The selections may be divisive, but many tunes reflect the earnest values of the composers. "E Ola Hawai'i," an oli by Kainoa Daines and Hi'ilani Shibata, is the best of the lot, reflecting commitment — much like Liko Martin's classic "Hawai'i Loa," rendered here with a bit of a pop beat. The title song, an earlier composition by Gordon Freitas, sets the tone and theme of this album. And Jon Osorio's classic "Hawaiian Soul" recalls the 1970s renaissance that might have been a trend then but now is an in-your-face and in-your-ear movement.

Robi Kahakalau provides eloquence as she guests with Apo on "Sovereignty Song," a composition by Apo and Jeff Rasmussen; yes, it's the same tune earlier adopted by Keali'i Reichel on his "Eo Mai" album. And you get a clear picture of the emergence of Hawaiian nation on "Mother Nature," laced with name-dropping.

The album is handsomely packaged with informative liner notes detailing backgrounds of all titles; the band taps many stellar musicians, and Wendell Ching's engineering is crisp and effective.

Though it's a cover, "I Will Be Here" is one of the most endearing and commercial entries, with devotional lyrics and a calming effect. And Lee's version of "Amazing Grace," the final track, is both amazing and graceful, and ranks as one of the finest in a long time.

A frisky "Mother and Child Reunion" (the Paul Simon tune) is more pop than Christian, but it fits in.

He projects a hip and hot persona, with alternating styles — a deliberately slow "Bar Game," with lyrics that seem to be more spoken than sung; a roller-coaster ride on "A Game Called Love" with hand-jive tempo; a medium-beat blues-infused "Love Is Blind"; a cool techno-rock item dubbed "High Maintenance Woman."

With the liner sleeve providing lyrics to Numa's creation, you get to see the poetry of his rockery without the beat — and it reveals, for the most part, a romantic at heart.

More on Numa: www.robbienuma.com.