Island Magic, Maui Moon, South Sea Lullabies, Ku’u Ipo, the Palm Trees Sing Aloha, and A Million Moons Over Hawaii. In fact, in 1940 Bing Crosby dropped into the ‘Hollywood Tropics” club to hear Andy sing his latest composition “A Million Moons Over Hawaii”. Bing was said to be planning to sing the song himself but never did. Andy appeared on the Kraft Music Hall with Bing Crosby and many others. He joined staff of Oahu Guitar Studios and published steel guitar instruction books.
Andy married a well-known hula dancer, Leimomi Woodds, and raised 3 daughters, Lanette, Edre, Andrea. His sister, Miulan Naiwa, was a singer with the Royal Hawaiian Band. He spent his autumn years in California in semi-retirement and passed away on November 9, 1966 at the age of 64 in Santa Anita, California.
Andy Iona’s musical contributions to Hawaiian music are legion. He was one of Hawaii's most influential musicians; one of the sentinels that kept the torches burning in far away places – flaming the hearts of lovers of Hawaiian music.
Freddy Tavares
Frederick Theodore Tavares (Freddy Tavares) 1913 - 1990
Extensive background in Hawaiian music: movie sound tracks, recordings, radio, TV. A consummate musician. Advanced the design and technology of pedal steel guitar during his tenure with the Fender Co. 1953-1980.
Frederick Theodore Tavares was born in Paia, Maui on February 18, 1913. He was of Portuguese, Hawaiian, Chinese, English, Tahitian and Samoan lineage. He would say “the Portuguese makes me stubborn; Chinese makes me smart; English makes me high class; Hawaiian gives me the music; Tahitian gives me the beat. I couldn’t ask for more.” His brother Ernest, an accomplished musician and steel player, is credited with developing the modern pedal steel guitar.
When his older brother Nils left for to study law at Michigan University, he gave 12-year old Freddie his guitar with the advice that if he could play guitar he would never be lonely, nor would he lack friends. Freddie mastered the instrument, applying his own theory and techniques and at 15, Freddie was playing rhythm guitar in Mary Kunewa’s orchestra on Maui. After finishing school, Freddie moved to O‘ahu, working as an AmFac jobber in the day and playing guitar at the Alexander Young Hotel at night.
In 1934 bandmaster Harry Owens took over the Royal Hawaiian Orchestra. Impressed by Freddie’s professionalism, Owens asked 21-year old Freddie
if he could play steel. “I could easily learn,” Freddie said, and within two weeks he’d done it. In fact, his first night with Owens’ Royal Hawaiians Freddie’s steel parts brought a standing ovation from his fellow musicians. He was so good Harry Owens nicknamed him “Kaulana” Tavares.
Traveling with the Royal Hawaiians Freddie played the great Mainland showrooms of the day including the Hotel St. Francis in San Francisco, the Hollywood Roosevelt and Beverly Wilshire hotels Many of the Hotel St. Francis shows were broadcast live on coast to coast radio. They toured New York, Memphis, Chicago, Colorado, Texas, Seattle and Vancouver B.C and also recorded extensively, backing up some of the greats like Bing Crosby and Dorothy Lamour.
According to his wife, Freddie Tavares bought a 6 string Black & White bakelite Rickenbacker steel guitar as soon as the model came on the market in July 1935, (serial number 003) removing the left front white cover to store his bar and picks inside between dance sets. He also designed and built his own tube amplifiers and casings, building a second amp into each enclosure as a spare in case the main unit blew during a set.
To further his music career, in 1942 Freddie moved from Hawaii to Anaheim, near Hollywood, to freelance as a session musician. With his experience,
talent and ability to sight-read music, Freddie was in demand by movie and record producers. Declining offers to go solo Freddie chose instead to be the best sideman he could be constantly exercising to improve his skills, dexterity and flexibility on the steel.
The Magnatone Guitar Company presented Freddie with a custom made steel guitar in a promotional deal in 1949. Made to Freddie's specifications, this instrument had 9 strings to increase chord variations. Freddie's steel bars were specially made for him, cut straight across at both ends to give a better sight line for accurate positioning.
Between 1949 and 1953 he performed and recorded with the famous Wade Ray and his Ozark Mountain Boys. It was with Ray that Freddie figured out how to truly amplify string instruments, and it was this innovation that would change the course of guitar history.
