Introduction: The Hula & Slack Key Connection

Introduction

Hula has long been intertwined with Hawaiian music. In the 19th century, as guitars (introduced by paniolo cowboys) spread through the islands, Hawaiians developed kī hō‘alu (slack key guitar) and began using it to accompany hula and song. In traditional hula ku‘i (a style blending old chant with new Western melodies), slack key guitar often provided the instrumental backdrop alongside ukulele and bass. Unlike Western guitar styles, slack key players didn’t always strum the exact song melody; instead, they would play a repeated thematic fragment with improvised variations and ornamental flourishes (hammer-ons, pull-offs, etc.) to support the singers or dancers. This created a rich, rolling accompaniment perfectly suited to the gentle sway of hula ‘auana (modern hula).

Cultural Resonance

Both slack key guitar and hula are vital expressions of Hawaiian identity. Hula is more than dance, it’s a way to tell stories and honor history through graceful movement. Slack key, played in open tunings with a rhythmic finger-picked style, often mirrors the heartbeat of hula. Master players even incorporate percussive techniques reminiscent of hula implements. For example, slack key legend Ledward Kaapana recalls seeing his mentor Sonny Chillingworth slap the guitar soundboard “like an ipu (gourd drum)” while playing, to mimic hula drumbeats. This synergy of rhythm and melody means many mele (songs) composed for hula have become slack key standards, and vice versa. Slack key guitar’s nahenahe (sweet, soothing) sound provides an intimate atmosphere for hula kahiko (ancient-style) chants and energizes hula ‘auana songs about love, nature, and Hawaiian life. In short, slack key and hula grew up together, and their deep relationship continues in performances today – from backyard kanikapila jam sessions to the largest stages at the Merrie Monarch hula festival.

Below, we present a track-by-track guide to the Aloha Hula Best album, highlighting each song’s background and the performing artist. Following that is a section of artist biographies – spotlighting the slack key masters who bring these hula songs to life. Whether you scan this page after buying the album or simply to learn more, we hope it enriches your appreciation for Hawaiʻi’s music and dance.

Track 1: “Pua Hone” — Dennis Kamakahi

Background

“Pua Hone” (“Honey Flower”) is a modern Hawaiian love song Dennis Kamakahi composed in 1977 as a heartfelt proposal to his sweetheart, Robin. Its imagery uses kaona (hidden meanings) to compare the beloved to a dew‑touched blossom, evoking Makiki’s cool mists and the calm of evening. The melody moves with a gentle sway that invites hula ‘auana, and the refrain carries a vow that love strengthens with time. Over the years it became a standard across backyards, concerts, and hālau, precisely because its story is personal yet universal. In performance, singers often stretch the final phrase to linger on the sweetness promised by the title.

“Pua Hone was written as a musical proposal to his then–girlfriend, Robin.” — Liner notes

About the Artist

Dennis Kamakahi (1953–2014) was a revered singer‑songwriter and slack key guitarist, a pillar of the Hawaiian Renaissance era. He authored dozens of beloved mele that honor specific places and relationships, including “Wahine ʻIlikea” and “Kokeʻe.” His songwriting blends direct, singable melodies with layered poetry drawn from traditional sources and contemporary life. As a mentor and cultural advocate, he helped carry kī hō‘alu into classrooms, concert halls, and homes. His recordings remain reference points for hula and for Hawaiian language learners alike.

Lyrics

Original (Hawaiian)

O ʻoe ka wahine a ke aloha

I laila i ka uluwehi

Kuʻu pua hone i ka laʻi

 

Hone ʻana i kēhau o Makiki

ʻO wau kou aloha
I ka noe kuahiwi

 

He uʻi no ʻoe i ke kula

I wili ʻia me ka
ʻIeʻie o Leilono

Haʻina mai ana ka puana

Kuʻu pua hone i ka laʻi
He nani maoli nō

English Translation

You are the woman that I love

There in the lush verdure is
My honey flower in the calm

Kissed by the dew of Makiki

I am your love
In the mountain mist

You are a beauty on the plains

Entwined with the sacred
ʻIeʻie vine of Leilono

This ends my story

For my honey flower in the calm
A true beauty, indeed

Track 2: “Kuʻu Lei Awapuhi” — Keola Beamer

Background

Composed in 1951 by Emily K. N. Taylor, “Kuʻu Lei Awapuhi” addresses a beloved as a fragrant ginger lei glistening in misty rain. The text uses call‑and‑response lines that naturally guide hula gestures and partner work. Its tempo and phrase lengths give dancers room to breathe, shaping elegant handwork around the words “Where are you, my love?” and “Here I am.” The melody sits comfortably in the voice and on guitar, which is why it has remained popular for generations. Modern recordings broadened its reach while preserving its poetic core.

