It's a tidy sampling of prevailing musical motifs, with additional reach with the presence of Darrell Labrado ("I Want My Island Girl"); Shen and O-Shen ("Pacific U-N-I-T-Y"); and Laga Savea ("Pretty Lady") targeting younger Japanese fans of Island sounds. With 15 tracks, there's a lot to review and embrace; easily, volumes and volumes could follow and eventually link to tours by the acts visiting Japan.

Therein lies the mission of the CD: Besides exposing the retinue of talent, the intent is to promote and establish H-Pop, Hawaiian Island contemporary music in a market that already has embraced traditional and even contemporary Hawaiian music, the sounds with a hula connection.

An expansive liner booklet provides lyrics, in English and in Japanese, and even short bios and photos and sketches of the performers. It's a great intro to H-pop for those not yet familiar with Jawaiian riffs and bouncy contemporary Island-flavored anthems.

One cute element: the shave- ice cover motif — a rainbow of faces in a cup, complete with straw and spoon, ready for slurping.

One miscue: The obvious lack of a woman soloist or group with a femme voice. OK, guys dominate the music scene, but diversity always works.

This is Vaughan-derful listening, however temporary, before Vaughan decided to forsake the path of, say, Alfred Apaka, and ventured to his more profound and enduring stature as an authority of Kalakaua-era music and style. He made a wise choice, I say, in creating his niche.

Still, this time-warp flashback has charm and grace to spare, with "Kainoa," "Lovely Hula Hands," "Blue Hawai'i," "Beyond the Reef" and "Sweet Leilani." The Apaka allusion can be attached to "My Isle of Golden Dreams." For Vaughan, the middle ground might well have been "Kaua I Ka Huahua'i," which commonly is known as "Hawaiian War Chant," but his ballad intro and closing verses remain distinctive and identifying — compared with Seiji Hiraoka's upbeat, swing-tempo, slightly jazz midway instrumental segment.

"On Maui" is reprised here, the lone song that gives it an Island anchor. Otherwise, this is a musical journey of Baker's views on relationships ("The Hurtin' Game," "It's You I Want to Please") and his sunny disposition ("My Friend," "Good Morning Baby").