Nick Cave and the Bad Seeds
Stagger Lee
Murder Ballads
Nick Cave talks about his version in Far Out Magazine.
Mojo Magazine Interview
"Stagger Lee was basically an afterthought for The Bad Seeds: we had basically recorded the Murder Ballads record and I was sitting in the studio, reading a book that Jim Sclavunos had found about the folk poetry of black hustlers, and I came across this version.
The band were all there so we went in and improvised the song. Martyn started up a groovy bassline, the band came in, I started singing and that was that. We went into the studio and, 15 minutes later, came out with a song written and recorded.
I hear people talk about art as being man-made, that it's about craftsmanship. I think that's bullshit. The gods gave us this song and they were pissing themselves with laughter when they did it.
In the versions I have heard, there are various reasons why Stag kills Billy Lyons. It usually has something to do with Billy stealing, winning or spilling something on Stag's milk-white Stetson hat. I've heard a version where the hat is red, ox-blood actually, "the colour of cancer," that's what the song actually says.
My version, which I found in a book on Negro American toasts, was discovered, apparently, by a black hustler from New York called Big Stick.
What I like about it is that Stagger Lee's atrocious behaviour has nothing to do with anything but flat-out meanness, nothing but Bad Motherfuckerishness. The final act of brutality, where the great Stagger Lee blows the head off Billy Dilly - as he's known in this version - while he's committing fellatio is especially attractive.
There's a verse to our version of Stagger Lee that goes "I'm the kind of cocksucker that would crawl over 50 good pussies to get to one fat boy's asshole", which I heard on an amazing talking blues song by a guy who, in the song, introduces himself as Two-time Slim. I've always thought that was a groovy line so I just threw it in for good measure.
Stagger Lee appeals to me simply because so many people have recorded it. The reason why we did it, apart from finding a pretty good version of it in this book, was that there is already a tradition. We're kinda adding to that.
I like the way the simple, almost naive traditional murder ballad has gradually become a vehicle that can happily accommodate the most twisted acts of deranged machismo.
Just like Stagger Lee himself, there seems to be no limits to how evil this song can become."
Official Video
Nick Cave's version of "Stagger Lee," released on the 1996 album Murder Ballads, presents a dark, intense reinterpretation of the classic Stagger Lee narrative. Known for his poetic lyrics and brooding musical style, Cave infuses the song with a sense of menace and theatricality that reflects the violent and tragic themes associated with the Stagger Lee myth.
Cave's rendition features a powerful arrangement that combines elements of rock, blues, and gospel. The instrumentation includes heavy guitar riffs, driving percussion, and a haunting organ, creating an atmospheric backdrop that enhances the song's dark narrative. Cave's deep, resonant vocals add to the intensity, delivering the lyrics with both urgency and gravitas.
In "Stagger Lee," Cave retains the core elements of the original story, focusing on the violent confrontation between Stagger Lee and Billy Lyons. However, his version amplifies the themes of revenge and brutality, portraying Stagger Lee as a larger-than-life character embodying violence and defiance. The lyrics are vivid and evocative, depicting the aftermath of the legendary confrontation and the emotional turmoil surrounding it.
Cave's version is coms directly from the tradition of prison toasts. These toasts emerged in American prisons and served as a form of spoken word or rhythmic storytelling, allowing inmates to share tales of crime, violence, and survival. Characterized by exaggerated characters and narratives, these toasts reflect the harsh realities of prison life and the culture surrounding it.
Cave's interpretation delves into the psychological and existential aspects of the story, exploring themes of morality, power, and the human condition. The portrayal of Stagger Lee as both a villain and an anti-hero resonates with the complexities of the character, reflecting the enduring fascination with the Stagger Lee legend.
The song's narrative is interspersed with graphic imagery and dark humor, characteristic of Cave's songwriting style. This blend of violence and wit invites listeners to engage with the story on multiple levels, provoking thought and reflection on the nature of violence and its consequences.
Nick Cave's "Stagger Lee" is notable for its contribution to the ongoing evolution of the Stagger Lee myth. By reinterpreting the legend through a contemporary lens, Cave revitalizes the narrative for a new generation, showcasing its relevance and adaptability in modern music. His version stands as a powerful example of how traditional folklore can be transformed and reimagined through the artistry of individual musicians.
Overall, Nick Cave's "Stagger Lee" encapsulates the essence of the original story while infusing it with his distinctive style, creating a compelling and haunting interpretation that continues to resonate with audiences today. The connection to the 1940s prison toast tradition adds depth to his adaptation, grounding it in a rich historical and cultural context that highlights the enduring power of oral storytelling in music.
Stagger Lee
It was back in ‘32 when times were hard He had a Colt .45 and a deck of cards Stagger Lee He wore rat-drawn shoes and an old stetson hat Had a ‘28 Ford, had payments on that Stagger Lee His woman threw him out in the ice and snow And told him, “Never ever come back no more” Stagger Lee So he walked through the rain and he walked through the mud Till he came to a place called The Bucket Of Blood Stagger Lee He said, “Mr Motherfucker, you know who I am” The barkeeper said, “No, and I don’t give a good goddamn” To Stagger Lee He said, “Well bartender, it’s plain to see I’m that bad motherfucker called Stagger Lee” Mr. Stagger Lee Barkeep said, “Yeah, I’ve heard your name down the way And I kick motherfucking asses like you every day” Mr Stagger Lee Well, those were the last words that the barkeep said ‘Cause Stag put four holes in his motherfucking head Just then in came a broad called Nellie Brown Was known to make more money than any bitch in town She struts across the bar, hitching up her skirt Over to Stagger Lee, she starts to flirt With Stagger Lee She saw the barkeep, said, “O God, he can’t be dead!” Stag said, “Well, just count the holes in the motherfucker’s head” She said, “You look like you ain’t scored in quite a time. Why not come to my pad? It won’t cost you a dime” Mr. Stagger Lee “But there’s something I have to say before you begin You’ll have to be gone before my man Billy Dilly comes in, Stagger Lee” “I’ll stay here till Billy Dilly comes in, till time comes to pass And furthermore I’ll fuck Billy Dilly in his motherfucking ass” Said Stagger Lee “I’m a bad motherfucker, don’t you know And I’ll crawl over fifty good pussies just to get to one fat boy’s asshole” Said Stagger Lee Just then Billy Dilly rolls in and said, “You must be That bad motherfucker called Stagger Lee” Stagger Lee “Yeah, I’m Stagger Lee and you better get down on your knees And suck my dick, because if you don’t you’re sure to be dead” Said Stagger Lee Billy Dilly dropped down and slobbered on his head And Stag filled him full of lead Oh yeah. © 1995 Mute Records, a BMG Company.