band's visit soundtrack

The Band's Visit (Original Broadway Cast Recording)

December 15, 2017 18 Songs, 42 minutes ℗ 2017 Sh-K-Boom Records, LLC

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The Band's Visit [Original Broadway Cast Recording]

David yazbek.

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Soundtrack Information

The Band's Visit - Original Broadway Cast Recording

Release Date: December 15, 2017

Formats: CD, Digital

• The Band's Visit (2016) [Stage Musical]
• David Yazbek

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The Band's Visit (Original Broadway Cast Recording)

David Yazbek

19 SONGS • 42 MINUTES • DEC 15 2017

• TRACKS TRACKS
• DETAILS DETAILS

A singer/songwriter who cites Elvis Costello and XTC (whom he's produced) among his biggest inspirations, David Yazbek became better known as a Tony-winning musical theater composer/lyricist. He is also recognized for his work in film and television, which includes the theme song for Where in the World Is Carmen San Diego? in the early '90s. He released his first solo album, Laughing Man, under the mononym Yazbek in 1996 before partnering with writer Terrence McNally on The Full Monty, which marked his Broadway debut in 2000. He continued to release solo material into the 2000s in between theater projects such as 2005's Dirty Rotten Scoundrels and 2017's The Band's Visit, both Tony Award winners for Best Musical. The latter won Yazbek the Tony for Best Original Score.

Born and raised in New York City, David Yazbek's first instrument was the cello, which he began playing in elementary school. He took up piano as a teenager. Yazbek went on to earn a degree from Brown University, graduating in 1982. He won an Emmy as part of the writing team for The Late Show with David Letterman in 1986 before deciding to focus on music professionally. At first finding success as a commercial jingle writer, he was part owner of the Manhattan Recording Company studio alongside founder Billy Straus from 1987 to 1989.

Yazbek partnered with a friend from high school, Sean Altman of Rockapella, to write the memorable theme song to the PBS educational series Where in the World Is Carmen Sandiego?, which premiered in 1991. Over the next several years, he composed for film shorts and began to find regular work as a music producer, collaborating with such artists as the Persuasions, Tito Puente, and songwriting influence Andy Partridge's band XTC. In turn, Partridge co-produced and played guitar on Yazbek's solo debut album, Laughing Man. It was released by What Are Records? in 1996, credited to simply Yazbek. Another '80s college rock-influenced Yazbek LP, Tock, followed on the same label in 1998. It included the song "You Are Here," which was penned by Partridge, who also performed on the album.

In the meantime, celebrated playwright Terrence McNally was preparing a book for the musical The Full Monty, an adaptation of the 1997 British film of the same name. Originally, composer/lyricist Adam Guettel (The Light in the Piazza) was approached to provide the show's music, but when he had to turn it down, he recommended his former bandmate, Yazbek, for the job. The show opened on Broadway at the Eugene O'Neill Theatre in October of 2000 and became a hit, premiering on the West End two years later. Yazbek's score was nominated for a Tony Award, and he won the Drama Desk Award for Outstanding Music in 2001. Also in 2001, Yazbek released his third solo album, Damascus. A year later, he contributed additional lyrics for the A.R. Rahman musical Bombay Dreams.

His next project was an adaptation of the 1988 comedy film, Dirty Rotten Scoundrels. With music and lyrics by Yazbek and a book by Jeffrey Lane, it arrived on Broadway in 2005. Later that year, Dirty Rotten Scoundrels received 11 Tony Award nominations, including Best Musical and Best Original Score. What Are Records? also released the Yazbek song collection Tape Recorder (Collected Works) in 2005.

In 2007, the songwriter returned with another solo album, Evil Monkey Man, this time on Ghostlight Records and under his full name. The same year, Yazbek provided two songs for the film comedy The Ten ("Written in Stone" and "Who Am I and Where Do I Go from Here?"). Back on the stage, the musical Women on the Verge of a Nervous Breakdown reunited the composer with Lane. Based on the 1988 Pedro Almodóvar film, the show opened on Broadway in October 2010 and went on to earn Tony Award nominations for featured actresses Patti LuPone and Laura Benanti, as well as for Yazbek's score.

Another musical adaptation of a film, this time with its book by Itamar Moses, Yazbek's The Band's Visit premiered off-Broadway in late 2016, then opened at Broadway's Ethel Barrymore Theatre in November 2017. About an Egyptian ceremonial band stranded for a day in a remote, one-café Israeli town on their way to a gig, the musical addressed cultural differences and prejudices, as well as a lack thereof. Its score incorporated Egyptian folk, Arab classical music, klezmer, improvisational jazz, and more into songs and instrumental performances (Yazbek himself is of Jewish-Italian and Arab-Lebanese descent). The show was nominated for 11 Tony Awards in 2018, and won ten, including Best Musical and Yazbek's first for Best Original Score. He also won the Drama Desk Awards for Outstanding Music and Outstanding Lyrics for the show. ~ Marcy Donelson

