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On a standard-tuned guitar (EADGBE) the song is played in the key of D; however, the recording was slowed electronically, resulting in a lower C ♯ tuning to the ear. The verse beginning "Words are flowing out" (I (D) chord) is notable for a prolonged vi (Bm)–iii (F ♯ m) to ii 7 (Em 7) minor drop to the dominant chord V 7 (A 7) on "across the universe" in the 4th bar. [7]
Opener "Across the Universe," with its twinning of Frisell's electric guitar and Leisz's pedal steel as Scheinman's violin picks up the lyric melody and extrapolates its harmonic aspects, is indicative of the recording's M.O., offering a close examination of Lennon the composer. The interplay between the three principals is remarkable, such as ...
Across the Universe is a 2007 American jukebox musical romantic drama film directed by Julie Taymor, centered on songs by the Beatles.The script is based on an original story credited to Taymor, Dick Clement, and Ian La Frenais, and based on the song of the same name by Lennon–McCartney.
The album was released as Across the Universe (Music from the Motion Picture) by Interscope Records on September 14, 2007, debuting a 16-track album featuring half of the songs heard in the film. [2] A deluxe edition was released on October 2, 2007 featuring all the songs performed by the cast, as well as an incidental score composed by Goldenthal.
Martin collaborated extensively with musicians like The Roots and Cody ChesnuTT and appears as one of the six lead characters in the 2007 Beatles musical Across the Universe in the role of "Jo-Jo", who reflects Jimi Hendrix. [3]
Among Spector's choices was to include a 1968 take of "Across the Universe" and apply orchestral and choral overdubs to "Let It Be", "Across the Universe" and "The Long and Winding Road". His work offended McCartney, particularly in the case of "The Long and Winding Road", which was the third and final single of the album.
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TrouserPress.com called Across the Universe a "too-rare example of an indie act benefiting musically from major-label treatment"—citing an "increased rock edge that doesn't detract from the gentle charm" of tracks like "Snow Days," "Gone, Gone, Gone" and "The Crane"—the latter being the closest thing the album had to a hit. [13]