HawaiianCD

MP3

Track 1:	Ka Wai A Kane - meli oli , performed by Ka`upena Wong. This is a mele pule, healing chant. Kane is one of the four major Polynesian gods, the others being Ku, Kanaloa, and Lono. Kane is considered a procreator and provide of sunlight, fresh water, and the life substances of nature.
Track 2:	Ka Wai A Kane - meli oli (with English reading)
Track 3:	Kulu Aloha E - mele ho`oipoipo (love chant), performed by Kau`upena Wong. This mele is presented along with the sound of an `ohe hano ihu (nose flute). The Hawaiian nose flute is made from a length of bamboo about ten to twenty-one inches long and one and a half inches wide. The flute is usually played with the right nostril - the left nostril being closed with a finger or the thumb of the left hand.
Track 4:	Ho`oopuka E Ka La kai I `Umnulau / Holo Mai Pele, performed by Haalu `O Kekuhi. Both of the chants are mele hula. The first portion Ho`oopuka E Ka La kai I `Umnulau (the sun rises over the sea of `Unulau), is often performed as an entrance chant. The rising of the sun in the east symbolizes the arrival of the life and activity to the earth, as well as the arrival of the dancers. Holo Mai Pele (Pele arrives) is dedicated to the volcano goddess Pele. The lyrics tell of Pele's migration to the island of Hawai`i from her ancient homeland, Kahiki. These chants were accompanied with ipu hehe (double gourd).
Track 5:	He Motu No Ka`ula. This chant is about a particular battle in Kalani`opu`u was about to strike down a young warrior. The chief realized that the young man was facing the sunset of his years. Kalani`opu`u looked westward to the islands of Ka`ula, Kaua`i, Ni`ihau, and Nihao, comparing them the sunset of a person's life. This mele is performed by the `olapa (dancers), who energetically beat out a rhythmic accompaniment to the chant using wooden sticks. The longer one, called kala`au, and the shorter stick is called la. It is used to beat against kala`au.
Track 6:	He Aloha Lani Ke Kau Nei is a Hawaiian himeni (hymn), translated this hymn from "Majestic Sweetness Sits Enthroned,: which appeared in an 1850 hymnal entitled Cantica Laudis. This himeni was sung by members of the Waimea Hawaiian Church congregation, originally from the island of Ni`ihau. "Majestic sweetness sits enthon'd, On my Redemmer's brow, His head with radiant glories crown'd, His lips with grace o'er flow."
Track 7:	Pauoa Liko Ka Lehua, performed by Raymond Kane, accompanied with a slack-key guitar. This song refers to a mossy waterway that once ran through Pauoa Valley on the island of O`ahu. This song is an old mele hiula (song for dancing) and was originally a hula ku`i from the later 19th century. Near the end of the song, the singer sang with a trill or tremor, called `i`i, a feature of pre-European Hawaiian chant style.
Track 8:	Kalama`ula (Red Torch)/E Mama E, performed by Ho`opi`i Brothers, accompanied with guitars, `ukulele, steel guitar, acoustic bass. This song is about a Hawaiian Homestead area on the island of Moloka`i. E Mama E is a song to celebrate the love of a child for his or her mother.
Track 9:	Kupa Landing, this song celebrates the coastal area of Ho`okena, south Kona on the island Hawai`i, where hides and tallow from wild cattle and sandalwood were shipped out from this port. The singers suggests there is kaona (hidden meaning) woven into the chorus. The sound of the birds echoing as they feed and sing on the cliffs, represents a longing within your heart to come back to Ho`okena. "Singing, the birds are singing; Tralala, tralala, tralala, trala; Sweetly sounding, pleasantly; Singing sweetly at Ho`okena; In the midnight hours."
Track 10:	Hawai`i Aloha was composed by Reverend Lorenzo Lyons in 1852. It has become an enduring part of Hawai`i's musical heritage and is today sung as as a closing "anthem" at many gatherings in Hawai`i.