This goes against the grain of much of hip-hop, customarily a hotbed of language not suitable for family audiences.

Further, the background music that cloaks and envelops the raps is original, not adaptations, and while the hip-hop format requires established rhythms and tempos, there isn't a dominant staccato repetition that characterizes most hip-hop/rap projects. Each entry bounces to its own beat, with enticements to listen and find your own groove. Compare "Holla at Ya Boy" with "Brush Me Off," and you move from one mindset to another.

"Kids Now Days" borrows the real Augie T and a sketch about small-kid-time lickings, which segues into "Creepin," again with inventive momentum and vibes.

"Business" projects techno-pop elements with lyrics that reflect Hawai'i and, yes, Da Ace and Jay Deuce's stance on the business of hip-hop.

Da Ace and Jay Deuce have elevated hip-hop to new levels; without objectionable language, the prospects for a wider reach seem great. It's not only about the beat, after all. The twosome are proactive, demonstrating vision and style outside the box.

Maybe it's the sweet voice, characterized on such revealing tracks as "You and I," appearing here in two versions (one is a radio mix, with a ramped-up reggae flavor), exploring the ramifications of love and relationships. Indeed, her songs — like "Crush," "Give Me That Touch" and "Gotta Let You Go" — are simple themes with universal appeal. Who hasn't had bumps in the road in the quest for romance?

"I Don't Want to Wake" is particularly empowering, from a woman's viewpoint, with multitracked voices that explore a real-or-dream scenario. The melodic structure is more pop than reggae, giving it appeal to a wider audience.

Lyrics in the fold-out liner notes embellish the package; it's always a plus to have the words.