When you mention "Hawaii" and "music" in the same sentence, there are always people who think it's nothing but ukuleles, steel guitars, whispering surf and rustling palms. Well, you can't take those things away from Hawaii; they're all there and they belong. But if you happen to be among those who think music from Hawaii doesn't swing but only sways, then you're yet to discover Buddy Fo and his group. Their's are the sounds of the New Hawaii.

Over on the Island of Maui where the Buddy Fo tidal wave began, it was the younger crowd who first started packing the clubs where he was performing. First the Hawaiians, then the young tourists, and the word traveled. Soon it was everybody – all ages, all geographic origins – coming, coming back, and becoming ardent fans of the young singer with the easy voice clothed in clarity and his great little group of singers and musicians with the spontaneous yet contemporary sound. It all happened in a relatively short space of time, and now he’s one of the biggest names in all the islands.

The funny thing about the Fo Success story is that it’s not based particularly on Hawaiian songs – such numbers as “That’s Life,” “Goin’ Out of My Head” and Buddy’s own “Such Pleasure” are among his biggest requests. But, though many of his Hawaiian hits are mainland songs, there’s something distinctively Hawaiian about the universally appealing sound of Buddy and his young group – the sounds of his New Hawaii sound good anywhere!

There are a couple of things in Buddy’s background that have helped to shape his attitudes about both his singing and his composing. One is the time he spent with the Martin Denny group, and seeing how Polynesian and Western styles could be blended. The other was his friendship with the late composer Kui Lee, who influenced Buddy’s thoughts on what a song should be.

Buddy has been fortunate, too, in gathering around him some of the finest young talents in the islands as the members of his group. Lead guitarist Sonny Kamaka, for example, came with his own reputation already made. He and guitarist Henry Allen provide the instrumental sound that has become one of the Buddy Fo trademarks. Sonny is also extremely talented arranger, and did all the backgrounds for this album, except for “Life Still Has a Lot To Give Me” which was arranged by the composer, Jimmy Funai. Jimmy plays bass guitar with the group, and the soft but solid rhythm sound owes its appeal to him and to drummer Joe Shaw. And then there are Sammi and Candi, the two lovely girl singers heard in all the backgrounds. But they, of course, are not alone on the vocal backings. Hawaiian music requires involvement, and with Buddy’s group everybody sings. They’re all in the act and that is one of the things that makes the act so good – and about that there’s no question; everybody agrees.

The only question left, Hawaii, is – how are you gonna keep’em down on Maui after the rest of the world has heard this?

Pat Patrick, Honolulu