In early 1953 Freddie met Leo Fender who was interested in building amplifiers. Fender realized he had found a man of exceptional abilities in Freddie
Tavares. He understood electronics, could make technical drawings and was a consummate musician, playing acoustic, bass and steel guitars as well as
ukulele. He hired Freddie as assistant engineer to himself and on Freddie’s second day of employment he started to create, with Leo Fender, a product that was to become the leading and most wanted instrument in guitar history - the Stratocaster.
Until his retirement from the Fender Guitar Company in 1985, Freddie Tavares participated in the design and development of every guitar and amplifier made by the company and field tested the proto types before they hit the production line. He was renowned as the world's leading technical authority of the Jazz Bass and collaborated with Leo Fender to invent the split-finger mechanism for the Fender 1000 pedal steel guitar - later playing this model pedal steel.
While at Fender, Freddie did not neglect his passion for Hawaiian music, playing and recording with Sam Koki, Joe Keawe, Ka‘apuni and, of course his brother Ernie. With Ernie and Vice Akina he formed the South Sea Islanders and performed throughout Southern California for more than 15 years including five years opening for Freddy Martin’s Big Band at LA’s famous Coconut Grove.
Freddie’s radio and TVrecording credits include shows with Red Skelton, Roy Rogers and Spike Jones, and the series I Love Irma, Hawaiian Eye, Hawai‘i Five-0, Adventures in Paradise, Magnum P.I. Fantasy Islandand more. Perhaps better known world-wide, he forever appears on each and every “Looney Tunes” cartoon soundtrack you’ll ever hear. The signature steel guitar swoop at the beginning of every Warner Bros.Looney Tunestheatrical short was played by Tavares.
Freddie Tavares’recording credits read like a Who's Who and included Bing Crosby, Dean Martin, The Andrew Sisters, Rosemary Clooney, Johnny Mathis, Deanna Durban, Gordon McCrae, Sue Thompson, Jimmy Dalton, Elvis Presley, Spike Jones and The City Slickers, Tennessee Ernie Ford, Tex Williams, Martin Denny and more. He recorded with the orchestras of Henri Mancini, Bud Dant, Steve Lawrence, Ray Andrade, Lawrence Welk, George Liberace, Axel Stordahl, William Kealoha, Ray Conniff, George Poole, 101 Strings and Juan Garcia Esquivel's Big Band.
Some movies which he played on the soundtrack or made sound effects on steel guitar for, were: 'The Perils Of Pauline’, 'Devil At 4 O'clock’, 'Diamond Head’, 'Gidget Goes Hawaiian’, 'Three Stooges Go Around’, 'Move Over Darling’, 'Tora Tora Tora’, 'Donovans Reef’, 'In Harm’s Way’, 'Irma La Douce’, 'It's A Date’, 'None But The Brave', 'Cocoanut Grove’, 'Tahiti Nights’, ‘Mr. Roberts’, 'Song Of The islands’ and, Elvis Presley’s 'Blue Hawaii’ – where he played all of the ‘ukulele.
During his retirement, Freddie would take backing tapes he had made, a small amplifier, his Fender pedal steel guitar, Stratocaster and a ukulele to entertain those in nursing and retirement homes, and the veterans hospital, with his beautiful singing and music.
Freddie Tavares was an uncompromising perfectionist and this was reflected in the standard of excellence he achieved in his music career. He was also a friendly, compassionate, kind and generous man with a keen sense of humor, who enjoyed surprising and delighting family and friends with very witty songs he had written especially for and often about them.
Freddie Tavares passed away in Anaheim, California on July 24th 1990 at the age of 77. He was laid to rest in Nuuanu cemetery on Oahu.
In 1995 Freddie was inducted into the Steel Guitar Hall of Fame. In 2007 he was an inaugural inductee into the inaugural Fender Guitar Hall of Fame. It was written of Freddie Tavares: “He was perhaps the most admired and revered person in the early days of the factory. Freddie deflected any credit for his accomplishments, and yet he made invaluable contributions to some of Fender’s most historic products, including the Stratocaster and the four-10 tweed Bassman amp and will always be remembered as one of the innovators who made Fender possible.” For their 40th Anniversary, the Fender Company released a 150-unit, limited-edition guitar called “The Freddie Tavares ‘Aloha’ Stratocaster” in his honor.
