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Thomas Dale Rapp (March 8, 1947 – February 11, 2018) was an American singer and songwriter who led Pearls Before Swine, an influential[1] psychedelic folk rock group of the late 1960s and early 1970s. Described as having "a slight lisp, gentle voice and apocalyptic vision",[2] he also released four albums under his own name. He later practiced as a lawyer after graduating from University of Pennsylvania Law School in 1984.

Early life

[edit]

Tom Rapp was born in Bottineau, North Dakota. His parents, Dale and Eileen Rapp,[3] were both school teachers, and his father became a heavy drinker often absent from their home.[2] He had two sisters.[3]

When Rapp was a young child the family moved to Minnesota, where at the age of six he was given a guitar.[3] A neighbour who was a country and western musician[3] taught Rapp some chords, and he also learned to play the ukulele. He began writing songs,[4] and (according to a local newspaper cutting kept by his mother) once came third in a talent contest in Rochester when he was aged eight,[5] where Bobby Zimmerman, probably the boy who was later known as Bob Dylan, came in fifth.[1][6][7] The Rapp family moved from Minnesota to Pennsylvania before settling in Eau Gallie, Florida, in 1963.[8] Tom Rapp graduated from Eau Gallie High School in 1965.[9]

Music career, 1965–1976

[edit]
Further information: Pearls Before Swine (band)

In Florida, Rapp became a fan of Bob Dylan, Joan Baez, Woody Guthrie and Bessie Smith,[7] and formed Pearls Before Swine in 1965 with high school friends Wayne Harley, Roger Crissinger, and Lane Lederer. On the basis of thinking "if they'll record The Fugs, they'll record us",[8] the following year they sent demo recordings to ESP-Disk Records in New York. The label agreed to record the band's first album, One Nation Underground, predominantly consisting of Rapp's own songs and produced in New York by Richard Alderson. Rapp sang and played lead guitar. He said: "We were just kids from Florida and everything was so hip, we thought we might faint."[7] The record sold an estimated 200,000 copies,[6] but Rapp said that "We never got any money from ESP. Never, not even like a hundred dollars or something. My real sense is that he (Bernard Stollman) was abducted by aliens, and when he was probed it erased his memory of where all the money was".[10] After their second album, the experimental[11] and anti-war themed Balaklava, often regarded as the group's finest,[4][8] the group split up.

By the time of the third Pearls Before Swine album, These Things Too for Reprise in 1969, the other original members of the group had left, but Rapp retained the group name for recordings. At this time, Pearls Before Swine did not exist as a performing band. The next three Pearls Before Swine albums, The Use of Ashes (1970), City of Gold (1971), and Beautiful Lies You Could Live In (1971), contain some of Rapp's best songs, and were recorded with his Dutch wife Elisabeth and top session musicians in Nashville and New York City.[8] He toured with Buddy Guy, Gordon Lightfoot, Chuck Berry and Bob Dylan, but turned down the opportunity to appear at the Woodstock festival.[2]

Rapp's lyrics "told hard truths about the human condition"; they were sometimes confrontational and cynical,[5] but often embraced a "whimsical brand of mystical humanism".[12] His songs included "Rocket Man", which inspired Bernie Taupin and Elton John's song of the same name.[2]

The album Familiar Songs (1972) was his first credited solo album, but was in fact a collection of demo recordings released by the record company without his knowledge. After moving from Reprise to Blue Thumb Records, he released two further albums under his own name, Stardancer (1972) and Sunforest (1973). Although these were issued as solo albums, they included recordings by a new version of Pearls Before Swine which from 1970 did tour and perform widely, once opening for Pink Floyd,[6] as well as containing Rapp's solo recordings with session musicians.[8] Between 1974 and 1976, Rapp performed as a solo singer-songwriter but did not record.[11]

Rapp later considered that the contracts he signed with his manager, Peter H. Edmiston, were a mistake as they allowed Edmiston to control Rapp's relationships with record companies and accrue all the financial benefits. Rapp said: "Any of the money he made... was gone. He had taken all that. It would have been a different life if I'd gotten all the money I was supposed to have gotten."[8] Rapp estimated that his total net income from music during his active career had been about $200.[6] After a final show as a supporting act to Patti Smith, he retired from music in 1976.[6]