“I always pause and listen to the environment… and what it might be saying to me.” — Keola Beamer

About the Artist

Keola Beamer (b. 1951) stands at the crossroads of tradition and innovation in kī hō‘alu. Emerging during the Hawaiian Renaissance, he affirmed that slack key could be both modern and deeply rooted. His tone, right‑hand control, and relaxed pulse have become hallmarks of the nahenahe sound. Beyond recording, he has taught, written, and performed internationally, bringing Hawaiian stories to new audiences. His interpretations of classic mele show refined restraint, letting lyric and melody lead.

Lyrics

Original (Hawaiian)

ʻAuhea la ʻoe e ke aloha
ʻAwapuhi pala o ka ua noe
A eia no me au
I ka poli o ke aloha

Hui
E kuʻu aloha ē (e ō)
ʻAuhea la ʻoe (e ia no au)
A huli aku au ia ʻoe

English Translation

Where are you, my love
Like the ginger, covered in the misty rain
Here, I am with you
In love’s sweet embrace

Chorus:
I call, my beloved (answer)
Where are you (Here I am)
Return to me

Track 3: “Ka Makani Kaʻili Aloha” — Cyril Pahinui

Background

This classic mele praises a famous wind said to “snatch back” lost love, a story associated with Kīpahulu, Maui. Verses honor the land while the refrain addresses a cherished lei, knitting romance and place into one image. The melodic line invites expressive falsetto as well as grounded baritone, so it adapts to many singers. For hula, flowing arm lines suggest the wind’s caress while traveling steps echo the lover’s return. The song’s enduring power lies in its belief that nature and love work together to mend what’s broken.

“I like the 12‑string for the octaves — it has the power…” — Cyril Pahinui

About the Artist

Cyril Pahinui (1950–2018), son of Gabby Pahinui, carried forward a family legacy central to modern Hawaiian music. His 12‑string textures and unhurried phrasing frame the voice with warmth and strength. Onstage he balanced gentle humor with reverence for kupuna repertoire, regularly performing with hula. As a teacher and cultural leader, he championed community jams and workshop programs. His recordings preserve a living, breathing style rather than museum pieces.

Lyrics

Original (Hawaiian)

E aloha ae ana nō au

I ka makani kaulana o ka ʻāina

Aʻu e hoʻoheno nei

Ka makani kā`ili aloha

Hui:
Kuʻu pua, kuʻu lei, kuʻu milimili ē
Kuʻu lei kau i ka wēkiu
A he milimili ʻoe a he hiwahiwa naʻu
A he lei mau no kuʻu kino

I aloha ʻia nō ia home
Ia home luakaha a ka malihini

Aʻu i noho ai a kupa

Ka makani kāʻili aloha

English Translation

I love the
Famous wind of this land
Mine to cherish
The wind named Love-snatcher

Chorus:
My flower, my lei, mine to cherish
My lei that I adore above all others
You are my favorite and precious to me
A lei forever for my body

Beloved is this home
This home so delightful to visitors
Where I stayed many years
With my love that was once snatched by the wind

Track 4: “Hemo Da Kope Bean” — Keola Beamer

Background

This playful piece’s Pidgin title means “pick the coffee bean,” and the music paints that scene with a steady, sunny groove. Bright, syncopated patterns mimic nimble fingers moving through coffee branches, while alternating bass suggests steady work under the sun. Listeners often hear a calypso lilt blended with classic slack key voicings, a reminder of how Hawaiian musicians absorb and localize outside influences. Its buoyant mood makes it a natural palate cleanser in a show set, and dancers can build charming ʻauana gestures around the imagery. Even as the arrangement feels light, the picking is precise and deeply rhythmic.

“They hemo (separate) the beans from the branch one at a time…” — Album notes

About the Artist

Keola Beamer’s instrumentals reveal his control of tone, space, and narrative on the guitar. He favors clarity over flash, letting harmonics and open‑string resonance tell the story. Throughout his career he has balanced innovation with respect for lineage, crediting mentors and documenting techniques for students. Collaborations with pianists, singers, and other guitarists broadened slack key’s audience without diluting its essence. This track captures his ease and humor in musical storytelling.

Lyrics

Wake up in the morning

When the sun shine big and bright

Down the trail to the fields we go

Where the red beans catch the light

Singing hemo, hemo — hemo da kope’ bean

Hemo, hemo — hemo da kope’ bean

Na, na, na — hemo da kope’ bean (repeat)

And when the wind blow down the hill

He whisper through the trees

A little sunlight in a life

Make a man live happily

Singing hemo, hemo — hemo da kope’ bean

Hemo, hemo — hemo da kope’ bean

Barefoot on the dusty ground and reaching up into the leaves

When the sun be goin’ down, singing ‘neath the kope’ trees

Hemo, hemo — hemo da kope’ bean (repeat)

Track 5: “Endlessly” — Sonny Chillingworth

Background

“Endlessly” began as a 1959 pop ballad and becomes, in Sonny’s hands, a Hawaiian love song framed by kī hō‘alu. The guitar softens the doo‑wop contours into a gentle sway that suits slow hula or a couple’s first dance. By placing an English lyric within a slack key texture, the track shows how local artists made outside repertoire feel at home. The vocal is intimate and unforced, as if sung across a living room rather than a stage. Its message — devotion that outlasts time — fits the album’s themes of love and place.

