At 22, she's displaying maturity and manners of someone twice her age. The thing is, she inhabits her music, putting her falsetto imprint onto melodies and lyrics that others have sung before. Take "Baby 'O Pu'ulani," served up as a medley with "'Olu O Pu'ulani," or "E Ku'u Sweet Lei Poina 'Ole," a favored Olomana hit from yesteryear; they are immediately endearing in her intimate style. Some fare is associated with segments of her earlier life; "'Ahulili" and "Lei Kukui" are beauts she embraced in earlier singfests with The Makaha Sons, mentors and fans who helped nurture her standing in the Hawaiian hierarchy.

Part of Helm's skills can be linked to her smarts in finding inspiration and a wellspring of knowledge from established peers — "Na Beauty O Kaua'i," from Tony Conjugacion's vault, and "Halawa," another "place song" penned by O'Brian Eselu.

"Ko'ula/Manowaiopuna" is an homage to her late uncle, George Helm, with Robert Cazimero aboard as a guest artist — talk about chemistry.

Her other song choices also have unsurprising attachments to popular songbirds: "'E Ku'u Tutu," "Ei Nei," "My Dede."

"Taking a Chance on Love," which is a Tin Pan Alley standard in the jazz realm, is out of place in the otherwise all-Hawaiian lineup but stands out as a testament to Helm's versatility and brilliance.

I recall her sprightly and memorable in-club version of "Won't You Come Home Bill Bailey," a show-stopper, repeated in Presley's "Paradise, Hawaiian Style." Images of these early aspects of her life are part of the CD package; "many moons have come and gone," as she sings on "Girl in the Picture," which is one of the 10 tracks Butterworth composed for this endeavor.

But who remembers Little Eleu? All grown up now but clearly still with the performing bug, Butterworth's self-produced album has some local ties; it was recorded at Grammy-winning Charles Michael Brotman's Lava Tracks Studios in Waimea, on the Big Island, and background vocals are by Ginai K. Kurti.

While her songs have some merit, a time warp overshadows the journey. Details are lacking on when or why some of these tunes were composed. "Wakin' Up Lonely" has rock reverbs, "Dreams" projects pop radio riffs, "Summer Song" has seasonal implications, "If I Can't Have Fun" is a tad country in motif — would be enlightening to determine vintage or background to fully appreciate Butterworth's return to the show-biz scene.

Under the savvy of producers Milan Bertosa and Sean Thibadeaux, "Stranger" boasts Ingano's familiar fingers on lap steel, tricone resonator and mandolin as he waltzes through "period" songs that only the steel guitar is able to pinpoint. What's particularly delightful and daring is Ingano's avoidance of expected tracks; he goes all over the map with astute interpretations of a gamut of tunes.

"After You've Gone" is a nostalgic oldie with vocals, "Kula Stars" (one of his own) creates images of nocturnal bliss on a Maui eve, "Rhythm of the Rain" is the Island favorite of yesteryear dressed up in new sprinkles, "Kalihi Waltz" (more Ingano inventions) comes in two flavors, "Fiesta" and "Sunset."