IT'S been 16 years since Keale recorded his landmark "South Sea Island Magic" album for the Mountain Apple Co. and almost exactly 10 since his 1986 release, "Aloha Is A Part Of Me, A Part Of You."
The latter album won two Hoku Awards for others involved with it - a testament to Keale's personal popularity and remarkable ability to transcend jejune material. This one is far superior to "Aloha Is..." and long overdue.
Despite the album's title, John Lennon's one-world anthem isn't on it. However, there are several English-language selections expounding on that theme.
Bottom line? What a voice! English-speakers will love Keale's renditions of "The Water Is Wide" and "Wonderful World."
Hawaiian-speakers will applaud the four new songs he co-wrote with Kihei de Silva. Lyrics and translations are included in the liner notes although the subtleties of de Silva's lyrics generally defy direct translation into English.
And what a musician! One of two instrumentals presents Keale as a soloist; Guy Tseu (guitar) and Dwight Kanae (12-string guitar) join in on the other to weave a beautiful tripartite arrangement.
Keale's performance is enhanced by producer/musician Freddy Von Paraz's remarkable restraint with the synthetic string effects. Von Paraz generally uses them to create melodic counterpoints rather than droning sonic filler. Most other local record producers could take a lesson.
Still in the Hood Butch Helemano & The Players of Instruments, Kana'i/M.D.L. Records, CD
HELEMANO was writing and recording original reggae years before local posers began perpetrating "Jawaiian" pseudo-reggae. Word on the street was he finally quit reggae several years ago to get into Hawaiian culture. This album proves otherwise. The inimitable Helemano is writing, arranging and performing in the same style as always. And, as usual, the songs are originals.
The big surprise is the renewal of his ties with producer Marcello Vendiola (allegedly the subject of an unflattering song Helemano recorded after their falling out in the late-1980s). The album is significant for Vendiola as well; thoroughness of annotation and colorful art make it his personal best.
At times, though, Helemano wavers from his traditional commitment to originality and affects a Jamaican-style accent. The other lapse is "Get Up" - guest rappers Joe D and "Papa T" Troxell do good work but an urban American rap song simply doesn't fit on a Helemano reggae album. The duo deserves its own disc.
Reggae is rightly known as political music. Helemano weighs in against abortion, racism, imperialism, greed, the Great Mahele and the overthrow.
Unfortunately, his enthusiasm exceeds his knowledge. His claim that Hawaiians "lived in peace and love" prior to the arrival of Europeans is incorrect. Similarly, the aliens who "robbed us of our culture" did so with the active support of an opportunistic alii wahine who had a personal interest in doing so. The relevant distinction is that until Kamehameha I died in 1819 Hawaii and its resources were controlled by native Hawaiians, not aliens.
Musical tastes have shifted since the glory days when local reggae fans embraced Helemano along with all the posers and perpetrators. Rekindling that excitement in the current local music market could be difficult. Helemano has never been deterred by challenges.
Street Signs Ken Herkes, Haole Boy Records, CD
COMPOSER Herkes' musical calling card probably has at least two strikes against it. First, he's an unknown self-styled "haole boy" in a market often inhospitable to unknowns in general and "haole boys" in particular. Second, Herkes' music is almost impossible to describe in a single cliche, another liability when an unknown artist is looking for airplay.
Herkes' compositions include elements of Seventies-style jazzy-pop, country-rock, folk-rock, acoustic rock, acoustic ballads, blues-rock and Hawaiian percussion. Unlike some sampler albums none of these ingredients sounds forced or out of place. Herkes clearly has an eclectic repertoire and talent as well.