“Sonny was the first slack key guitarist to use the clave bass pattern… he also used it on ‘Endlessly.’” — Liner notes

About the Artist

Sonny Chillingworth (1932–1994), “The Waimea Cowboy,” was among the most influential slack key masters of the twentieth century. He learned from elders and then opened doors for the next generation, encouraging a relaxed, personal approach to arrangement. His repertoire ranged from traditional mele to American folk and country songs, which he recast in nahenahe style. Students remember his generosity and ear for tone as much as his technique. This track highlights his tenderness as a singer alongside his elegant guitar work.

Lyrics

Higher than the highest mountain

And deeper than the deepest sea

That's how I will love you,

Oh, darling, endlessly

 

Softer than the gentle breezes

And stronger than the wild oak tree

That's how I will hold you,

Oh, darling

Track 6: “Ke Kali Nei Au (The Hawaiian Wedding Song)” — Ray Kāne

Background

Composed by Charles E. King in 1926, this mele vows patient, lifelong love — a meaning preserved when sung in Hawaiian. The phrases move like careful steps in a lei exchange, so it has become a favorite at weddings. The chorus’s declaration of a “moment of sweet aloha” allows for expressive dynamics without vocal strain. Ray Kāne’s treatment puts the poetry first and keeps the guitar spacious and supportive. It’s a reminder that intimacy, not volume, makes a love song linger.

“If we don’t share slack key, we’ll lose it.” — Ray Kāne

About the Artist

Ray Kāne (1925–2008) embodied the pure nahenahe approach to kī hō‘alu. His touch emphasized warmth and sustain, and he often let silences ring like breath between words. Though best known as an instrumentalist, he occasionally sang with a gentle, kupuna quality that listeners cherish. Recognized nationally, he still made time for community performances and teaching. His recordings are a model of restraint and feeling over flash.

Lyrics

Original (Hawaiian)

Eia au ke kali nei

Aia la i hea kuʻu aloha

Eia au ke huli nei

A loaʻa ʻoe e ka ipo

Maha ka ʻiʻini a ka puʻuwai

Ua sila paʻa ʻia me ʻoe

Ko aloha makamae e ipo

Kaʻu ia e lei aʻe nei la

Nou no ka ʻiʻini (nou ka ʻiʻini)
A nou wale no (wale no)

A o ko aloha kaʻu e hiʻipoi mau

Naʻu ʻoe (naʻu ʻoe)

E lei (e lei)

Naʻu ʻoe e lei

A he haliʻa kai hiki mai

No kuʻu lei onaona

Pūlupe i ka ua

ʻAuhea ʻoe ka ʻiʻini a loko
Na loko aʻe ka manaʻo
Huʻe lani ana i kuʻu kino

Kuʻu pua kuʻu lei onaona
Aʻu i kui a lawa ia nei
Me ke ala pua pikake

A o ʻoe kuʻu pua (O ʻoe kuʻu pua)
Kuʻu pua lei lehua (lehua)

Aʻu e liʻa mau nei hoʻopaʻa
Ia iho ke aloha

He lei (he lei)
`Oe na`u (`oe na`u)
He lei `oe na`u

English Translation

Here I am waiting

Where is my beloved

 

I've searched for you

Now that I've found you

Calm the desire of my heart

 

Sealed forever to you

Sweetheart you are so precious

I pledge my love to you alone

 

I desire you (desire)

True to you alone (alone)

With you joy will ever be mine

 

You're mine (you're mine)

Oh, my lei (Oh, lei)

You`re mine, my lei

 

Fond remembrance of the one who came

My fragrant lei

Drenched in the rain

 

Listen you, my heart's desire

To the thought within me

Open the heaven within my body

 

My flower, my fragrant lei

I will string and bind

Like the fragrant jasmine flower

 

You are my blossom (you, my blossom)

My lei of lehua (lehua)

 

My desire is always to be with and close

To my love

 

My lei (my lei)

You're mine

My lei, you're mine

Track 7: “Waikīkī Hula” — Cyril Pahinui

Background

A lively story‑song from the late 1920s, “Waikīkī Hula” follows a young man criss‑crossing Honolulu to see his sweetheart at Kamehameha School. Verses play with contrasts — cold Waikīkī vs. warm Kewalo — and sprinkle in landmarks that ground the tale. Humor arrives through running late, missed meetings, and the relief of reunion under the clock. Its cheerful tempo suits playful hula with mimed shivers, watch‑checking, and excited waves. The tune preserves a snapshot of Honolulu life while celebrating youthful romance.

