Part of his strength and appeal is his ability to select the kinds of songs that touch the heart and soul of his growing fanship. Here, the serenades include a number of established favorites such as "Koke'e," "Puamana," " 'Ulili E," and "Wai'alae," titles that have been widely recorded and applauded, but Peterson adds his intimate style to reinterpret these tunes with vigor and vision.

The perfect track simply must be "Ka Nohona Pili Kai," the Puakea Nogelmeier-Keali'i Reichel creation that emerges as a solemn Peterson sensation. As such, he is an artist with notes as a paintbrush, using the canvas of the CD to create pastoral and reflective images for the listener.

He also is a serious and inventive composer, providing four new original compositions — "Once in Waikiki," "Pahe'e Slack Key," "Let's Ride" and "Almost Home," each demonstrating a master's stroke. His passion for the guitar is equalled by his proficiency; and his matinee-idol looks simply make him one of the most charismatic troupers in a field of champions.

This compilation of 12 tunes, to be released Nov. 20, is a journey into his mind and spirit, a reflection of his impressions of aspects of his life. He wrote all tunes, played all instruments, produced, mixed and mastered the disc.

The title song recalls his early fears of moving ... to Kane'ohe, only to find he was under its spell; his song is shared with a rock-strumming tempo, Hawaiian lyrics, solo and choral vocalizing, and melodic hooks that could eventually become a signature.

The CD's range is remarkably wide, as Aweau's pendulum swings from history ("E Pi'i Mai Ke Kai," about early settlers likely seeing the imposing Ko'olau range) to his faith ("Iesu," which borrows from Psalms 95); from the glowing pride of parenthood ("Ku'u Momi Makamae," honoring the birth of his daughters) to the feelings of joy and beauty upon returning home via airplane ("Ko'olau," paying tribute to the mountains seen from above).

And then there's the sweetly personal: "Ku'u Mahalo Mau Loa," a long song dedicated to his wife.

Aweau's voice has never sounded better, with richness in the upper registers, power in the lower, and sincerity and grace throughout.

The spectrum here is sort of '60s-'70s lounge motif, with a mix of styles. "China Sky" has an Asian touch, "Country Fever" is Nashville-influenced, "I'm Gonna Love You" percolates with soft-rock tempos, "Ke Alaula" recalls tropical nights with Hawaiian lyrics and Brazilian influences, "One More Yesterday" is a bluesy ballad, "Sail Away" taps into jazz.

Perhaps this diversity is part of Ka-ipo's challenge: It appeals to everyone ... or no one in particular. Clearly, he still has a lot to say — and says it in a variety of styles.