Lullabies from the Axis of Evil

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Tracks:
1. Sad sol – YOU'RE MY DESTINY Mahsa Vahdat, Iran / Sarah Jane Morris, England
2. Dilelol – SLEEP, MY CHILD Amel Kthyer and Halla Bassam, Iraq / Eva Dahlgren, Sweden
3. Lalolalo - DON'T YOU WORRY, MY CHILD Kulsoom Syed Ghulam, Afghanistan / Lila Downs, Mexico/USA
4. Ya Lel Ma Atwalak– THIS NEVER ENDING NIGHT Rim Banna, Palestine / Kari Bremnes, Norway
5. Luna, Luna- LUNA, LUNA LITTLE DOLL Mayada Killisly Baghdadi, Syria / Mimi, USA
6. Peace song Halla Bassam, Iraq / Sevara Nazarkhan, Uzbekistan
7. Aruru– LULLABY, SWEET BABY Martha Lorenzo, Cuba / Nina Hagen, Germany
8. Stars are rising Sun Ju Lee, North Korea / Eddi Reader, Scotland
9. Nami - ANGEL Viva Killisly Chachati, Syria / Katia Cardenal, Nicaragua
10. Lalalala Gohle Laleh Mahsa and Marjan Vahdat, Iran
11. Nami ya la’ aubi – SLEEP, MY DOLL Rim Banna, Palestine / Annisette, Denmark
12. Gohlelale - MY TULIP, MY PEARL Pari Zanganeh, IranThe Washington National Cathedral Girls Choristers, USA Elana Fremerman, USA
13. Nami - LAMENT Jawaher Shofani, Palestine
14. Mazar – SOME DAY, MY BOY Fanzya and Razya Khan Ali, Afghanistan / Elana Fremerman, USA



Background information:
"On January 29, 2002, U.S. President George W. Bush gave his famous "State of the' Union Address" to the American people wherein
he launched the term "The Axis of. Evil". In this speech, he pointed out Iran, Iraq, North Korea "and their allies",
as being;. ..the enemies of the U.S. and the free, democratic world. This and other speeches, held by Bush and other leaders of
the greatest power on the planet, made it clear that the "war on terrorism" following the events of Sept. 11. '2001. needed to
identify nations -not only terrorist-cells -as the enemy,
Without going too far in analysing the reasons behind this new way of fighting an old problem, it is easy to become worried about
the fatal results the new doctrine may-create.The stigma that has been attached to the countries pointed out as members of
"The Axis of Evil" is just one side of it. The building of enemy-lines and walls, in minds and on the ground between peoples,
is another. The fact that it misleads us and covers the real problems in the world is a third. .
Lullabies lead us to the deepest and most fundamental way of communication between human beings. It is where all sharing of ideas
and feelings starts. Between mother and child, between father and child. It is a universal culture. And it is amazing to see how
many aesthetic similarities, musically and lyrically there are in lullabies from country to country all over the world.
The text-issues are often the same, so are the musical structures. Differences in scales, language, metaphors and religion cannot
cover the fact that in the lullabies, the cultures of the earth meet each other. Or rather: from this common starting-point they
grow into diversity.

This knowledge made me want to record lullabies from the countries that the U.S.-lead western world now has put on the other side
of its enemy-lines. I wanted to record women's voices. It does not mean that I think the act of singing lullabies is something
reserved for females. After having raised four children, I am an experienced lullaby-singer myself. It only means that the male
voices are far too dominant in the world today, speaking the words of power and warfare. And especially in the oriental world the
women are pushed aside. Their voices are hardly heard.
Between the journeys I had periods at home with editing, putting together the best version of each song, and then I delivered a
bunch of lullabies from my last expedition to guitarist-arranger-composer-artist Knut Reiersrud. Our common ambition was to create
a musical landscape around every lullaby, and I left it to him to choose the songs he wanted to work with, and to compose a
comparative melody - possible to sing for a western voice - to be attached to each of the originals. It was amazing to hear how he
was able to find the rhythmic element in each of the a cappella sung lullabies and let it appear as though the singers "conduct"
a band they never heard. Knut led the work with the band in the studio, and together we worked out a final structure, sometimes in
cooperation with the western artists.
Erik Hillestad, Producer