Blind Pete & Partner
Stagolee
Mississippi Blues & Gospel (Library of Congress) Field Recordings – Various Artists – Complete Works (1934-1942)
Blind Pete and Partner are described by John Lomax as “two street corner singers” whose repertoires contained mostly Blues songs. However it was decided to preserve two bad man ballads and some fiddle breakdowns for these recordings.
John Lomax, a prominent American folklorist, traveled extensively throughout the United States during the early 20th century to document and preserve American folk music, especially African American work songs, spirituals, blues, and ballads. His field recordings were often made in the rural South, including Arkansas, and he sought out music that was often passed down orally through generations.
Lomax visited Little Rock, Arkansas as part of his fieldwork, recording local musicians and documenting the region's rich musical heritage. Though much of his work focused on work songs and spirituals, Lomax did record several versions of folk ballads, including songs related to the legend of Stagger Lee (also spelled Stagolee or Stack O'Lee). This folk figure, known for his tale of violence and betrayal, was a popular character in African American musical traditions, and his story had many versions depending on the region and community.
Lomax's field recordings of the Stagger Lee ballad—wherever he captured them—typically reflect the raw, narrative-driven style of traditional blues and ballad singers. Though there is no widely known, specific record of Lomax capturing "Stagolee" in Little Rock itself, it is quite possible that he came across this ballad while recording in various Southern communities, including Arkansas.
In his recordings, Lomax often documented songs that were replete with personal variations, reflecting regional differences in the lyrics and tune. The "Stagolee" ballad, which recounts a shooting over a Stetson hat involving Stagger Lee Shelton and Billy Lyons, was one such folk story that changed form as it traveled through oral tradition. These recordings would likely have included different lyrical emphases, perhaps reflecting the influence of Arkansas culture, or including unique verses or perspectives that differed from versions recorded elsewhere.
The versions that Lomax recorded of ballads like "Stagolee" were typically performed by individual singers—often prisoners, laborers, or community members—who carried the tradition of these folk songs. The singing was usually accompanied by minimal instrumentation or performed a cappella, focusing on the storytelling aspect of the song. These versions of "Stagolee" captured by Lomax would have highlighted the moral complexity of the character, Stagger Lee, who is sometimes portrayed as a villain, an antihero, or a tragic figure.
Lomax’s field recordings were significant because they preserved versions of these folk songs that might have otherwise been lost, and they provide insights into how communities used music to narrate and interpret their social realities. The "Stagolee" ballad in particular was a reflection of themes of masculinity, honor, and the struggles of African American men in an environment marked by systemic oppression and hardship.
While specific details about Lomax recording "Stagolee" in Little Rock are scarce, it is known that he made numerous recordings of similar folk ballads throughout his career. His documentation efforts preserved many versions of iconic songs like "Stagolee," showcasing their evolution across different regions and social contexts. His recordings from Arkansas, including Little Rock, contributed to a broader understanding of African American folk traditions and their rich, narrative qualities.