“The most important thing I did was to listen.” — Cyril Pahinui

About the Artist

Cyril Pahinui’s upbeat reading keeps the story front and center while his 12‑string shimmer suggests the bustle of town. He had a gift for pacing, never rushing the lyric yet keeping energy high. His interpretations often feel like kanikapila brought to the stage — relaxed, inclusive, and rooted in community. Listeners new to Hawaiian language grasp the narrative through his clear diction. In his hands, “Waikīkī Hula” becomes both nostalgic and fresh.

Lyrics

Original (Hawaiian)

I Waikīkī anuanu au

Hoʻi au i Kewalo pumehana au

Aia i Kalihi kaʻu aloha

O ka hale kula nui ʻo Kamehameha

Mea ʻole ia loa i kahi manaʻo

Ma hope hoʻi au me kuʻu aloha

He loa ka ʻimina a ka huapala

ʻAlo aʻe i ke kula o Kaiwiʻula

ʻŌlelo kauoha na kuʻu aloha

I ka hola ʻeiwa hiki aku wau

Kakali au a hala ka manawa

Pau ka manaʻolana o ka hiki mai

Ke hulu hoʻi nei ʻo Lelesia

Keiki o ka pua laʻi

Haʻina ʻia mai ana ka puana

Hoʻi au i Kewalo pumehana au

English Translation

At Waikīkī I am cold

Returning to Kewalo I am warm

There at Kalihi is my love

At Kamehameha High School

I don't mind traveling the distance

To be with my love

A long time I searched for this sweetheart

Over the plains of Kaiwiʻula

My love said be there

At nine 'o clock

I waited long past the appointed hour

The thought came to me, she is not coming

Lelesia is returning

Child of the laʻi flower

Tell the refrain

I return to Kewalo and I am warm

Track 8: “‘Ike Ia Lādana (Queen’s Jubilee)” — Dennis Kamakahi (vocal)

Background

Princess (later Queen) Liliʻuokalani composed this Hawaiian‑language tribute while visiting London for Queen Victoria’s Golden Jubilee in 1887. The verses salute Victoria’s global renown and the gathering of rulers in celebration. Hearing the text in Hawaiian restores royal etiquette and imagery that English versions sometimes streamline. Dennis’s arrangement places voice and guitar in respectful balance, letting the regal language carry. It functions as both a musical piece and a compact history lesson.

“Poems and musical compositions, repeated and sung by our friends in the sweetest rivalry.” — Queen Liliʻuokalani

About the Artist

Dennis Kamakahi loved bringing lesser‑sung mele back into circulation, especially works by Hawaiian royalty. His clear baritone and steady guitar make the lines easy to follow for learners and dignified for formal occasions. In recordings and concerts he often explained context so audiences could appreciate more than melody. That educator’s instinct is at work here: the performance honors Liliʻuokalani as a composer, not just a monarch. It broadens listeners’ sense of what belongs in a slack key program.

Lyrics

Original (Hawaiian) 

Mahalo piha, Mōʻī ʻo ʻEnelani

Kuʻi kou kaulana nā ʻāina pau

Na kai ākau nā one hema

ʻIkea kou ʻihi mana nui

Eia mākou i kou kapa kai

I kou lā nui Iubilī

I hiʻi mai i kou mākou aloha

Maluna ou ka malu o ka Lani

 

Hauʻoliʻoli ʻEmepela o ʻInia

I kēia makahiki Iubili

ʻĀkoakoa nā aliʻi ʻaimoku

A puni ke ao holoʻokoʻa

E hi`ilani e mililani

Ua hui pūʻia me Hawaiʻi

E uhi mai ka lani i kona nani

E ola ka Mōʻī ke Akua

English Translation 

All hail to you, Great Queen of England

Fair Queen who rules over land and sea

From northern seas to southern shores

Your way is known both far and near

We come to your shores, gracious lady

On this great day of your Jubilee

To bring kind greetings from afar

May heaven bless you, long may you reign

 

All hail, all hail, Empress of India

In this your year of Jubilee

Now kings, queens and princes great

Have all assembled here today

To pay due homage and reverent love

Hawaii joins with loyal fervor

May Heaven smile on you

God bless the Queen, long may she live

Track 9: “Hawaiʻi Aloha” — Ray Kāne

Background

This hymn by Rev. Lorenzo Lyons (Makua Laiana) has become an unofficial anthem of Hawaiʻi, often sung hand‑in‑hand at gatherings. The Hawaiian text praises the islands as the sands of one’s birth and invokes blessings from above. Because many know it by heart, simple accompaniments work best; Ray keeps the focus on unity and message. In community settings the first verse and chorus are common, but additional verses deepen the prayer. Its placement here affirms the album’s emphasis on aloha ʻāina and shared voice.

