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"Across the Universe" | |
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![]() Sheet music cover | |
Song by the Beatles | |
from the album Let It Be | |
Released | 8 May 1970 |
Recorded |
|
Studio | EMI, London |
Genre | Psychedelia [1] |
Length | 3:47 |
Label | Apple |
Songwriter(s) | Lennon–McCartney |
Producer(s) | Phil Spector |
The Beatles took the song up again during the Get Back/Let It Be rehearsal sessions of January 1969; footage of Lennon playing the song appeared in the Let It Be movie. Bootleg recordings from the sessions include numerous full group performances of the song, usually with Lennon–McCartney harmonies on the chorus. To ensure the album tied in with the film, it was decided that the song must be included on what by January 1970 had become the Let It Be album.
Although the song was extensively rehearsed on the Twickenham Studios soundstage, the only recordings were mono transcriptions for use in the film soundtrack. No multitrack recordings were made after the group's move to Apple Studios. Thus in early January 1970 Glyn Johns remixed the February 1968 recording. The new mix omitted the teenage girls' vocals and the bird sound effects of the World Wildlife Fund version. As neither of the Glyn Johns Get Back albums were officially released until 2021, the most well-known version of the song came from Phil Spector, who in late March and early April 1970 remixed the February 1968 recording yet again and added orchestral and choral overdubs. Spector also slowed the track to 3:47, close to its original duration. According to Lennon, "Spector took the tape and did a damn good job with it". [20]
A previously unreleased February 1968 alternative take of the song (recorded before the master), without heavy production, appeared on Anthology 2 in 1996. [21] This is often referred to as the "psychedelic" recording because of the strong Indian sitar and tambura sound, and illustrates the band's original uncertainty over the best treatment for the song.
The February 1968 master was remixed again for inclusion on Let It Be... Naked in 2003, at the correct speed but stripped of most of the instrumentation and digitally processed to correct tuning issues.
In 2018, take 6 of the song was released on The Beatles: 50th Anniversary Edition (also known as the "White Album"). This version is a bit more sparse than the Let It Be... Naked version and lasts 15 seconds longer.
Lennon was unhappy with the song as it was recorded. In his 1980 Playboy interview, Lennon says that the Beatles "didn't make a good record of it" and says of the Let It Be version that "the guitars are out of tune and I'm singing out of tune ... and nobody's supporting me or helping me with it and the song was never done properly". [22] He further accused McCartney of ruining the song:
Paul would ... sort of subconsciously try and destroy a great song ... usually we'd spend hours doing little detailed cleaning-ups of Paul's songs; when it came to mine ... somehow this atmosphere of looseness and casualness and experimentation would creep in. Subconscious sabotage. [23]
No One's Gonna Change Our World (1969)According to Ian MacDonald: [24] The Beatles
Additional musicians and production
| Let It Be (1970)According to John C. Winn: [26] The Beatles
Additional musicians and production
|
Music critic Richie Unterberger of AllMusic said the song was "one of the group's most delicate and cosmic ballads" and "one of the highlights of the Let It Be album". [27] Neil Finn of Crowded House and Split Enz named the song as possibly his favorite written song of all time. [28]
Music critic Ian MacDonald was critical of the song, calling it a "plaintively babyish incantation" and saying "its vague pretensions and listless melody are rather too obviously the products of acid grandiosity rendered gentle by sheer exhaustion". [24]
On 4 February 2008, at 00:00 UTC, NASA transmitted the Interstellar Message "Across the Universe" [29] in the direction of the star Polaris, 431 light-years from Earth. [30] The transmission was made using a 70-metre antenna in the Deep Space Network's Madrid Deep Space Communication Complex, located outside of Madrid, Spain. It was done with an "X band" transmitter, radiating into the antenna at 18 kW. This was done to celebrate the 40th anniversary of the song's recording, the 45th anniversary of the Deep Space Network (DSN), and the 50th anniversary of NASA. The idea was hatched by Beatles historian Martin Lewis, who encouraged all Beatles fans to play the track as it was beamed to the distant star. The event marked the first time a song had ever been intentionally transmitted into deep space, and was approved by McCartney, Yoko Ono, and Apple Corps. [31]
Region | Certification | Certified units/sales |
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United Kingdom (BPI) [32] 2010 release | Silver | 200,000‡ |
‡ Sales+streaming figures based on certification alone. |
"Across the Universe" | |
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Song by David Bowie | |
from the album Young Americans | |
Released | 7 March 1975 |
Recorded | c. 12–15 January 1975 [33] |
Studio | Electric Lady, New York |
Genre | Blue-eyed soul [34] |
Length | 4:29 |
Label | RCA |
Songwriter(s) | Lennon–McCartney |
Producer(s) | David Bowie, Harry Maslin |
"Across the Universe" was covered by English singer-songwriter David Bowie in 1975 on his ninth studio album Young Americans . He recorded his cover at Electric Lady Studios in New York City in January 1975, on the same day as "Fame". [34] A blue-eyed soul reworking, his cover is notable for featuring Lennon on guitar and backing vocals. The cover also features Carlos Alomar and Earl Slick on guitar and backing vocals, Emir Ksasan on bass guitar, and Dennis Davis on drums. [33]