Freddie Tavares will go down in the annals of steel guitar history as one of the great masters. His highly individual, hauntingly beautiful lyrical style perfectly encapsulated the spirit of his beloved Hawaii - Isles of Paradise.
Extensive background in Hawaiian music: movie sound tracks, recordings, radio, TV. A consummate musician. Advanced the design and technology of pedal steel guitar during his tenure with the Fender Co. 1953-1980.
Frederick Theodore Tavares was born in Paia, Maui on February 18, 1913. He was of Portuguese, Hawaiian, Chinese, English, Tahitian and Samoan lineage. He would say “the Portuguese makes me stubborn; Chinese makes me smart; English makes me high class; Hawaiian gives me the music; Tahitian gives me the beat. I couldn’t ask for more.” His brother Ernest, an accomplished musician and steel player, is credited with developing the modern pedal steel guitar.
When his older brother Nils left for to study law at Michigan University, he gave 12-year old Freddie his guitar with the advice that if he could play guitar he would never be lonely, nor would he lack friends. Freddie mastered the instrument, applying his own theory and techniques and at 15, Freddie was playing rhythm guitar in Mary Kunewa’s orchestra on Maui. After finishing school, Freddie moved to O‘ahu, working as an AmFac jobber in the day and playing guitar at the Alexander Young Hotel at night.
In 1934 bandmaster Harry Owens took over the Royal Hawaiian Orchestra. Impressed by Freddie’s professionalism, Owens asked 21-year old Freddie
if he could play steel. “I could easily learn,” Freddie said, and within two weeks he’d done it. In fact, his first night with Owens’ Royal Hawaiians Freddie’s steel parts brought a standing ovation from his fellow musicians. He was so good Harry Owens nicknamed him “Kaulana” Tavares.
Traveling with the Royal Hawaiians Freddie played the great Mainland showrooms of the day including the Hotel St. Francis in San Francisco, the Hollywood Roosevelt and Beverly Wilshire hotels Many of the Hotel St. Francis shows were broadcast live on coast to coast radio. They toured New York, Memphis, Chicago, Colorado, Texas, Seattle and Vancouver B.C and also recorded extensively, backing up some of the greats like Bing Crosby and Dorothy Lamour.
According to his wife, Freddie Tavares bought a 6 string Black & White bakelite Rickenbacker steel guitar as soon as the model came on the market in July 1935, (serial number 003) removing the left front white cover to store his bar and picks inside between dance sets. He also designed and built his own tube amplifiers and casings, building a second amp into each enclosure as a spare in case the main unit blew during a set.
To further his music career, in 1942 Freddie moved from Hawaii to Anaheim, near Hollywood, to freelance as a session musician. With his experience,
talent and ability to sight-read music, Freddie was in demand by movie and record producers. Declining offers to go solo Freddie chose instead to be the best sideman he could be constantly exercising to improve his skills, dexterity and flexibility on the steel.
The Magnatone Guitar Company presented Freddie with a custom made steel guitar in a promotional deal in 1949. Made to Freddie's specifications, this instrument had 9 strings to increase chord variations. Freddie's steel bars were specially made for him, cut straight across at both ends to give a better sight line for accurate positioning.
Between 1949 and 1953 he performed and recorded with the famous Wade Ray and his Ozark Mountain Boys. It was with Ray that Freddie figured out how to truly amplify string instruments, and it was this innovation that would change the course of guitar history.
In early 1953 Freddie met Leo Fender who was interested in building amplifiers. Fender realized he had found a man of exceptional abilities in Freddie
Tavares. He understood electronics, could make technical drawings and was a consummate musician, playing acoustic, bass and steel guitars as well as
ukulele. He hired Freddie as assistant engineer to himself and on Freddie’s second day of employment he started to create, with Leo Fender, a product that was to become the leading and most wanted instrument in guitar history - the Stratocaster.
Until his retirement from the Fender Guitar Company in 1985, Freddie Tavares participated in the design and development of every guitar and amplifier made by the company and field tested the proto types before they hit the production line. He was renowned as the world's leading technical authority of the Jazz Bass and collaborated with Leo Fender to invent the split-finger mechanism for the Fender 1000 pedal steel guitar - later playing this model pedal steel.