“This song is typically sung while holding hands at the end of an event, bringing everyone together.” — Community tradition note

About the Artist

Ray Kāne’s quiet authority suits a communal mele like this. He supports the melody with open‑string voicings and gentle arpeggios rather than ornamental runs. Listeners feel invited to sing rather than impressed into silence. As an elder bearer of slack key, his renditions remind us that the tradition thrives in churches, backyards, and classrooms as much as on stages. The performance is humble in the best sense of the word.

Lyrics

Original (Hawaiian) 

E Hawaiʻi e kuʻu one hānau e
Kuʻu home kulaīwi nei
ʻOli nō au i nā pono lani ou
E Hawaiʻi, aloha ē

Hui:
E hauʻoli nā ʻōpio o Hawaiʻi nei
ʻOli ē! ʻOli ē!
Mai nā aheahe makani e pā mai nei
Mau ke aloha, no Hawaiʻi

E haʻi mai kou mau kini lani e
Kou mau kupa aloha, e Hawaiʻi
Nā mea ʻōlino kamahaʻo no luna mai
E Hawaiʻi aloha ē

Nā ke Akua E mālama mai iâ ʻoe
Kou mau kualona aloha nei
Kou mau kahawai ʻōlinolino mau
Kou mau māla pua nani ē 

English Translation

O Hawaiʻi, o sands of my birth
My native home
I rejoice in the blessings of heaven
O Hawaiʻi, aloha

Chorus:
Happy youth of Hawaiʻi
Rejoice! Rejoice!
Gentle breezes blow
Love always for Hawaiʻi

May your divine throngs speak
Your loving people, o Hawaiʻi
The holy light from above
O Hawaʻi aloha

God protects you
Your beloved ridges
Your ever glistening streams
Your beautiful gardens

Track 10: “E Hihiwai” — Dennis Kamakahi

Background

This Molokaʻi place song calls people of Wailau Valley back to their roots, comparing them to hihiwai, the freshwater snails of mountain streams. Verses sketch cliffs, winds, and waterfalls so vividly that the valley becomes a character. The chorus’s inviting cadence feels like a voice from the land itself encouraging return. Dennis’s melody is immediately memorable, making the song accessible to new learners and deeply moving for those from Molokaʻi. In hula, gestures for valley winds and water carry both ecological and cultural meaning.

“Hihiwai are edible freshwater snails usually found in brackish water.” — Song notes

About the Artist

Dennis Kamakahi frequently wrote mele that join environmental awareness with family memory. His guitar choices — often C‑family tunings — create a rolling bed that mirrors the flow of streams and trade winds. He introduced songs with stories, valuing context as much as performance. Collaborations with his son David highlight how music passes through ʻohana to the next generation. Pieces like “E Hihiwai” show songwriting as stewardship.

Lyrics

Original (Hawaiian)

Aia i ka nani o Molokaʻi lā
I nā pali weliweli o ke koʻolau
Hea mai ka leo hone
I ke ahiahi lā
I ka makani ʻekepue o ke awāwa

Hui:
E hīhīwai lā lae lae
E ho'i mai kāua lā
I ka ʻāina uluwehi o Wailau
Hanohano wale nō
Ka wailele Kahiwa lā
A me ke kuahiwi ʻo Olokuʻi

Mele kākou nei a pau
I ka mele ʻāina lā
ʻO ka nani mae ʻole o ke ola mau
ʻO ka makani kuʻu leo
ʻO ke kai kuʻu puʻuwai
ʻO ka ʻāina uluwehi kuʻu nui kino

English Translation

There in the beauty of Molokaʻi
In the fearful cliffs of the windward side
The sweet voice calls
In the evening hours
In the cold wind of the valley

Chorus:
O hīhīwai tra la la
Come back to me
To the lush and beautiful land of Wailau
So glorious
Is the waterfall Kahiwa
And the mountain, ʻOlokuʻi

Let us all sing together|
The song of the land
Of the never fading beauty of life eternal
The wind is my voice
The sea is my heart
The lush and beautiful land is my whole body  

Track 11: “Ka Makani Kaʻili Aloha” — Keola Beamer (ft. George Winston)

Background

Attributed to Matthew H. Kane and published by Charles E. King (1916, 1943), this mele—often translated “the love‑snatching wind”—honors the famous wind of Kīpahulu, Maui and addresses a beloved with lei imagery (“kuʻu pua, kuʻu lei, kuʻu milimili”). The text uses a verse‑and‑hui (chorus) structure familiar from hula. Early recordings include a 1928 side by Lena Machado; later versions by Gabby Pahinui (1972) kept the song in wide circulation. Keola Beamer’s 1999 duet with George Winston is a vocal performance—slack‑key guitar with piano—first released on Kolonahe: From the Gentle Wind.