Reflecting on his contribution, Lennon later said: "I thought, great, because I'd never done a good version of that song myself. It's one of my favourite songs, but I didn't like my version of it." [34] Bowie concurred, calling the Beatles' original version "very watery" and wanting to "hammer the hell out of it." [33]
Bowie's cover of "Across the Universe" has received predominantly negative reviews from music critics and biographers. Douglas Wolk of Pitchfork calls it "the album's one genuine embarrassment, Vegas-y and bathetic." [35] Biographer Chris O'Leary agrees, calling it "one of his most utterly tasteless recordings." [33] Author Peter Doggett similarly describes it as "bombastic", "mannered", and a "bizarre way of impressing Lennon." [36] Despite being generally regarded as one of Bowie's low points in his "golden years", biographer Nicholas Pegg gave the recording a positive review, calling it "exquisitely beautiful". [34]
According to Chris O'Leary: [33]
Technical
The song was released as a single in 1988 from album Let It Be by Laibach with a music video appearing in next year. [37] [38] [39]
In 1998, Fiona Apple recorded and released the song as part of the Pleasantville motion picture soundtrack. [40] Pitchfork named it Apple's best cover, highlighting how it suits the film. [41]
In 2002, Rufus Wainwright recorded a cover version for the film I Am Sam . [42]
In 2005, Alicia Keys, Alison Krauss, Billie Joe Armstrong, Bono, Brian Wilson, Norah Jones, Steven Tyler, Stevie Wonder, Tim McGraw and Velvet Revolver performed a cover at the 47th Grammy Awards. The performance was recorded as a tribute to the 2004 tsunami victims. It was released on 13 February 2005 and debuted at number 22 on the Billboard Hot 100 chart as a digital download. [43]
In 2011, Beady Eye released a cover of "Across the Universe" as a charity single available to download through their website from 4 April 2011 until 17 April 2011. [44] All proceeds from the sale of the track went directly toward the British Red Cross Japan Tsunami Appeal. The single charted at #88 in the UK. [45]
In 2019, Norwegian singer Aurora recorded a Like a Version for Australian radio station Triple J. In 2023, this version was voted by the public as one of the 100 best Like a Versions of all time. [46]
Lennon is the main author of nearly all of The Beatles' psychedelic classics: Tomorrow Never Knows, I'm Only Sleeping, Rain, She Said She Said ... I Am the Walrus, Across the Universe.
A Hard Day's Night is the third studio album by the English rock band the Beatles, released on 10 July 1964 by Parlophone, with side one containing songs from the soundtrack to their film of the same name. The American version of the album was released two weeks earlier, on 26 June 1964 by United Artists Records, with a different track listing including some from George Martin's film score. Unlike their first two albums, all 13 tracks on A Hard Day's Night were written by John Lennon and Paul McCartney.
Help! is the fifth studio album by the English rock band the Beatles and the soundtrack to their film of the same name. It was released on 6 August 1965 by Parlophone. Seven of the fourteen songs, including the singles "Help!" and "Ticket to Ride", appeared in the film and take up the first side of the vinyl album. The second side includes "Yesterday", the most-covered song ever written. The album was met with favourable critical reviews and topped the Australian, German, British and American charts.
Let It Be is the twelfth and final studio album by the English rock band the Beatles. It was released on 8 May 1970, nearly a month after the official announcement of the group's public break-up, in tandem with the documentary of the same name. Concerned about recent friction within the band, Paul McCartney had conceived the project as an attempt to reinvigorate the group by returning to simpler rock 'n' roll configurations. Its rehearsals started at Twickenham Film Studios on 2 January 1969 as part of a planned television documentary showcasing the Beatles' return to live performance.
"Get Back" is a song recorded by the English rock band the Beatles and Billy Preston, written by Paul McCartney, and credited to the Lennon–McCartney partnership. It was originally released as a single on 11 April 1969 and credited to "The Beatles with Billy Preston". The song is one of the few examples of John Lennon featuring prominently as lead guitarist. The album version of this song contains a different mix that features a studio chat between Paul McCartney and John Lennon at the beginning, which lasts for 20 seconds before the song begins, also omitting the coda featured in the single version, and with a final dialogue taken from the Beatles' rooftop concert. This version became the closing track of Let It Be (1970), which was released just after the group split up. The single version was later issued on the compilation albums 1967–1970, 20 Greatest Hits, Past Masters, and 1.
"Let It Be" is a song by the English rock band the Beatles, released on 6 March 1970 as a single, and as the title track of their album Let It Be. It was written and sung by Paul McCartney, and credited to the Lennon–McCartney partnership. The single version of the song, produced by George Martin, features a softer guitar solo and the orchestral section mixed low, compared with the album version, produced by Phil Spector, featuring a more aggressive guitar solo and the orchestral sections mixed higher.
"Two of Us" is a song written by Paul McCartney and credited to the Lennon–McCartney partnership. The song was recorded by the Beatles on 31 January 1969.
