NA Leo Pilimehana's fourth American album is a 15-song cross-section of songs from the first three. (Although scheduled for public release in September, the disc only reached local record stores last week).
"Local Boys," "Friends," "For the Sake Of The Children," "Candle In The Night" and "Flying With Angels" probably rank as the most popular selections. Two others, "Waikiki" and "Ka Leo O Ku'u Lehua," reflect Na Leo's appreciation of their Hawaiian heritage.
Na Leo's continuing success in Japan is seen in the inclusion of three routine pop-chart remakes; the songs were appended to Na Leo's Hoku Award-winning "Flying With Angels" album when it was rereleased there earlier this month by Sony Japan.
"Anthology I" is packaged as an individually numbered "limited edition" collector's item that will be available only through next January, if it doesn't sell out long before that.
Hahani Mai By Kekuhi Kanahele (Punahele Productions)
Kekuhi Kanahele taps into her kupuna's legacy.
THE record label that launched Keali'i Reichel and Uluwehi Guerrero now introduces another striking modern Hawaiian performer. Kanahele taps the legacy of her kupuna and her own experiences in her performances as vocalist and composer.
Her husband, Kaipo Frias, is her song-writing partner; his lyrics are beautiful and romantically erotic even in translation and with only the most obvious kaona, or double entendres, intact.
Students of things Hawaiian will note that the CD bears the 'Ahahui 'Olelo Hawai'i seal of approval for careful use of the Hawaiian language in spoken and written form.
Punahele executive producers Reichel, Fred Krauss and Jim Linkner likewise cut no corners in the studio. A live string quartet backs Kanahele and her core musicians on four selections; slide trombonist Brian Matson is an exotic embellishment on another. The perfect simplicity of ukulele, multiple guitars, and bass prevails. Kanahale is exquisite throughout.
As with all first-rate Hawaiian albums these days, the annotation includes the Hawaiian lyrics, a brief account of the songs' origins, English-language translations, and a hint or two of the kaona hidden within the Hawaiian lyrics.
People who don't speak fluent Hawaiian will be able to appreciate Frias' writing as well as Kanahele's vocal technique. (The couple rewards the Hawaiian-speaking minority by including several short narrative segments that are not translated.)
Beautiful album art contributes further to this impressive musical portrait. Don't be surprised if Kanahele turns up a finalist for Most Promising Artist and Female Vocalist of the Year at the Hoku Awards next spring.
Natasha By Natasha (Keynote Music)
A view of "Natasha's" back cover.
IT'S been years since any local female vocalist has crafted a commercial pop-rock album that captured the attitude popularized nationally by women like Taylor Dayne or Belinda Carlisle.
This debut album from Natasha Tabandera ends that draught. What's more, Natasha hits hard with the catchy opening track, "Looking For Mister Right," and serves up several other promising numbers.
"I Can't Say No" is a brassy rocker that could become a signature. "This Diamond" and "Midnight Again," illuminate softer facets of her repertoire. Producer Jon Edwards' synth-rock arrangements match the genre; a small squad of musicians adds the textures of guitar, bass, sax and live drums to the mix.
It's become customary for local record producers to include a safe remake or two as sop to Hawaii's generally conservative radio station music directors. Natasha and Edwards assay Timi Yuro's 1962 hit, "What's A Matter Baby (Is It Hurting You)," and come up with a memorable revision. All local remakes should be this good.
All first-time local pop albums should be this good. Natasha and Edwards are a team to watch.