“Slack key is the lens I look at existence through.” — George Winston

About the Artists

Keola Beamer

Keola has long collaborated across genres while keeping kī hō‘alu’s voice intact. His touch emphasizes clarity, resonance, and relaxed pulse — qualities that let melodies breathe. He’s also a culture‑bearer who teaches and writes so techniques persist beyond the stage. In duet settings he leaves space for partners while keeping the slack key identity unmistakable.

George Winston

Known for evocative solo piano, George Winston also championed slack key as a producer and collaborator. His sustaining lines and careful dynamics pair naturally with the open tunings of kī hō‘alu. He approached island repertoire with respect and curiosity, helping new audiences discover Hawaiian melodies. This track highlights that sensitivity in dialogue with Keola’s guitar.

Lyrics

Original (Hawaiian)

E aloha ae ana nō au

I ka makani kaulana o ka ʻāina

Aʻu e hoʻoheno nei

Ka makani kā`ili aloha

Hui:
Kuʻu pua, kuʻu lei, kuʻu milimili ē
Kuʻu lei kau i ka wēkiu
A he milimili ʻoe a he hiwahiwa naʻu
A he lei mau no kuʻu kino

I aloha ʻia nō ia home
Ia home luakaha a ka malihini

Aʻu i noho ai a kupa

Ka makani kāʻili aloha

English Translation

I love the
Famous wind of this land
Mine to cherish
The wind named Love-snatcher

Chorus:
My flower, my lei, mine to cherish
My lei that I adore above all others
You are my favorite and precious to me
A lei forever for my body

Beloved is this home
This home so delightful to visitors
Where I stayed many years
With my love that was once snatched by the wind

 

Track 12: “ʻUlili Ē (The Wandering Tattler)” — Dennis & David Kamakahi

Background

A cheerful folk mele about the sandpiper at the shoreline, “ʻUlili Ē” uses playful onomatopoeia and call‑and‑response. Verses sometimes include a chat with a migrating plover, connecting local beaches to far places like Kahiki. The steady tempo and clear refrain make it ideal for keiki classes and community sing‑alongs. With father and son trading parts, the track radiates ʻohana energy. It’s lighthearted on the surface yet quietly teaches about seasonal cycles and observation of nature.

“Captured a sound that had folks banging on the tables to ‘hana hou!’” — Performance recollection

About the Artists

Dennis Kamakahi

Dennis brings a warm baritone and unhurried guitar that support the song’s playful call‑and‑response. His approach keeps the melody clear for audiences of all ages while preserving the poetry’s charm. As a composer and performer he prized songs that teach about place and season. That sensibility shines in this family duet.

David Kamakahi

David’s high harmonies and ʻukulele sparkle bring a youthful brightness that complements Dennis’s grounded tone. As a performer he balanced precision with ease, inviting audiences into the story. His collaborations with his father modeled how songs travel through ʻohana. Together they kept traditional repertoire vibrant for new listeners.

Lyrics

Original (Hawaiian)

`Ulili ê (ahahana `ulili ehehene `ulili ahahana)

`Ulili ho`i (ehehene `ulili ahahana `ulili ehehene)

`Ulili holoholo kahakai ê

Oia kai ua lana mâlie

Hone ana ko leo e `ulili ê

O kahi manu noho `ae kai

Kia`i ma ka lae a`o kekaha

`Oia kai ua lana mâlie

Hone ana ko leo ko lea ê

Pehea `o Kahiki? Maika`i nô

`Oia `âina `uluwehiwehi

`I hui pû `ia me ke onaona

English Translation 

The sandpiper
The sandpiper returns
Sandpiper runs along the beach
Where the sea is peaceful and calm
The voice of the sandpiper is soft and sweet

Little bird who lives by the sea
Ever watchful on the beaches
Where the sea is calm

The voice of the sandpiper is soft and sweet
How are you, stranger? Very well
You grace our land
Where the sea is always calm

Track 13: “Wahine ʻIlikea” — Dennis Kamakahi

Background

Often heard as a love song, “Wahine ʻIlikea” is also a Molokaʻi place mele whose “fair‑skinned woman” is the white mist of Kamakou. Verses praise upland waterfalls and Hālawa’s evening breeze, honoring specific landscapes by name. The refrain’s proud “nō ka heke” (“the finest”) has become a signature line for dancers. The melody flows gracefully, balancing tenderness with strength. Its layered meaning lets performers approach it as romance, as geography, or both at once.

“It’s like a woman who reveals her beauty — sometimes she hides, sometimes she shows.” — Dennis Kamakahi

About the Artist

Dennis wrote this mele in the 1970s; it quickly entered the core repertoire for hula and slack key. His voice sits comfortably in the song’s range, and his guitar supports it with rolling arpeggios. In talks and liner notes he explained the kaona so listeners could appreciate Molokaʻi’s presence in the text. The piece shows his gift for writing songs that feel old the moment you hear them. It remains a touchstone for students exploring poetry in Hawaiian.

