{"id":21435,"date":"2016-05-20T19:00:00","date_gmt":"2016-05-20T17:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/superstition-stevie-wonder-un-riff-de-clavinet-que-motown-no-solto\/"},"modified":"2026-09-27T01:17:52","modified_gmt":"2026-09-26T23:17:52","slug":"superstition-stevie-wonder-un-riff-de-clavinet-que-motown-no-solto","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/chronicles\/tracks\/superstition-stevie-wonder-un-riff-de-clavinet-que-motown-no-solto\/","title":{"rendered":"Superstition – Stevie Wonder: un riff de clavinet que Motown no solt\u00f3"},"content":{"rendered":"

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Electric Lady, un clavinet, y un riff prometido a Jeff Beck<\/h3>\n

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En el verano de 1972 Stevie Wonder est\u00e1 en Electric Lady Studios, en Nueva York, con el \u00e1lbum que ser\u00e1 Talking Book<\/em>, y con Robert Margouleff y Malcolm Cecil al cargo de las m\u00e1quinas. Wonder ya toca casi todo solo. Aun as\u00ed quiere un guitarrista. Margouleff y Cecil traen a Jeff Beck, que graba partes en Lookin’ for Another Pure Love<\/em>. El trato, tal como Beck lo entiende, es una canci\u00f3n nueva para \u00e9l.<\/p>\n

Beck ha contado la versi\u00f3n de la bater\u00eda: estaba trasteando en el kit, Wonder entr\u00f3 y le dijo que no parara, y la figura de clavinet sali\u00f3 de esa sala. El relato de Wonder al Detroit Free Press es m\u00e1s seco. Escribi\u00f3 Superstition<\/em> pensando en Beck, y se lo dijo a Motown. Berry Gordy oy\u00f3 un hit capaz de cargar el \u00e1lbum y quiso el disco de Wonder primero. Beck, Bogert & Appice no publican su versi\u00f3n hasta marzo de 1973. Para entonces Wonder ya es n\u00famero uno.<\/p>\n

Talking Book<\/em> sale el 27 de octubre de 1972 en Tamla. Superstition<\/em> es el single, con You’ve Got It Bad Girl<\/em> en la otra cara. Cecil describi\u00f3 despu\u00e9s el orden de las tomas: Wonder graba la bater\u00eda con la canci\u00f3n solo en la cabeza, luego el bajo del Moog, luego el Hohner Clavinet. Se le acredita la voz, la bater\u00eda, el clavinet y el bajo Moog. Margouleff y Cecil pasan el clavinet por pedales de guitarra, un Mu-Tron y un wah, para que el riff ladre en lugar de tintinear. La trompeta es Steve Madaio. El saxo tenor es Trevor Lawrence. Wonder llam\u00f3 al Clavinet, en pocas palabras, funky, sucio y apestoso. En este tema por fin lo usa as\u00ed, no como un teclado de adorno.<\/p>\n

El single llega al n\u00famero uno del Billboard Hot 100 y de la lista soul en enero de 1973. Es el tema que convierte al Wonder nuevo, el que rompi\u00f3 el viejo contrato de Motown para volver produci\u00e9ndose a s\u00ed mismo, en un hecho del pop. Beck no se va con las manos vac\u00edas. Wonder le da Cause We’ve Ended as Lovers<\/em>, que se vuelve el centro emocional de Blow by Blow<\/em> en 1975.<\/p>\n

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\n

Le dije a Motown: \u00abEscuchen, esto lo hice para Jeff Beck. Le gusta la canci\u00f3n.\u00bb<\/p>\n<\/blockquote>\n

(Stevie Wonder, Detroit Free Press)<\/em><\/p>\n

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El disco que hay que o\u00edr es el corte de \u00e1lbum de 1972, unos cuatro minutos y medio, no un edit de compilaci\u00f3n posterior. El clavinet enuncia el riff antes que la voz. Los vientos responden con golpes cortos. La bater\u00eda est\u00e1 seca y cerca. Nada es decorativo. Cuando entra la voz, ya discute con un groove que ha dicho lo suyo.<\/p>\n

La versi\u00f3n de Beck es m\u00e1s pesada y m\u00e1s tard\u00eda, y es otra canci\u00f3n, como lo es cualquier versi\u00f3n. La de Wonder es la que estuvo en el n\u00famero uno, y la que todav\u00eda explica por qu\u00e9 un teclado pensado para el barroco acab\u00f3 hablando funk. Hab\u00eda prometido el riff. Motown le hizo qued\u00e1rselo. El single es el sonido de esa discusi\u00f3n.<\/p>\n

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En el verano de 1972 Stevie Wonder est\u00e1 en Electric Lady Studios, en Nueva York, con el \u00e1lbum que ser\u00e1 Talking Book, y con Robert Margouleff y Malcolm Cecil al cargo de las m\u00e1quinas. Wonder ya toca casi todo solo. Aun as\u00ed quiere un guitarrista. Margouleff y Cecil traen a Jeff Beck, que graba partes en Lookin’ for Another Pure Love. El trato, tal como Beck lo entiende, es una canci\u00f3n nueva para \u00e9l.<\/p>\n","protected":false},"author":1,"featured_media":21427,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,278],"tags":[537,778],"class_list":["post-21435","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-tracks","tag-soul-rb","tag-stevie-wonder"],"yoast_head":"\nSuperstition - Stevie Wonder: un riff de clavinet que Motown no solt\u00f3 - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/chronicles\/tracks\/superstition-stevie-wonder-un-riff-de-clavinet-que-motown-no-solto\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Superstition - Stevie Wonder: un riff de clavinet que Motown no solt\u00f3 - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"En el verano de 1972 Stevie Wonder est\u00e1 en Electric Lady Studios, en Nueva York, con el \u00e1lbum que ser\u00e1 Talking Book, y con Robert Margouleff y Malcolm Cecil al cargo de las m\u00e1quinas. 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