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I can’t find my Sky Poster of THE SWOON. Did I throw it away? I thought I kept one copy. It was a big 18 x 24 inch deal, and we must have printed about 1000 of them. We papered downtown Minneapolis and Dinkytown with those posters every time we had a show. In retrospect, it seems unlikely anyone ever attended a show on the basis of seeing that poster.

The Sky Poster was big glossy sheet of paper featuring a photo taken in the bathroom at Seventh Street Entry (First Avenue) in 1987 or 88, before sonic-bass master, Troy Baartman, joined the band. Troy was always a little sore that he wasn’t in the picture, so sometimes we’d use a sharpie to draw a stickman on the posters—standing in front of the urinal.

We were at Seventh Street Entry—it was our first time playing that club. A big deal to us. First Avenue was doing some local talent showcase series, so we drove up from Cottonwood to participate. No one in Minneapolis had ever heard of us. That was the first of several shows in that little dive.

Derb came with us for the adventure, and so did his friend Sky Alsgaard who happens to be an exceptionally talented photographer and artist. She took the photo in the bathroom. It had a gritty, naughty-boys, these-kids-aren’t-from-Cottonwood look to it, and we liked it. We put it on a poster and printed about 1000 copies without ever giving Sky any credit or compensation for the photo. Time to give credit where credit is due.

Sky has an amazing eye for the lens. Go check out her tribute to Grateful Dead fans, “The Dead Narratives,” on Instagram and at the website www.deadnarratives.com.  

Over the years, we had a lot of different photographers try to photograph THE SWOON, some of them high-end professionals, but Sky’s photos captured the real deal in some completely unguarded moments. Watch for more of Sky’s work and her vintage photos from back in the day on theswoon.band as we start gearing up toward the 2021 re-release of the music. We should probably reprint the poster too–this time with credit to Sky.

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This song just wanted to be a rock song, but it got all tangled up with angst about faith, spiritual frustration, and the lust of the flesh, the lust of the eyes, and the boastful pride of life. Several versions of the song existed before the one that coalesced onto tape in the Neverland Studio sessions. This version is a live, raw performance scooped from a bootleg of a show in Winona, MN (Sep, 1989), mashed up with video footage from a show at the New Union in Minneapolis (Nov, 1989).

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Whose Hands are These? puzzles over the contradiction between substance and spirit, between a materialist reductionist worldview and the ineffable, transcendent spirituality leaking through consciousness and self-awareness … you know, the type of stuff kids are always crooning about. The audio of this live version, scooped from a 1989 bootleg recorded in Winona, MN, preserves the full-length song–unlike the truncated version that went down onto the Neverland recordings.

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It’s a war song. Sort of. Tim O’Brien’s book Going After Cacciato, the story of a soldier who walks away from the Vietnam war, inspired the vibe. Florence Dacey, the mother of the Dacey brothers and adopted mom of the band, campaigned tirelessly as an activist against the Cold War Era war machine and nuclear proliferation. Thompson’s Confusion vectors on the mystical unity of every human being. There are no strangers. This song never made it to the studio, but a cassette bootleg from a 1989 live show preserves its memory.

Thompson’s Confusion

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We recorded Let’s Talk About Love in 1988 for the ben son ben son Beatrice demo, but this version of the song is scooped from a bootleg cassette recorded at a live show in 1989. The song itself, while pretending to bounce along as just another silly love song, contrasts pop culture’s infatuations with the the expensive price of perseverance in a relationship gone wrong. Video clips from a 1948 version of Tolstoy’s Anna Karenina tells it like it is.