Later life and career

[edit]

Rapp then worked as a theater receptionist and projectionist in Cambridge, Massachusetts, and New York, before entering higher education. He graduated in economics from Brandeis University in 1981,[11] and then studied at the University of Pennsylvania Law School, graduating in 1984 and becoming a civil rights lawyer.[4][1] He described his legal work as an extension of his politically-attuned music,[2] his areas of expertise including judicial estoppel and finding constitutional grounds upon which to challenge corporate actions.[6] He later lived and worked in Philadelphia and Florida. In 2008, it was reported that Rapp and another attorney sued in federal court to reverse their termination as county government lawyers.[13]

After being interviewed in 1993 by the magazine Dirty Linen,[11] and later contacted by Phil McMullen of the magazine Ptolemaic Terrascope, he reappeared in 1997 at Terrastock, a music festival in Providence, Rhode Island, with his son's band, Shy Camp. He recorded the album A Journal of the Plague Year, released in 1999.[4] He also performed at Terrastock 5 in October 2002[14] and Terrastock 6 in April 2006.[15]

Personal life

[edit]

Rapp was married three times: firstly to Elisabeth Joosten (who sang on some of his recordings) from 1968 to 1976;[9] secondly, to Susan Hein; and, from 1995, Lynn Madison. He had a son, David, from his first marriage.[2]

Death

[edit]

Tom Rapp died at home in Melbourne, Florida, in 2018,[1] after suffering from cancer.[8][9]

Discography

[edit]
See also: Pearls Before Swine (band) § Discography

Solo albums

[edit]

† Tom Rapp appeared on the 1999 Neil Young 2CD tribute This Note's for You Too, on Inbetweens Records, with the song "After the Gold Rush".
† Tom Rapp contributed vocals to the song "Shadows" for the band Old Fire on their album, 'Songs From the Haunted South',[16] released in 2016 by Kscope Records.

References

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Tom Rapp

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Thomas Dale Rapp (March 8, 1947 – February 11, 2018) was an American and civil rights attorney recognized as the founder and primary creative force behind Pearls Before Swine, an influential rock band active from 1965 to the mid-1970s. Born in , Rapp formed the band in Eau Claire, Florida, while still a teenager, drawing from literary inspirations like the biblical phrase "pearls before swine" to craft experimental recordings blending folk, , and surrealist elements. Pearls Before Swine released six albums between 1967 and 1974 on labels including ESP-Disk and , gaining a for Rapp's introspective songwriting and innovative production, though commercial success remained elusive. In 1976, Rapp largely retired from music to pursue a legal career, specializing in civil rights law, before sporadically returning to performing and recording in later decades until his death from cancer in .

Early Life

Upbringing and Initial Influences

Thomas Dale Rapp was born on March 8, 1947, in , near the Canadian border, to Dale and Eileen Rapp, both schoolteachers. He had two sisters, Kathy and Patty. The family relocated to during his early childhood, where Rapp lived in towns such as Pine Island and Northfield; his grandparents resided near Hibbing, Bob Dylan's hometown. At age six, a neighbor taught him basic guitar chords, and he later took up the , performing show tunes and country-and-western songs popular on the radio amid harsh Minnesota winters that often dropped to 20 degrees below zero . As a child, Rapp entered local talent contests, including one in where, at around age ten, he competed against a teenage (then Bobby Zimmerman) singing Elvis Presley songs like "Hound Dog"; both placed behind a seven-year-old baton twirler in a red-sequined costume, according to Rapp's recollection. By age twelve in 1959, disillusionment with commercial pop led him to abandon music temporarily. The Rapp family continued moving, passing through before settling in , in 1963, where Tom attended and graduated from in 1965. Rapp's initial musical influences included and , emblematic of mid-1950s , as well as his mother's background in performing radio commercials as a child, which introduced familial exposure to music. A pivotal shift occurred in 1962 when hearing Bob Dylan's reignited his interest, prompting him to study Dylan's album intensively and begin writing original songs; additional early inspirations encompassed Joan Baez's guitar style and folk ensembles like . In , he formed the nucleus of Pearls Before Swine with high school friends shortly after graduation, marking the transition from personal experimentation to group performance.

