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Across The Universe

by Umgd/Interscope


Order now to get it by: Wednesday December 21 - Saturday December 24

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Condition: New

Product ID: 627309

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Description

Given a track record littered by misfired oddities like the Bee Gees starring in the 1978 movie version of Sgt. Pepper's
Lonely Hearts Club Band, successfully transforming The Beatles' epochal oeuvre into film musicals has been an elusive
alchemy. Yet director Julie Taymor's 1968-centered, socio-political romance is more than just a stunning visual
achievement. Its soundtrack brings a crucially intimate, emotionally engaging sensibility to its rich catalog of Beatles
source material. Using an approach she rightly dubbed "organic," Taymor never gets too ambitious with the original
arrangements, balancing the plaintive, often stark performances of central young stars Jim Sturgess and Evan Rachel Wood
with equally compelling turns by supporting players Carol Woods and Joe Anderson. The stars successfully evoke early
Beatlemania via the energetic charms of Sturgess' "All My Loving" and Wood's "It Won't Be Long," then get straight to
the canon's often melancholy heart on his take of "In My Life," and her gentle cover of "Blackbird." Taymor's use of
star turns--the entire point of too many Beatles-rooted projects--is as sparing as it is deft. Eddie Izzard's effusive
"Being for the Benefit of Mr. Kite" is the product of several edited improvisations, while U2's Bono and Edge re-imagine
"Lucy in the Sky With Diamonds" by way of Pink Floyd. Joe Cocker's swamp-dirge "Come Together" shows why he's long been
one of the best interpreters of the Lennon-McCartney catalog, and Dana Fuchs alternately evokes the heavenly and hellish
via her tender "Dear Prudence," as well as her manic, Joplin-channeling burn through "Helter Skelter." Elsewhere on the
CD, Bono teams with Secret Machine for the straightforward "I Am the Walrus," while the Dallas indie rockers also take
dream-pop turns on the instrumental "Flying" and George Harrison's haunting "Blue Jay Way." Remarkably, Taymor claims
the bulk of the performances here were not lip-synced, but recorded live as the cameras rolled.--Jerry McCulley

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