Some records become hits. Some records become classics. And then there are records that make you stop whatever you’re doing and ask, “What in the world am I listening to?!”
It’s 1972. You’re listening to the radio, and a song begins with a little drum intro. Nothing too unusual there. But then this sound kicks in. It sounds like a guitar, but there’s something different about it. It’s sharper, funkier, almost as if the instrument is talking to you. And before you know it, your head is moving, your feet are tapping, and you’re trying to figure out what you’re hearing.
Ladies and gentlemen, welcome to Stevie Wonder’s “Superstition.”
And that instrument that had us scratching our heads? It was a Clavinet! Never heard of one? Don’t feel bad. Most of us hadn’t! It’s an electro-mechanical keyboard with a sharp, percussive sound, and Stevie used it to create one of the most recognizable riffs in the history of popular music. He even layered multiple Clavinet parts to give the recording that thick, almost guitar-like sound. Add the drums, the deep electronic bass, and those punchy horns, and you’ve got a sound that was unlike anything else on the radio. Read the musical breakdown here.
This wasn’t just a song. This was a musical experience!
And here’s something that makes the story even more interesting. Stevie originally wrote “Superstition” for guitarist Jeff Beck. The two musicians had developed a friendship and working relationship, and Stevie intended the song for Beck to record. But Motown executives heard Stevie’s version and believed it was too good to leave on the shelf. They were right! Stevie’s recording came out first, and Beck’s version followed in 1973. Sometimes a song has a mind of its own, doesn’t it? The story behind the recording.
Now, let’s talk about those lyrics.
“Superstition” arrived at a time when beliefs about bad luck, broken mirrors, and the number 13 were familiar parts of everyday life. Stevie took those beliefs and turned them into a warning about letting things we don’t understand control our lives. Remember the line about a 13-month-old baby breaking the looking glass? It was wonderfully strange, wonderfully memorable, and just the kind of lyric that made you listen a little closer.
But Stevie wasn’t celebrating superstition. He was challenging it. His message was that believing in things without understanding them can cause us to suffer unnecessarily.
And he delivered that message over a groove that made you want to dance!
Think about that for a moment. A song could make you move your body while also giving you something to think about. That’s a gift, and Stevie had it in abundance.
But “Superstition” was only the beginning of the story.
By this point, Stevie was taking greater control of his music, writing, producing, singing, and playing multiple instruments. His 1972 album Talking Book showcased an artist experimenting with new electronic sounds and pushing beyond the familiar Motown formula. He was exploring synthesizers, building arrangements in his head, and using technology as another instrument in his creative toolbox. NPR’s history of Talking Book.
And what came next? Goodness gracious!
“Superstition” was followed by an extraordinary run of music. In 1973, we got “Higher Ground,” with another unforgettable, funky keyboard sound. Then came Innervisions, with songs like “Living for the City” and “He’s Misstra Know-It-All.” In 1974, Fulfillingness’ First Finale gave us more evidence of Stevie’s remarkable range. And in 1976, he released the monumental double album Songs in the Key of Life, featuring “Sir Duke,” “I Wish,” and “Isn’t She Lovely.”
Think about the range! Funk, rock, soul, social commentary, love songs, electronic experimentation, and irresistible dance music. Stevie could take you from the dance floor to a place of deep reflection without ever losing his identity.
He wasn’t simply keeping up with the times. He was helping create the sound of the times.
And that’s what makes “Superstition” so special to me. I honestly believe this song could have been released in 1982, 1992, 2002, or yesterday, and people would still be asking for it. The technology might change, the clothes might change, and the radio format might change, but that groove? That groove is forever.
Some songs belong to a particular moment in history. Others somehow escape their moment and become part of every generation that discovers them.
“Superstition” is one of those songs.
So the next time you hear those opening drums and that Clavinet starts talking, take a moment to appreciate what Stevie Wonder accomplished. He took an instrument many listeners had never heard of, combined it with an irresistible rhythm, and created a record that still sounds fresh more than half a century later.
Now THAT is innovation!
And that’s another reason why, back in the day, nothing sounded like it on the radio.
Until next time, keep those radios tuned in and those memories turned up!
— Raised by Radio
One little historical detail worth highlighting: Talking Book was released on October 24, 1972 — exactly 54 years ago today! The album reached No. 1 on the Billboard Hot 100 with “Superstition,” and its influence can still be heard in the way musicians use keyboards to drive funk and pop.
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