The slick slackers have a field day; most sing, with Dennis Kamakahi offering two solid jewels, "Wahine 'Ilikea" and "Maunakea"; Owana Salazar, the lone female guitarist-singer, updates "Hi'ilawe" in her own style; George Kahumoku Jr. renders a splendid "Ka Uluwehi O Ke Kai" and a blues-jazzy Hawaiian War Chant" with Norton Buffalo.

Many other charmers abound: Sonny Lim's "Na Ali'i Puolani" with Keoki Kahumoku, Peter deAquino and Sterling Seaton; Richard Ho'opi'i sharing his considerable talent on "I Ali'i No 'Oe," producer-strummer Daniel Ho going strictly instrumental on "Pomaika'i." Oh, and steel guitarist Bobby Ingano (with Derrick Mau), chimes in on "Moana Chimes."

Because of the "live" nature, audience applause is part of the modus operandi here — and it works. There's a genuine esprit of sharing and caring, with splendid guitarmanship.

Hula was the inspiration to the composer and the lyricist.

Surely, "The Spam Song" with its playful tempo surrounding Ho's sweet vocals, will be quickly adopted as a hula novelty — delicious to the ear, as much as a Spam musubi is ono to the palate. For the record, Stillman created a word for Spam — shua'a, the inspiration coming from the Hawaiian word for pig, pua'a, and works in terms like shua'a hua moa (Spam and eggs) and shua'a musubi.

"The Breakfast Song (Pineapple Mango)" is another novelty combining Hawaiian lyrics with English, introducing repetitive but clever lyrics (toast is palaoa pulehu, burnt toast is palaoa papa'a), with Ho sashaying to a tender Jamaican/Caribbean beat.

"Hula in Seven" should be a blissful challenge for hula stylists — a melody with seven beats instead of the traditional four or eight (even numbers), which could trigger creative dances. Ho's the principal vocalist here.

"Pule No Malia" puts Carrere in a solemn stance, a prayer motif with "hail Mary, full of grace" rendered in calming Hawaiian — a contrast to her "Welo," a number structured like haiku.

Carrere and Ho attended schools in Kaimuki; she, Sacred Hearts Academy, he Saint Louis, so it's not surprising to find her singing his 'O Ia Uka," a tribute to his alma mater, at once autobiographical, but a mele about a place of learning and growing up on the slopes of Kalaepohaku.

While the Carrere and Ho names together suggest a duet CD, the focus alternates between her or his voice, with the key "twosome" element on a chant, "Papahanamoku (Earth Mother)." The combination is a tad of a stretch; both voices lack the depth to deliver the power of the mele inoa.

Just find a track, any track, and you'll go down memory lane — Gary Haleamau's "Makee' Ailana" and "Maika'i Ka Makani O Kohala," Elmer Lim's "Punahele" and "Ka Halia," Robert Keli'iho'omalu Jr.'s "Lonowai" and "He Aloha No'o Honolulu," Nolan Ha'o's "Papakolea" and "Kaula 'Ili."

The four gents each offer several other tracks — all hear-worthy.