While at Fender, Freddie did not neglect his passion for Hawaiian music, playing and recording with Sam Koki, Joe Keawe, Ka‘apuni and, of course his brother Ernie. With Ernie and Vice Akina he formed the South Sea Islanders and performed throughout Southern California for more than 15 years including five years opening for Freddy Martin’s Big Band at LA’s famous Coconut Grove.
Freddie’s radio and TVrecording credits include shows with Red Skelton, Roy Rogers and Spike Jones, and the series I Love Irma, Hawaiian Eye, Hawai‘i Five-0, Adventures in Paradise, Magnum P.I. Fantasy Islandand more. Perhaps better known world-wide, he forever appears on each and every “Looney Tunes” cartoon soundtrack you’ll ever hear. The signature steel guitar swoop at the beginning of every Warner Bros.Looney Tunestheatrical short was played by Tavares.
Freddie Tavares’recording credits read like a Who's Who and included Bing Crosby, Dean Martin, The Andrew Sisters, Rosemary Clooney, Johnny Mathis, Deanna Durban, Gordon McCrae, Sue Thompson, Jimmy Dalton, Elvis Presley, Spike Jones and The City Slickers, Tennessee Ernie Ford, Tex Williams, Martin Denny and more. He recorded with the orchestras of Henri Mancini, Bud Dant, Steve Lawrence, Ray Andrade, Lawrence Welk, George Liberace, Axel Stordahl, William Kealoha, Ray Conniff, George Poole, 101 Strings and Juan Garcia Esquivel's Big Band.
Some movies which he played on the soundtrack or made sound effects on steel guitar for, were: 'The Perils Of Pauline’, 'Devil At 4 O'clock’, 'Diamond Head’, 'Gidget Goes Hawaiian’, 'Three Stooges Go Around’, 'Move Over Darling’, 'Tora Tora Tora’, 'Donovans Reef’, 'In Harm’s Way’, 'Irma La Douce’, 'It's A Date’, 'None But The Brave', 'Cocoanut Grove’, 'Tahiti Nights’, ‘Mr. Roberts’, 'Song Of The islands’ and, Elvis Presley’s 'Blue Hawaii’ – where he played all of the ‘ukulele.
During his retirement, Freddie would take backing tapes he had made, a small amplifier, his Fender pedal steel guitar, Stratocaster and a ukulele to entertain those in nursing and retirement homes, and the veterans hospital, with his beautiful singing and music.
Freddie Tavares was an uncompromising perfectionist and this was reflected in the standard of excellence he achieved in his music career. He was also a friendly, compassionate, kind and generous man with a keen sense of humor, who enjoyed surprising and delighting family and friends with very witty songs he had written especially for and often about them.
Freddie Tavares passed away in Anaheim, California on July 24th 1990 at the age of 77. He was laid to rest in Nuuanu cemetery on Oahu.
In 1995 Freddie was inducted into the Steel Guitar Hall of Fame. In 2007 he was an inaugural inductee into the inaugural Fender Guitar Hall of Fame. It was written of Freddie Tavares: “He was perhaps the most admired and revered person in the early days of the factory. Freddie deflected any credit for his accomplishments, and yet he made invaluable contributions to some of Fender’s most historic products, including the Stratocaster and the four-10 tweed Bassman amp and will always be remembered as one of the innovators who made Fender possible.” For their 40th Anniversary, the Fender Company released a 150-unit, limited-edition guitar called “The Freddie Tavares ‘Aloha’ Stratocaster” in his honor.
Freddie Tavares will go down in the annals of steel guitar history as one of the great masters. His highly individual, hauntingly beautiful lyrical style perfectly encapsulated the spirit of his beloved Hawaii - Isles of Paradise.
Barney Isaacs
Alvin Kalanikau Isaacs, Jr. (Barney Isaacs) 1926 - 1996
The island's premier player during 6 decades performing regularly at all the island's major hotels. He toured the mainland, Canada and Japan and was the featured instrumentalist on hundreds of record sides and numerous albums and for 25 years, he was the steel guitarist of the “Hawaii Calls” radio.
Alvin Kalanikau Isaacs, Jr., one of Hawai'i's premier steel guitarists, was born in Honolulu on July 18, 1924, the son of Julia and Alvin Kaleolani Isaacs. His father was a successful composer and entertainer, who first gained national prominence as a member of Harry Owens & his Royal Hawaiian Hotel Band in the late 1930s.