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The Band's Visit Soundtrack Lyrics

Band's Visit Musical Lyrics

Band's Visit Lyrics

• Welcome to Nowhere
• It Is What It Is
• Beat Of Your Heart
• Omar Sharif
• Papi Hears the Ocean
• Haled's Song About Love
• Itgara'a
• Something Different
• Itzik's Lullaby
• Something Different (Reprise)
• The Concert
• Afifi (Bonus Track)

Spend an evening in the company of unforgettable strangers at The Band’s Visit—now one of the most celebrated musicals ever. It rejoices in the way music brings us to life, brings us to laughter, brings us to tears, and ultimately, brings us together. In an Israeli desert town where every day feels the same, something different is suddenly in the air. Dina, the local café owner, had long resigned her desires for romance to daydreaming about exotic films and music from her youth. When a band of Egyptian musicians shows up lost at her café, she and her fellow locals take them in for the night. Under the spell of the night sky, their lives intertwine in unexpected ways, and this once sleepy town begins to wake up. Release date: 2017 Last Update:February, 27th 2019

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The Band's Visit

Writers: Itamar Moses David Yazbek

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It is 1996, and through an error in pronunciation, the Alexandria Ceremonial Police Orchestra is stranded in the isolated desert town of Bet Havitka, Israel (rather than the city Petah Tikva, their actual destination). Without knowing the language and with very little money, the band members - led by conductor Tewfiq Zakaria - are welcomed by the locals, including cafe owner Dina and her two employees, Papi and Itzik. During this one night in a sleepy town where nothing much changes, the Egyptian band members and their Israeli hosts communicate in English (their only common language) and find their mutual love of music, whether traditional Middle Eastern ballads or American jazz and Chet Baker. Winner of ten Tony Awards and a score based in traditional middle eastern styles (with musicians planted all around the stage), The Band’s Visit appeals to the universal romance and passion people find in music, no matter where they are from.

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Tewfiq zakaria, the band's visit - musical.

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The Band's Visit (soundtrack album) by The Original Broadway Cast

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The Band's Visit is ranked 30th best out of 81 albums by The Original Broadway Cast on BestEverAlbums.com.

The best album by The Original Broadway Cast is Hamilton: An American Musical which is ranked number 2493 in the list of all-time albums with a total rank score of 631.

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Scooter Braun says he’s no longer a music manager, will focus on Hybe duties and his children

FILE - Scooter Braun attends day one of Homecoming Weekend on Friday, Feb. 11, 2022, at the Pacific Design Center in West Hollywood, Calif. Braun, one of the most recognizable names in the music business known for representing artists like Justin Bieber and Ariana Grande, will no longer work as a music manager. (Photo by Richard Shotwell/Invision/AP, File)

FILE - Executive producer Scooter Braun poses at the season two premiere of the FXX series “Dave” on June 10, 2021, in Los Angeles. Braun, one of the most recognizable names in the music business known for representing artists like Justin Bieber and Ariana Grande, will no longer work as a music manager. (AP Photo/Chris Pizzello, File)

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NEW YORK (AP) — Scooter Braun , one of the most recognizable names in the music business known for representing artists like Justin Bieber and Ariana Grande, will no longer work as a music manager.

On Monday, the executive and entrepreneur announced the news on his Instagram page. Instead, he will focus his attention on his current roles: As a board member of Hybe, and CEO of Hybe America , the South Korea entertainment company.

The announcement comes nearly a year after Braun’s direct management of his superstar roster was subject of intense speculation.

“After 23 years this chapter as a music manager has come to an end,” he wrote in a lengthy statement . “I was really just 19 years old when I started. So for my entire adult life I played the role of an artist manager on call 24 hours a day, 7 days a week. And for 20 years I loved it. It’s all I had known. But as my children got older, and my personal life took some hits.

“Every client I have had the privilege of working with has changed my life, and I know many of them are just beginning to see the success they deserve,” he continued. “I will cheer for every single one of them.”

In his statement, Braun mentioned a number of his clients from over the years: Grande, Bieber, Andrew Watt, Lil Dicky, Tori Kelly, J Balvin, Demi Lovato, Zac Brown Band, Martin Garrix, David Guetta, Steve Angello, Carly Rae Jepsen, PSY and Quavo among them.

Last week, representatives from Hybe said Braun was no longer managing Grande, but that she was still working with him. “ Ariana Grande and Hybe, led by CEO Scooter Braun, look forward to continuing their long-standing business partnership and pursuing creative opportunities in Weverse and REM Beauty,” a statement read.

In August, rumors circulated online that Bieber was leaving Braun, his longtime manager — and the man credited with discovering him. In the days that followed, media outlets began reporting that some of Braun’s other hype-profile clients like Grande and Lovato were also parting ways with him.

A person familiar with SB Projects’ business dealings, who was not authorized to speak publicly, told The Associated Press at the time that the artists on the company’s roster have day-to-day managers who are not Braun, and he consults with them. The person noted that no single person would be able to manage his roster of some of the biggest names in music on their own.