"You Know My Name (Look Up the Number)" is a song by the English rock band the Beatles released initially as the B-side of the single "Let It Be" on 6 March 1970. Although first issued with their final single (and the penultimate single in the United States), the Beatles recorded the song in four separate sessions, beginning with three in May and June 1967, during the sessions for Magical Mystery Tour, with one final recording session conducted in April 1969 during the last sessions for Let It Be and Abbey Road. The song features a saxophone part played by Brian Jones of The Rolling Stones.
"One After 909" is a song by the English rock band the Beatles from their 1970 album Let It Be. It was written by John Lennon, with input from Paul McCartney, and credited to their joint partnership. The album version is the live performance from the rooftop concert which took place on 30 January 1969. This performance is also included in the Let It Be film. The song was written no later than spring 1960 and perhaps as early as 1957, and is one of the first Lennon–McCartney compositions. "One After 909" is perhaps more reminiscent of early American rock and roll than any of the other songs from the rooftop show, and as a joke for the rooftop chatter, Lennon sings a variant on the opening line of "Danny Boy" after the song is finished.
"Why Don't We Do It in the Road?" is a song by the English rock band the Beatles, released on their 1968 double album The Beatles. Short and simple, it was written and sung by Paul McCartney, but credited to Lennon–McCartney. At 1:42, "Why Don't We Do It in the Road?" comprises 34 bars of a twelve-bar blues idiom. It begins with three different percussion elements and features McCartney's increasingly raucous vocal repeating a simple lyric with only two different lines.
"Baby's in Black" is a song by the English rock band the Beatles, co-written by John Lennon and Paul McCartney. It appears on the United Kingdom album Beatles for Sale and on the United States album Beatles '65, both released in 1964.
"I Should Have Known Better" is a song by English rock band the Beatles composed by John Lennon and originally issued on A Hard Day's Night, their soundtrack for the film of the same name released on 10 July 1964. "I Should Have Known Better" was also issued as the B-side of the US single "A Hard Day's Night" released on 13 July.
"And I Love Her" is a song recorded by English rock band the Beatles, written primarily by Paul McCartney and credited to the Lennon–McCartney partnership. It is the fifth track of their third UK album A Hard Day's Night and was released 20 July 1964, along with "If I Fell", as a single release by Capitol Records in the United States, reaching No. 12 on the Billboard Hot 100.
"All I've Got to Do" is a song written by John Lennon and performed by the English rock band the Beatles on their second British album, With the Beatles (1963). In the United States, "All I've Got to Do" originally appeared on Meet the Beatles! (1964). According to Dennis Alstrand, the song is the first time in rock and roll or rock music in which the bass player plays chords as a vital part of the song.
"All My Loving" is a song by the English rock band the Beatles, from their second UK album With the Beatles (1963). It was written by Paul McCartney, and produced by George Martin. Though not officially released as a single in the United Kingdom or the United States, the song drew considerable radio airplay, prompting EMI to issue it as the title track of an EP. The song was released as a single in Canada, where it became a number one hit. The Canadian single was imported into the US in enough quantities to peak at number 45 on the US Billboard Hot 100 in April 1964.
"Hold Me Tight" is a song by the English rock band the Beatles from their 1963 album With the Beatles. It was first recorded during the Please Please Me album session, but not selected for inclusion and re-recorded for their second album.
"I Call Your Name" is a song recorded by the English rock band the Beatles and credited to Lennon–McCartney. It was written primarily by John Lennon, with assistance from Paul McCartney. It was released in the US on The Beatles' Second Album on 10 April 1964 and in the UK on the Long Tall Sally EP on 19 June 1964. On 7 March 1988, the song appeared on Past Masters, a compilation album that includes every song commercially released by the band that was neither included on the 12 UK studio albums nor the US Magical Mystery Tour LP, meaning that "I Call Your Name" appeared for the first time on a core catalogue album.
"Yes It Is" is a song by the English rock band the Beatles. Written by John Lennon, it was first released in 1965 as the B-side to "Ticket to Ride". It features some of the Beatles' most complex and dissonant three-part vocal harmonies and showcases George Harrison's early use of volume pedal guitar. Ian MacDonald describes the song as having "rich and unusual harmonic motion."
"Don't Let Me Down" is a song by the English rock band the Beatles, recorded in 1969 during the Let It Be sessions. It was written by John Lennon and credited to the Lennon–McCartney songwriting partnership. The band recorded the song with keyboardist Billy Preston; the single release with "Get Back" was credited to "the Beatles with Billy Preston". Originally released as a B-side, producer Phil Spector excluded the song from Let It Be. The song's first appearance on an album was on the 1970 collection Hey Jude.
"That Means a Lot" is a song written mainly by Paul McCartney, and credited to Lennon–McCartney. It was released in 1965 by P.J. Proby. Proby's version reached #24 on the NME chart. Prior to the release by Proby, the Beatles recorded a version that was intended for the Help! film and soundtrack album. The Beatles were dissatisfied with the song and their version was not released until the Anthology 2 CD in 1996.