Alvin Sr. made sure that Barney and all nine of his siblings had instruments put in their hands while they were practically still in the cradle. Three of the children - Barney, slack key master Leland "Atta" Isaacs and multi-instrumentalist Norman Isaacs - developed a lifelong passion for music. This they indulged together, under the approving eye of their father.
Alvin, Sr. actively encouraged his ten children to play. He taught Barney, Atta and Norman the rudiments of steel guitar while they were still in elementary school. "When my dad noticed that we were always playing together, he suggested we form a trio," Barney recalled. When the trio was formed, they had to spread out. "As the oldest, I got to pickfirst, so I stayed with the steel."
Atta went to the guitar and Norman played the bass. "We could sing parts and everything. At that time Hawaiian music was very danceable; fox trots, waltzes. We were always trying to keep up, learn as much as we could from the older guys and each other. Pua Almeida, Jules Ah See, the Kalimas, they were all our age. Jules' steel playing probably had the most influence on me, he could really make it sing. He had so many styles and different tunings. He was so adept at picking things up, but he never lost his own recognizable sound."
In 1948 Barney accepted a position in his father's group, the legendary Royal Hawaiian Serenaders. He recalled, "It couldn't have been a better place to start - in the Monarch Room at the Royal Hawaiian Hotel with that group - my father, Benny Kalama, George Kainapau. They were really terrific."
Barney never learned to read music, but still gained international recognition as a pioneer in playing the steel guitar. He was known for his distinctive use of chords and key changes. He was one of Hawai'i's most versatile and active performers, and a globetrotting ambassador of the steel guitar.
Barney performed with the Hawai'i Calls radio show from 1960 until it closed in 1975, and again for its short reopening in 1992, backing up greats such as Alfred Apaka, Haunani Kahalewai, Nina Keali'iwahamana, Boyce Rodrigues, Lani Custino, and Pua Almeida, Sterling Mossman and others. He performed with Danny Kaleikini in his show at the Kahala Hilton and with his own groups at numerous nightspots. He also played Waipio on steel for the John Wayne movie “Donovan’s Reef”.
Barney's recording credits number in the hundreds, including groundbreaking electric steel and slack key duets in the 1950s with Gabby Pahinui and Atta Isaacs. He recorded with George Kuo on the album HAWAIIAN TOUCH, the first-ever recording of pure acoustic steel and slack key guitar duet, winning the Na Hoku Hanohano award for instrumental album of the year in 1995. Barney felt a special aloha for that project. During a recording session he said "The acoustic steel is the instrument I started on; believe it or not, this was the first time I ever recorded on it." He also recorded E Ma’u – Take One with his group the Kahala Surf Serenaders, featuring many of Alvin Sr.’s compositions.
Barney was not just an artist; he was also active in numerous other parts of the music scene. He became acquainted with the other side of the
A&R desk, serving as the musical director for Waikiki Records in the 1950s. He taught steel guitar and served on the governing board of the major steel
guitar societies. Barney even operated his own club, The Palm Tree Inn, turning it into a locally celebrated musician's hangout. Barney's father was well-known for the huge musical gatherings he liked to hold at his house in Kalihi. Following his father's example, Barney loved to bring musicians together to socialize and perform for their own enjoyment.
Known as the “Dean of Steel Guitar”, he represented Hawaii at the Smithsonian Institute Folklife festival in Washington DC in 1989. The Honolulu City Council declared Isaacs one of Hawaii's greatest musical treasures in 1994.
Barney died February 12, 1996 at the age of 71 from complications resulting from a long fight with emphysema. He enjoyed a long and illustrious career as Hawaii's "ambassador of steel guitar". Barney was a beloved island artist who left behind a lasting legacy. There are few, if any, Hawaiian artists from the past 50 years who have not been affected or influenced in some way by his work.
For his contributions to steel guitar performance and recording, he was inducted into the Steel Guitar Hall of Fame in 1999.
The island's premier player during 6 decades performing regularly at all the island's major hotels. He toured the mainland, Canada and Japan and was the featured instrumentalist on hundreds of record sides and numerous albums and for 25 years, he was the steel guitarist of the “Hawaii Calls” radio.
