Superstition

"Superstition" is a powerful and direct critique of the dangers of believing in superstitions and irrational notions. The song's central message is explicitly stated in the chorus: "When you believe in things that you don't understand, then you suffer. Superstition ain't the way." Stevie Wonder wrote the song precisely because he did not believe in such things and saw them as a source of unnecessary negativity and suffering. The lyrics reference several well-known superstitions—such as breaking a looking glass, the number thirteen, and walking under a ladder—to illustrate the kind of unfounded beliefs he is challenging. By doing so, Wonder argues that clinging to these fears and beliefs, which lack a basis in reality, prevents personal growth and happiness. The song is a call for rational thinking and for people to free themselves from the psychological burdens imposed by these age-old, baseless fears.

The song directly confronts the listener about their irrational beliefs and superstitions. It opens by listing several common signs of bad luck, such as the number thirteen, broken mirrors, and walking under ladders, immediately setting a critical tone. The central message, repeated emphatically throughout the track, is that when you believe in things you don't understand, you inevitably bring suffering upon yourself. This core idea is the song's unwavering thesis, a powerful declaration against ignorance and fear-based thinking.

The narrative voice acts as a guide, urging the listener to cleanse themselves of these detrimental beliefs, using the metaphor of washing one's face and hands to suggest a fresh start and a clear perspective. It paints a picture of a world where one can live in a 'daydream' of positivity, unburdened by the 'superstitious thoughts' that plague the mind. The song suggests that these beliefs are not just harmless quirks but tangible obstacles that prevent one from accessing the 'good things' in their past and future.

As the song progresses, the message becomes more urgent and insistent. The repetition of 'Superstition ain't the way' functions as a powerful, rhythmic mantra. It's not a gentle suggestion but a firm, almost desperate, plea to abandon these self-destructive patterns. The funk-driven, high-energy instrumentation mirrors this lyrical intensity, creating a feeling of a spiritual and intellectual battle against the forces of ignorance. The song doesn't just describe superstition; it actively fights against it, using its infectious rhythm and compelling vocals to shake the listener out of their credulous state and toward a more enlightened, rational way of living.

The creation of "Superstition" is one of music's more famous anecdotes, deeply intertwined with guitarist Jeff Beck. In 1972, Beck was an admirer of Wonder's work, and an agreement was made for Beck to play on Wonder's upcoming album, Talking Book, in exchange for Wonder writing a song for him. During a studio session, Beck began playing a beat on the drums. Wonder, inspired by the rhythm, immediately improvised the iconic clavinet riff and much of the song's structure on the spot. They recorded a rough demo that day, with the intention for Beck to release his version first on his new album with the trio Beck, Bogert & Appice. However, Beck's album was delayed. Meanwhile, Motown Records founder Berry Gordy heard Wonder's version and, convinced it would be a massive hit, insisted that Wonder release it as the lead single for Talking Book. Consequently, Wonder's version was released on October 24, 1972, months before Beck's, becoming a number-one hit and causing some initial friction between the two artists, though they later reconciled. The song was recorded at Electric Lady Studios in New York City. Wonder played most of the instruments himself, including the Hohner Clavinet, drums, and Moog bass, with Trevor Lawrence on tenor saxophone and Steve Madaio on trumpet.

The symbolism in "Superstition" is direct and illustrative rather than deeply metaphorical. The song's power lies in its explicit use of common superstitious beliefs as symbols for ignorance and fear. The lyrics mention:

• "Thirteen month old baby": This combines the unlucky number 13 with the vulnerability of a child to create a potent image of misfortune.
• "Broke the lookin' glass": This directly references the superstition that breaking a mirror brings seven years of bad luck, symbolizing a future tainted by a single, meaningless event.
• "Ladders 'bout to fall": This alludes to the belief that walking under a ladder is unlucky, representing the avoidance of imaginary threats.

The emotional tone of "Superstition" is a potent mix of joyful energy and serious, cautionary advice. The music itself is overwhelmingly positive and exhilarating; the driving funk groove, infectious clavinet riff, and powerful horn section create an atmosphere of defiant celebration and release. It's a song that physically compels movement and dancing. However, this joyful sound is paired with a lyrical message that is stern and critical. Wonder's vocal delivery is filled with conviction and a sense of urgency, especially as he sings lines like "Superstition ain't the way." He sounds like a preacher warning his congregation, imbuing the song with a sense of gravity. This contrast between the uplifting, danceable music and the serious, cautionary lyrics creates a unique emotional landscape: it's a joyful exorcism of fear, a triumphant and funky rebellion against ignorance.

"Superstition" had a monumental cultural impact upon its release and continues to be one of Stevie Wonder's most iconic songs. It was released on October 24, 1972, and became his first number-one hit on the Billboard Hot 100 in a decade, reaching the top spot in January 1973. It also topped the soul singles chart and peaked at number 11 in the UK. The song won two Grammy Awards for Best R&B Song and Best R&B Vocal Performance, Male, and was inducted into the Grammy Hall of Fame in 1998. Its innovative use of the Hohner Clavinet had a profound influence on the sound of funk, rock, and pop music throughout the 1970s and beyond. Rolling Stone has repeatedly ranked it among the greatest songs of all time, placing it at number 12 on its 2021 list. The song has been widely covered by artists like Stevie Ray Vaughan, and used in numerous films, TV shows (including a famous performance on Sesame Street), and commercials, solidifying its place in the cultural lexicon. It marked a pivotal moment in Wonder's career, establishing him as a mature artist with complete creative control and launching his "classic period" of the 1970s.

The rhythmic drive of "Superstition" is its most critical element. The song is set in a 4/4 time signature with a tempo that creates a powerful funk groove. The foundation is a drum beat that emphasizes a steady kick drum while the hi-hats and snare create a highly syncopated, swinging feel that avoids landing squarely on the strong beats, a key characteristic of funk music. The iconic clavinet riff is also deeply syncopated, creating a polyrhythmic interplay with the drums and bass that makes the track so danceable. The song's melodic lines, both vocal and instrumental, are largely based on the E-flat minor pentatonic scale, a hallmark of blues and funk. The rhyme scheme in the verses is relatively simple, often following an AABB pattern (e.g., "wall"/"fall", "glass"/"past"). This straightforward structure makes the lyrics memorable and allows the complex rhythm to remain the focus. The rhythm of the vocal delivery is conversational but punctuated, flowing across the instrumental groove rather than rigidly following it, adding another layer of rhythmic complexity.

Musically, "Superstition" is a masterclass in funk and is defined by its innovative instrumentation and rhythmic complexity. The most prominent stylistic technique is the use of the Hohner Clavinet D6, which plays the main riff. This was one of the first mainstream hits to feature the instrument so centrally, giving the song its signature "funky, dirty, stinky" sound. Wonder layered at least eight separate clavinet tracks to create the thick, percussive texture. The groove is built on a highly syncopated drum pattern played by Wonder himself, featuring a four-on-the-floor kick and a swinging hi-hat that create its irresistible danceability. The bassline, played on a Moog synthesizer, provides a heavy, resonant foundation. Lyrically, the song uses a direct, didactic vocal style. Wonder acts as a preacher or teacher, using a powerful, sometimes gravelly tone to deliver his message. The song's structure relies heavily on repetition and a call-and-response pattern between the lead vocals and the horn section, as well as between the different instrumental layers.