Drawing on fieldwork undertaken in Beirut and Jerusalem, this article chronicles the present and past lives of a historical record of the Hebrew paraliturgical hymn “Yom Yom Odeh”. The record was released by the Lebanese Baidaphon company in the early 1920s featuring Ḥazzan Rafoul Tabbach. Since encountering it at a music archive in Lebanon and trying to find out more about its origins, I have played my digital recording of it to a variety of different people, including Syrian musicians, Lebanese record specialists as well as members of the Mizrahi community in Jerusalem. Within this context, the recording mediated and actualized memories of a cross-territorial, Arab-Jewish landscape and of musical exchanges that among other things saw the emergence of “Yom Yom Odeh”; at the same time, the recording provoked reactions that betray deep ideological divisions by which this landscape is scarred to the present day. Whether concerns about Jewish musicians’ national authenticity, my own anxiety about the song’s muted sound on my mobile phone, or nostalgic evocations of a city never seen, the different reactions that “Yom Yom Odeh” elicited capture tensions that arise from the song’s defiance to being constrained to the paragons of the Israeli-Palestinian/Arab conflict.