Alvin Kalanikau Isaacs, Jr., one of Hawai'i's premier steel guitarists, was born in Honolulu on July 18, 1924, the son of Julia and Alvin Kaleolani Isaacs. His father was a successful composer and entertainer, who first gained national prominence as a member of Harry Owens & his Royal Hawaiian Hotel Band in the late 1930s.
Alvin Sr. made sure that Barney and all nine of his siblings had instruments put in their hands while they were practically still in the cradle. Three of the children - Barney, slack key master Leland "Atta" Isaacs and multi-instrumentalist Norman Isaacs - developed a lifelong passion for music. This they indulged together, under the approving eye of their father.
Alvin, Sr. actively encouraged his ten children to play. He taught Barney, Atta and Norman the rudiments of steel guitar while they were still in elementary school. "When my dad noticed that we were always playing together, he suggested we form a trio," Barney recalled. When the trio was formed, they had to spread out. "As the oldest, I got to pickfirst, so I stayed with the steel."
Atta went to the guitar and Norman played the bass. "We could sing parts and everything. At that time Hawaiian music was very danceable; fox trots, waltzes. We were always trying to keep up, learn as much as we could from the older guys and each other. Pua Almeida, Jules Ah See, the Kalimas, they were all our age. Jules' steel playing probably had the most influence on me, he could really make it sing. He had so many styles and different tunings. He was so adept at picking things up, but he never lost his own recognizable sound."
In 1948 Barney accepted a position in his father's group, the legendary Royal Hawaiian Serenaders. He recalled, "It couldn't have been a better place to start - in the Monarch Room at the Royal Hawaiian Hotel with that group - my father, Benny Kalama, George Kainapau. They were really terrific."
Barney never learned to read music, but still gained international recognition as a pioneer in playing the steel guitar. He was known for his distinctive use of chords and key changes. He was one of Hawai'i's most versatile and active performers, and a globetrotting ambassador of the steel guitar.
Barney performed with the Hawai'i Calls radio show from 1960 until it closed in 1975, and again for its short reopening in 1992, backing up greats such as Alfred Apaka, Haunani Kahalewai, Nina Keali'iwahamana, Boyce Rodrigues, Lani Custino, and Pua Almeida, Sterling Mossman and others. He performed with Danny Kaleikini in his show at the Kahala Hilton and with his own groups at numerous nightspots. He also played Waipio on steel for the John Wayne movie “Donovan’s Reef”.
Barney's recording credits number in the hundreds, including groundbreaking electric steel and slack key duets in the 1950s with Gabby Pahinui and Atta Isaacs. He recorded with George Kuo on the album HAWAIIAN TOUCH, the first-ever recording of pure acoustic steel and slack key guitar duet, winning the Na Hoku Hanohano award for instrumental album of the year in 1995. Barney felt a special aloha for that project. During a recording session he said "The acoustic steel is the instrument I started on; believe it or not, this was the first time I ever recorded on it." He also recorded E Ma’u – Take One with his group the Kahala Surf Serenaders, featuring many of Alvin Sr.’s compositions.
Barney was not just an artist; he was also active in numerous other parts of the music scene. He became acquainted with the other side of the
A&R desk, serving as the musical director for Waikiki Records in the 1950s. He taught steel guitar and served on the governing board of the major steel
guitar societies. Barney even operated his own club, The Palm Tree Inn, turning it into a locally celebrated musician's hangout. Barney's father was well-known for the huge musical gatherings he liked to hold at his house in Kalihi. Following his father's example, Barney loved to bring musicians together to socialize and perform for their own enjoyment.
Known as the “Dean of Steel Guitar”, he represented Hawaii at the Smithsonian Institute Folklife festival in Washington DC in 1989. The Honolulu City Council declared Isaacs one of Hawaii's greatest musical treasures in 1994.
Barney died February 12, 1996 at the age of 71 from complications resulting from a long fight with emphysema. He enjoyed a long and illustrious career as Hawaii's "ambassador of steel guitar". Barney was a beloved island artist who left behind a lasting legacy. There are few, if any, Hawaiian artists from the past 50 years who have not been affected or influenced in some way by his work.
For his contributions to steel guitar performance and recording, he was inducted into the Steel Guitar Hall of Fame in 1999.
