{"id":21434,"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-na-pas-lache\/"},"modified":"2026-09-27T01:17:52","modified_gmt":"2026-09-26T23:17:52","slug":"superstition-stevie-wonder-un-riff-de-clavinet-que-motown-na-pas-lache","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/tracks\/superstition-stevie-wonder-un-riff-de-clavinet-que-motown-na-pas-lache\/","title":{"rendered":"Superstition – Stevie Wonder : un riff de clavinet que Motown n’a pas l\u00e2ch\u00e9"},"content":{"rendered":"

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Electric Lady, un clavinet, et un riff promis \u00e0 Jeff Beck<\/h3>\n

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\u00c0 l’\u00e9t\u00e9 1972, Stevie Wonder est \u00e0 Electric Lady Studios, \u00e0 New York, sur l’album qui deviendra Talking Book<\/em>, avec Robert Margouleff et Malcolm Cecil autour des machines. Wonder joue alors presque tout lui-m\u00eame. Il veut quand m\u00eame un guitariste. Margouleff et Cecil font venir Jeff Beck, qui pose des parties sur Lookin’ for Another Pure Love<\/em>. L’\u00e9change, tel que Beck le comprend, c’est un morceau neuf pour lui.<\/p>\n

Beck a racont\u00e9 la version batterie : il tapait sur le kit, Wonder est entr\u00e9 et lui a dit de ne pas s’arr\u00eater, et la figure de clavinet est sortie de cette pi\u00e8ce. Le r\u00e9cit de Wonder au Detroit Free Press est plus simple. Il a \u00e9crit Superstition<\/em> en pensant \u00e0 Beck, et il l’a dit \u00e0 Motown. Berry Gordy a entendu un tube capable de porter l’album et a voulu le disque de Wonder en premier. Beck, Bogert & Appice ne sortent leur version qu’en mars 1973. Wonder est d\u00e9j\u00e0 num\u00e9ro un.<\/p>\n

Talking Book<\/em> para\u00eet le 27 octobre 1972 chez Tamla. Superstition<\/em> est le single, avec You’ve Got It Bad Girl<\/em> en face B. Cecil a d\u00e9crit l’ordre des prises : Wonder pose la batterie avec le morceau seulement dans la t\u00eate, puis la basse Moog, puis le Hohner Clavinet. Il est cr\u00e9dit\u00e9 au chant, \u00e0 la batterie, au clavinet et \u00e0 la basse Moog. Margouleff et Cecil font passer le clavinet dans des p\u00e9dales de guitare, un Mu-Tron et une wah, pour que le riff aboie au lieu de tinter. La trompette est Steve Madaio. Le saxophone t\u00e9nor est Trevor Lawrence. Wonder a qualifi\u00e9 le Clavinet, en peu de mots, de funky, sale et puant. Sur ce morceau, il s’en sert enfin ainsi, pas comme d’un clavier gadget.<\/p>\n

Le single est num\u00e9ro un du Billboard Hot 100 et du chart soul en janvier 1973. C’est le titre qui fait du nouveau Wonder, celui qui a d\u00e9chir\u00e9 l’ancien contrat Motown pour revenir se produire lui-m\u00eame, un fait pop. Beck ne part pas les mains vides. Wonder lui donne Cause We’ve Ended as Lovers<\/em>, qui devient le centre \u00e9motionnel de Blow by Blow<\/em> en 1975.<\/p>\n

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\n

J’ai dit \u00e0 Motown : \u00ab \u00c9coutez, je l’ai fait pour Jeff Beck. Il aime le morceau. \u00bb<\/p>\n<\/blockquote>\n

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

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Le disque \u00e0 \u00e9couter est la prise d’album de 1972, environ quatre minutes et demie, pas un edit de compilation plus tardif. Le clavinet \u00e9nonce le riff avant la voix. Les cuivres r\u00e9pondent par des coups courts. La batterie est s\u00e8che et proche. Rien n’y est d\u00e9coratif. Quand le chant entre, il discute d\u00e9j\u00e0 avec un groove qui a dit l’essentiel.<\/p>\n

La version de Beck est plus lourde, plus tardive, et c’est un autre morceau, comme toute reprise. Celle de Wonder est celle qui a \u00e9t\u00e9 num\u00e9ro un, et celle qui explique encore pourquoi un clavier con\u00e7u pour le baroque s’est mis \u00e0 parler funk. Il avait promis le riff. Motown le lui a fait garder. Le single, c’est le son de cette dispute.<\/p>\n

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\u00c0 l’\u00e9t\u00e9 1972, Stevie Wonder est \u00e0 Electric Lady Studios, \u00e0 New York, sur l’album qui deviendra Talking Book, avec Robert Margouleff et Malcolm Cecil autour des machines. Wonder joue alors presque tout lui-m\u00eame. Il veut quand m\u00eame un guitariste. Margouleff et Cecil font venir Jeff Beck, qui pose des parties sur Lookin’ for Another Pure Love. L’\u00e9change, tel que Beck le comprend, c’est un morceau neuf pour lui.<\/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-21434","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 n'a pas l\u00e2ch\u00e9 - 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\/fr\/chronicles\/tracks\/superstition-stevie-wonder-un-riff-de-clavinet-que-motown-na-pas-lache\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Superstition - Stevie Wonder : un riff de clavinet que Motown n'a pas l\u00e2ch\u00e9 - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"\u00c0 l'\u00e9t\u00e9 1972, Stevie Wonder est \u00e0 Electric Lady Studios, \u00e0 New York, sur l'album qui deviendra Talking Book, avec Robert Margouleff et Malcolm Cecil autour des machines. 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