Musical Career

Formation of Pearls Before Swine and Early Recordings (1965–1967)

Tom Rapp formed Pearls Before Swine in 1965 in (now part of ), shortly after graduating high school, drawing on fellow students for the initial lineup. The band consisted of Rapp on guitar and vocals, Wayne Harley on and , Lane Lederer on bass, and Roger Crissinger on and organ, reflecting a loose folk ensemble without a permanent drummer. The group's name derived from Matthew 7:6 in the , which warns against casting "pearls before swine," a choice Rapp made to convey a sense of esoteric value amid perceived cultural indifference. Influenced by and contemporary folk traditions, the band focused on original songwriting led by Rapp, alongside covers of folk standards. In late 1966, they recorded informal demos on home reel-to-reel equipment or as a custom acetate disc, featuring Rapp's compositions such as "Another Time" and adaptations of poets like , which served as a showcase rather than commercial releases. These tapes captured the band's raw, acoustic sound but yielded no immediate label interest until submitted to ESP-Disk, an independent New York label known for avant-garde acts like . In early 1967, Rapp mailed the demo to ESP-Disk owner Bernard Stollman with a direct solicitation: "hey, sign us up," prompting a contract despite the label's unorthodox roster. The band traveled to New York City for professional sessions at Impact Sound studio from May 6 to May 9, 1967, producing their debut album One Nation Underground over four days on a four-track setup for approximately $1,500. Rapp composed or co-composed eight of the ten tracks, including "Ballad to an Amber Lady" and "I Shall Not Care," with jazz drummer Warren Smith added for percussion; the album emphasized acoustic guitar, sparse arrangements, and psychedelic undertones, released in October 1967 to critical notice and sales estimated at 100,000 to 250,000 copies, though yielding no royalties due to ESP-Disk's accounting practices.

Major Albums and Artistic Peak (1968–1972)

Pearls Before Swine's second album, , was released in 1968 on ESP-Disk, marking a shift toward more experimental and psychedelic arrangements compared to the debut. Largely a solo effort by Rapp augmented by session musicians, including contributions from members of and , the album featured surreal, poetic lyrics drawing on historical and literary references, such as the Crimean War battle of , blended with folk and elements. Key tracks like "Another Time" and "I Shall Not Care" showcased Rapp's introspective songwriting and sparse instrumentation, emphasizing and unconventional sound effects over traditional band dynamics. Following the ESP-Disk era, the band signed with , releasing These Things Too in 1970, which incorporated fuller production and subtle rock influences while retaining Rapp's core folk-psychedelic style. The album included re-recordings of earlier material alongside new compositions, such as the title track, highlighting themes of transience and personal reflection through layered vocals and orchestral touches. Rapp handled most lead vocals and guitar, with contributions from a rotating cast of musicians, reflecting the project's evolution into a vehicle for his vision rather than a fixed ensemble. The Use of Ashes, issued in 1971 on , represented the culmination of Pearls Before Swine's Reprise period, delving deeper into ethereal and melancholic territories with tracks like "The Wizard Saucer" and "She Was a Dancer," characterized by intricate fingerpicking and atmospheric production. The album's artwork and titles evoked literary influences, including references to , underscoring Rapp's intellectual approach to songcraft amid the genre. By this point, the recordings increasingly featured Rapp's solo performances with minimal overdubs, signaling a transition toward individual artistry. In 1972, Rapp released his first solo album, Familiar Songs, on Reprise, compiling demos and re-recorded versions of prior Pearls Before Swine material, such as "Half a Moon" and "Sail Away," presented in stripped-down acoustic formats that emphasized his raw vocal delivery and guitar work. Concurrently, Stardancer appeared on Blue Thumb Records, featuring original compositions like "For the Dead in Space" and "The Baptist," with psychedelic folk-rock arrangements incorporating electric elements and cosmic themes, produced in a more expansive studio setting. These releases highlighted Rapp's maturation as a songwriter, prioritizing lyrical depth and melodic innovation during a prolific phase before his eventual shift away from music.

