The year was 1980, and the influences of artists like The Sunday Manoa, Gabby Pahinui, Olomana, and Keola and Kapono Beamer resonated throughout the islands as they heralded a new sound of and for modern indigenous peoples, part of the cultural revolution known as the Hawaiian Renaissance. On the other side of 1970s island life, bands like Kalapana, Country Comfort, and Cecilio & Kapono were shaping a contemporary sonic identity for locals indigenous and otherwise blending rock, soul, country, and jazz into a pleasant pop blend that continues to inspire musicians today.

In the middle of it all was Brother Noland.

In a catalog that now spans more than 40 years, Speaking Brown is Brother Nolands magnum opus. Listen to the album in full, and youll instinctively understand this as the songs unfold. The music all originals, save for Haleakal and Manowaiopuna/Kula melds Hawaiian music with contemporary styling, but not in the way that The Sunday Manoa or the Beamer Brothers had done in the previous decade. Close comparisons are Chucky Boy Chocks folksy explorations of Hawaiian music on his Oahu Brand and Brown Co. Vol 1 albums, and Nohelani Cyprianos 1979 debut LP, which married Hawaiian instruments with modern genres. Cyprianos effort was much more pop-centric than Nolands; her recordings nod to current and past eras (like Motown and hapa-haole), whereas with Speaking Brown each song is place-based or in tribute to a loved one, a typical quality of Hawaiian mele. The album grew from modern and ancestral Hawaiian identities, and from Aloha ina, the love and respect for Hawaii, its land and its people, which remains a core belief Brother Noland practices to this day.

The album opens with an original arrangement of Haleakal Hula, composed by Alice Nmakelua. The first 30 seconds of the song indicate how Brother Noland does things: the rocking rhythm and disco syndrum propel the layered guitars and vocal harmonies into a fusion of old Hawaiian music with modern day attitude. Sung in lelo Hawaii, as a listener you might think you know what to expect herein, but so far its unlike anything youve heard. This is the way Brother Noland does things: familiar, but different.

The hits on Speaking Brown were limited to Pua Lane, which today remains a staple in Nolands live performances, and Pueo, Tara and Me, which is currently part of Hawaiian Airlines in-flight music video programming. Both songs, coincidentally, represent Nolands upbringing: in the urban projects of Palama Settlement in Honolulu, and among the rolling hills of Waimea on Hawaii Island. Another cut, Look What Theyve Done, wouldve made an impact if not for local radio stations banning it, fearful of repercussions from broadcasting its criticism of development of Hawaiis iconic (read: profitable) tourist destination, Waikk. But Noland wasnt looking to make hits or political statements he wanted to make an album. Noland recognized the need to have recordings of his own so that he could stand alongside his industry peers.

By the time Kawaihae kicks in on the B-side, the album has gently woven itself into your heart and soul, its roots reaching to the soil, sky and sea, its vision looking to past, present and future. But you have to let this happen. Theres no hurry on Speaking Brown; you need to be present to understand its power. Like the gradual unfolding of a morning at Haleakal, its not possible to look just at the sunrise you inherently take in the mountains magnificent shadow, which stretches across the cloud layers, the small towns below, the majestic sea surrounding Maui, the infinite horizon.

In a time of impossibly short attention spans, Speaking Brown might get overlooked. We hope that instead of celebrating this album simply for the cuts that eventually became Brother Noland’s biggest hits, listeners can enjoy Speaking Brown for what it is: a whole greater than the sum of its parts; a cornerstone of Brother Nolands lifes work; and one of the most innovative albums of modern day Hawaii, which has shaped contemporary island music in a way thats familiar, but different.

• Official vinyl reissue of the 1980 debut of legendary Hawaiian artist Brother Noland
• Comparable to Nohelani Cypriano’s 1979 debut LP, mixing contemporary sounds with Hawaian music
• Includes 2024 interview and lyrics insert
• Remastered by Jessica Thompson

AGS-082 Artist – Brother Noland

• Genre: Folk
• Format Detail: LP Black
• Format Detail: LP Black
• Internal ID: JIT
• Handling Note: **Please allow an additional 5 business days for this item’s shipment.**
• Format: Vinyl
• Internal ID: JIT
• Handling Note: **Please allow an additional 5 business days for this item’s shipment.**
• Genre: Folk