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Originariamente inviato da AMIGASYSTEM
Stevie Wonder è l'autore del brano,ma ad inciderla prima è stato Mel Tormé 1962,poi Quincy Jones 1969.... |
No, credo tu ti sia confuso nel leggere le fonti, bisogna entrare nel dettaglio.
Mel Tormè: l'album che hai linkato
non è l'originale del 1962 ma una ben più recente raccolta di due album che sono appunto due live, l'ultimo è quello del
1974 dove è superstition eseguita come
cover.
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Album Details: Mel Tormé at the Red Hill/Live at the Maisonette
Release Date: 02/16/1999
Recorded live at the Red Hill Inn, Pennsauken, New Jersey on March 25, 1962. Originally released on Atlantic (8066) in 1962. Includes liner notes by William O. Williams.
Recorded live at the Maisonette Room of The St. Regis Hotel, New York, New York in September 1974. Originally released on Atlantic (SD18129) in 1974.
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I due album originali di Tormè del 1962 quindi sono
Mel Tormè at the Red Hill (il primo dei due live di cui sopra) e
Comin' Home Baby! ed in nessuno dei due è presente Superstition.
Quincy Jones: forse ti riferisci a
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You've Got It Bad Girl (1973)
Mostly an album of easy-listening cover tunes, so LA-smooth it's sleep inducing: all the energy is drained out of the Lovin' Spoonful's "Summer In The City," and the medley of "Daydreaming" and "First Time Ever I Saw Your Face" is deadening despite vocals from Valerie Simpson. Two Stevie Wonder covers ("Superstition," title track) are unimaginative tossoffs - Stevie adds harmonica to "Superstition," but it sounds like one-take noodling. There's also a lengthy, diffuse fusion take on Dizzy Gillespie's "Manteca." The three Jones originals are a bit better: "Eyes Of Love" and "Love Theme From The Getaway" are mellow excuses for Toots Thielemans harmonica solos, and I've always been a sucker for the "Sanford & Son Theme," which uses a blend of crude-sounding percussion and electric sax to create the perfect theme for a jaunty junkman. (DBW)
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Oppure
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I Heard That!! (1976)
A double album: one LP of greatest hits, and one of new material, which the rating is based on. The new stuff - again, all by Quincy or his crew except for a Wonder cover (a new version of "Superstition," with Stevie again on harmonica) - is much livelier than Madness, but otherwise there's not much to say for it. Vocal group The Wattsline does most of the singing, and they seem to be copying Gladys Knight & The Pips on uptempo but slick R&B like "There's A Train Leavin'" and "Things Could Be Worse For Me." Then there's the tacky instrumental "Midnight Soul Patrol" and an inoffensive but negligible Thilemans feature, "Brown Soft Shoe." The best song is also the shortest: the title track, a sly slice of midtempo funk. Musicians include the Brothers Johnson, Young, Tee, Rainey, Preston, Stanley Clarke, Cat Anderson and Carol Kaye. (DBW)
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Cercando in rete hai giustamente trovato la data del 1969 per quest'ultimo, ma non hai approfondito, quella data si riferisce solo a una parte del greatest hits
I hear That!!, cioè quella relativa alle vecchie composizioni. L'altra parte invece contiene cose nuove e registrate dopo tra cui la
cover di Wonder, prova ne è che Wonder stesso ci suona sopra!