Representatives for Carly Rae Jepsen, BabyJake, and Asher Roth confirmed to AP last summer that those artists no longer work with Braun and haven’t for quite some time. And a person close to Idina Menzel told AP the singer is no longer managed by Braun but was not authorized to speak publicly.

At the time, there was speculation that Braun’s artists were leaving SB Projects management because he was placing his focus on HYBE America instead of acting as an artist manager, but there was no official confirmation, until Monday.

Braun said in his statement that his silence was his attempt to take “the high road.”

“But for the last 3 years I have begun to feel that taking the high road has created confusion and ambiguity as to who we are,” Braun said, citing members of his team that are now handling artist management responsibilities.

AP’s request for additional comments were directed back to Braun’s Instagram statement, which addressed multiple aspects of his business interests.

“We at Hybe will continue to grow,” Braun detailed some of his future goals. “With... our existing business at Big Machine, we will continue to add amazing execs and artists to the roster.”

In 2019, Braun bought Big Machine Records, the label that originally signed Taylor Swift and released her first six records. Its CEO Scott Borchetta stayed in place. With the purchase, Braun purchased ownership to Swift’s master recordings, which he sold to an investment fund the following year. As a result, Swift announced that she would re-record her albums to own her new masters in a project called “Taylor’s Version.”

Morning Rundown: Assange flies to remote Pacific island to plead guilty, Minnesota dam at risk of 'imminent failure,' and fall keeps gold medalist off Paris Olympics team

U.S. record labels are suing AI music generators, alleging copyright infringement

The world’s biggest record labels are teaming up to take two prominent AI music-making companies to court, a move that comes as generative artificial intelligence continues to infiltrate the music industry.

Universal Music Group, Sony Music Entertainment and Warner Music Group, among others, filed lawsuits Monday against Suno and Udio-maker Uncharted Labs, both of which recently released AI programs that enable users to generate songs from text prompts.

The proliferation of accessible AI tools capable of generating realistic music, including full songs using AI versions of real artists’ voices, has triggered a slew of legal and ethical questions for the music industry. Many artists have expressed concern over how generative AI technologies could undermine human work and compensation.

Coordinated by the Recording Industry Association of America, the music recording industry’s largest trade organization, the lawsuits were filed in U.S. federal courts for the District of Massachusetts and the Southern District of New York.

“The music community has embraced AI and we are already partnering and collaborating with responsible developers to build sustainable AI tools centered on human creativity that put artists and songwriters in charge,” RIAA Chairman and CEO Mitch Glazier said in a statement. “But we can only succeed if developers are willing to work together with us.”

“Unlicensed services like Suno and Udio that claim it’s ‘fair’ to copy an artist’s life’s work and exploit it for their own profit without consent or pay set back the promise of genuinely innovative AI for us all,” he added.

The music labels allege in the lawsuits that building services Suno or Udio requires “copying decades worth of the world’s most popular sound recordings” in order to train their models, and that both AI companies have been “deliberately evasive” about what exactly they used.

But it’s “obvious” what their music generators were trained on, according to the lawsuits. Their models could only succeed in producing such realistic songs, the suits stated, if they had been trained on “vast quantities of sound recordings from artists across every genre, style, and era” — many of which remain copyrighted by these record labels.

Neither Suno nor Udio has publicly disclosed its training data. Both charge tiered monthly membership fees for those who wish to use their AI music generators at higher capacity.

Representatives for Suno and Uncharted Labs did not immediately respond to requests for comment.

AI music programs have already made waves in the music industry, sometimes unintentionally. “BBL Drizzy,” a viral diss track released last month by record producer Metro Boomin, was reportedly created using Udio , though the producer was evidently unaware of that when creating the track.

Monday’s lawsuits follow a series of similar legal disputes over the use of AI in music, which has crept into everything from parody songs to music videos . A few months ago, Drake took down a diss track that appeared to use AI to mimic Tupac’s voice. The late rapper’s estate threatened to sue him over it.

Just last month, Sony Music Group — which owns well-known labels such as Columbia Records, RCA Records and Epic Records — issued letters warning hundreds of companies not to train AI models on its content without permission.

And last year, Universal Music Group and other music publishers, including Concord and ABKCO, filed a lawsuit against the AI startup Anthropic over its models’ alleged “systematic and widespread infringement” of their copyrighted song lyrics.

Now, the music labels suing Suno and Udio are seeking declarations that these services did infringe their copyrighted sound recordings, injunctions barring the services from doing so in the future, as well as damages for any infringements that have already occurred.

“Suno and Udio are attempting to hide the full scope of their infringement rather than putting their services on a sound and lawful footing,” RIAA Chief Legal Officer Ken Doroshow said in a statement. “These lawsuits are necessary to reinforce the most basic rules of the road for the responsible, ethical, and lawful development of generative AI systems and to bring Suno’s and Udio’s blatant infringement to an end.”

Angela Yang is a culture and trends reporter for NBC News.

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