Lyrics

Original (Hawaiian)

Hui:
Pua kalaunu ma ke kai
ʻO Honouli Wai
Wahine ʻilikea i ka poli ʻo Molokaʻi
Nō ka heke

Nani wale nō nā wailele ʻuka
O Hina ʻo Hāhā ʻo Moʻoloa
Nā wai ʻekolu i ka uluwehiwehi
ʻO Kamalō i ka mālie

Nani wale nō ka ʻāina Hālawa
Home hoʻokipa a ka malihini
ʻĀina uluwehi i ka noe ahiahi
Ua lawe mai ka makani Hoʻolua

English Translation 

Chorus:

Crown flower by the shore

Of Honouli Wai

Fair skinned woman in the bosom of Molokaʻi

Is the best

 

Beautiful waterfalls of the upland

Hina, Hāhā and Moʻoloa

The three waters in the verdant overgrowth

Of Kamalō, in the calm

 

Beautiful is the land, Hālawa

Hospitable home to the visitors

Land verdant, in the evening mist

Brought by the wind of Hoʻolua

Track 14: “Hanohano Hawaiʻi” — Martin Pahinui (with George Kuo & Aaron Mahi)

Background

This short mele honors four islands by name and flower — Hawaiʻi (lehua), Maui (lokelani), Oʻahu (ʻilima), and Kauaʻi (mokihana). Its verse‑by‑verse roll call makes it perfect for opening or closing a program. The melody invites audience participation and simple, elegant hula gestures. Performers sometimes add verses for the other islands, but the classic version is concise and celebratory. Here the feel is backyard‑jam warmth elevated by expert ensemble playing.

“He always said to respect the song and the composer.” — Martin Pahinui

About the Artists

Martin Pahinui

Martin’s rich voice carries emotional weight without strain, a quality well matched to traditional mele. As a member of the storied Pahinui family, his singing reflects decades of kanikapila traditions. He balanced reverence for classic repertoire with a relaxed delivery that welcomes listeners in. On this track, that warmth sits at the center of the arrangement.

George Kuo

George Kuo’s slack key anchors the harmony with a classic, older‑style feel. His phrasing favors clarity and a gentle swing that supports singers and dancers alike. In ensemble settings he keeps the rhythm buoyant while adding tasteful fills. The result is both sturdy and elegant — an ideal partner for voice and bass.

Aaron Mahi

Aaron Mahi brings deep musical leadership experience to any collaboration. Best known for his long service with the Royal Hawaiian Band, he supports singers with a steady, uplifting groove. His bass playing makes the pocket feel roomy and welcoming. On this cut he helps the whole arrangement breathe while keeping it moving.

Lyrics

Original (Hawaiian)

Hanohano Hawaiʻi
Sweet lei ka lehua

Kilakila o Maui
Sweet lei lokelani

Ohuohu Oʻahu
Sweet lei ka ʻilima

Kaulana Kauaʻi
Sweet lei mokihana

Haʻina mai ka puana
Sweet lei lei aloha

English Translation

Glorious is Hawaiʻi
For its wreath of lehua

Regal is Maui
With its wreath of roses

Adorned is Oʻahu
With its wreath of ʻilima

Renowned is Kauaʻi
For its mokihana

Tell the refrain
Sweet lei, lei of love

Track 15: “Kokeʻe” — Dennis Kamakahi

Background

This beloved Kauaʻi mele begins “ʻUpu aʻe he manaʻo…” — a thought arising at Kōkeʻe’s summit amid encircling mist. Verses circle sacred Kalalau and beloved Waimea, linking vistas to vows of never saying goodbye. The tune’s rise and fall mirrors cloud bands appearing and lifting over the cliffs. Many communities on Kauaʻi embraced it as an anthem because it sounds like home. It teaches how new compositions can feel timeless when grounded in place.

“On most islands I have a place where I’m inspired to write — in Kōkeʻe, it’s like my soul has been there before.” — Dennis Kamakahi

About the Artist

Dennis called Kōkeʻe a personal spiritual refuge and wrote the song to share that feeling. His relaxed tempo and phrasing let listeners “see” the landscape while they listen. Over time, the mele became a frequent closer at island events, inviting everyone to sing along on the English line. Its success reflects Dennis’s ability to craft melodies that are both singable and evocative. The recording here is spacious, allowing guitar harmonics to shimmer like mist.

Lyrics

Original (Hawaiian & English) 

Upu aʻe he manaʻo
I ka wēkiu o Kōkeʻe
I ka nani, o ka āina
O ka noe poʻaiʻai

Hui:
ʻO Kalalau, he ʻāina laʻa
I ka ua liʻi liʻi
ʻO Waimea kuʻu lei aloha
Never more to say goodbye

Hoʻi mai ana i kahikina
I ka la welawela
I ke kai hāwanawana
I Poʻipū ma Kōloa

Mele au no ka beauty
I ka uka ʻiuʻiu
I Kōkeʻe ua ʻike au
I ka noe poʻaiʻai

English Translation

A thought recurs
To the summit of Kōkeʻe
In the beauty of the land
Of the encircling rain

Chorus:
Kalalau is a sacred land
In the drizzling rain
Waimea is my beloved wreath
Never more to say goodbye 

Returning to the east
In the doubly hot sun
To the whispering sea
At Poʻipū in Kōloa

I sing for the beauty
In the lofty uplands
At Kokeʻe I saw
The encircling mist

Track 16: “Hanohano Hawaiʻi” — George Kahumoku Jr. (ft. Bob Brozman)

Background

A traditional mele also known as “Sweet Lei Lehua,” its text calls each island by name with its emblematic lei—Hawaiʻi/lehua, Maui/lokelani, Oʻahu/ʻilima, and Kauaʻi/mokihana. This 1997 duet from Drenched by Music is a vocal performance: Kahumoku sings with slack‑key guitar, and Bob Brozman adds steel guitar, keeping the island‑and‑lei roll call at the center of the arrangement.

“Hanohano Hawaiʻi… notice the simplicity of the words and the inferred colors of each island.” — Liner notes

About the Artists

George Kahumoku Jr.

George brings a warm, flowing kī hō‘alu approach grounded in storytelling and aloha ʻāina. His touch emphasizes songfulness over flash, and his shows feel like gatherings of friends. He has also nurtured younger players through his long‑running Maui slack key series. The combination of artistry and mentorship defines his legacy.

Bob Brozman

Bob Brozman was known for expressive slide and resonator playing and for cross‑cultural collaborations. His tone and sustain complement kī hō‘alu beautifully when arranged with restraint. In duet with George he leans into melody and supportive countermelodies rather than showy runs. The result is lyrical and balanced — a conversation, not a contest.

Lyrics 

Original (Hawaiian)

Hanohano Hawaiʻi
Sweet lei ka lehua

Kilakila o Maui
Sweet lei lokelani

Ohuohu Oʻahu
Sweet lei ka ʻilima

Kaulana Kauaʻi
Sweet lei mokihana

Haʻina mai ka puana
Sweet lei lei aloha

English Translation

Glorious is Hawaiʻi
For its wreath of lehua

Regal is Maui
With its wreath of roses

Adorned is Oʻahu
With its wreath of ʻilima

Renowned is Kauaʻi
For its mokihana

Tell the refrain
Sweet lei, lei of love

Track 17: “Pua Līlīlehua” — Sonny Chillingworth

Background

This modern classic is a mele hoʻoipoipo (love song) whose lyric by Mary Kawena Pukui and melody by Kahauanu Lake praise the “līlīlehua” — a sage blossom and the name of the famed wind and rain of Pālolo Valley on Oʻahu. The text calls to a cherished beloved and pledges that love is bound fast, using the proverb “hilo paʻa i ka lino hilo pāwalu” (tied firm with an eight‑strand cord). Many hālau favor it for elegant, intimate hula because the imagery is vivid yet refined. The song also carries a personal backstory: Kahauanu Lake composed it for his wife, the kumu hula Maʻiki Aiu Lake. Its balance of romance, place, and craftsmanship explains why it has endured as a standard.

“Composed by Kahauanu Lake for his wife Maʻiki; the Līlīlehua is the wind and rain of Pālolo.” — Song notes

About the Artist

Sonny recorded a cherished version with his nahenahe voice supported by kī hō‘alu. His pacing lets the poetry breathe; he allows rests at key phrases so the kaona can be felt as well as heard. Within his wider discography, he navigated tradition and experimentation with steady feel. This track exemplifies his ability to serve the mele rather than overshadow it.

Lyrics

Original (Hawaiian)

`Auhea wale ana `oe

E ka pua lïlïlehua

A he `ipo ho`ohenoheno

E ho`ohihi 'ai no ka mana`o

 

 

Iä `oe e `imi ana

I nä nani o ka `aina

Eia nö la`au ma`a nei

E kali ana i kou ho`i mai

 

 

E `alawa mai ho`i `oe

I nei mau maka onaona

He mau maka po`ina `ole

E kapalili ai ko pu`uwai

 

 

Hilo pa`a ia ke aloha

I ka lino hilo pa walu

`A`ohe mea e hemo `ai

Me au `oe a mau loa

 

 

Ha`ina mai ka puana

E ka pua lili lehua

A he `ipo ho`ohenoheno

E ho`ohihi ai no ka mana`o

English Translation

This is to you
O sage blossom
A cherished sweetheart
That attracts the mind

While you go seeking
Among the beauties of the land
Right here I remain
Waiting for your return

Glance quickly this way
At these inviting eyes
These unforgettable eyes
That makes my heart tremble

Love is bound fast
With an eight strand lei
There is nothing to separate
You from me forever

This story is told for you
O sage blossom
A cherished sweetheart
That attracts the mind