Declining Output and Retirement from Music (1973–1976)

Following the dissolution of Pearls Before Swine as a band after their 1971 album The Use of Ashes, Rapp transitioned to solo work, releasing Familiar Songs on in 1972, which featured reinterpretations of traditional and contemporary folk material. Later that year, he issued Stardancer on Blue Thumb Records, an original song cycle recorded in sessions from August 29 to September 12, 1972, emphasizing introspective with sparse arrangements. In 1973, Rapp released Sunforest, also on Blue Thumb and credited to "Tom Rapp / Pearls Before Swine," comprising nine tracks including "Comin' Back" and "Love/Sex," produced with a focus on acoustic elements but receiving mixed reviews for its subdued production quality. These solo efforts marked a shift from the band's experimental ensembles to more personal, stripped-down recordings, amid a broader decline in commercial interest for Rapp's niche style, which had peaked earlier in the underground scene. No new studio albums followed Sunforest, reflecting Rapp's waning recording output as he prioritized live performances as a solo from 1974 to 1976, without committing material to disc. He toured intermittently, including supports for acts like and , but cited disillusionment with the industry—believing future creative endeavors would primarily benefit intermediaries rather than himself—as a key factor in his disengagement. Rapp's retirement from music culminated in 1976 after a final performance opening for , after which he ceased professional musical activities entirely to enroll in and pursue a career in civil rights advocacy. This abrupt exit aligned with his growing political commitments and rejection of the music business's exploitative dynamics, leaving behind a catalog that, while critically respected in folk circles, had not achieved mainstream traction.

Education and Qualification

After retiring from music in the mid-1970s, Rapp pursued higher education, enrolling at where he earned a in in 1981. He then attended the , obtaining his degree in 1984. Following graduation, Rapp qualified as an attorney and was admitted to practice law, initially focusing on in . His legal qualifications enabled a career emphasizing litigation against corporate and advocacy for marginalized groups until 2001.

Practice in Civil Rights and Corporate Challenges

Following his graduation from the University of Pennsylvania Law School in 1984, Rapp established a private practice in centered on civil rights litigation, with a primary emphasis on claims. He handled numerous cases, often on a basis, targeting unlawful employment practices by employers. Rapp described as comprising the "major body" of his work, reflecting his commitment to addressing systemic biases in hiring, promotion, and termination decisions. Rapp's approach extended to corporate , where he pursued cases aimed at curbing abusive practices by businesses and holding them liable for violations of employee rights. His litigation strategy frequently challenged corporate entities on grounds of discriminatory policies, seeking remedies such as back pay, reinstatement, and policy reforms to prevent recurrence. This included efforts to "rein in" corporations through targeted suits that exposed and penalized non-compliance with federal and state anti-discrimination statutes, including VII of the of 1964. In addition to private sector disputes, Rapp's practice incorporated challenges against local governments, aligning with broader civil rights enforcement by scrutinizing public entities for discriminatory conduct in areas like public services and . He continued this focus until approximately 2001, when he relocated to and transitioned to roles involving legal advisory, including as an assistant attorney where he engaged with and complaints against governmental bodies. Throughout, his caseload prioritized empirical evidence of and impact, drawing on statutory frameworks to advocate for individual plaintiffs while advancing precedential constraints on institutional misconduct.

Partial Return to Music

Sporadic Performances and Releases (1990s–2010s)

Renewed cult interest in Rapp's 1960s and 1970s recordings during the prompted a partial return to music after nearly three decades focused on legal practice. He resumed live performances in 1997, breaking his retirement at the inaugural Terrastock festival in , followed by at least three more shows that year, including one at New York City's Thread Waxing Space tied to a reissue celebration. Rapp's appearances remained infrequent, with further sets at Terrastock 5 in 2002 and Terrastock 6 in Louisville, Kentucky, in April 2006, where he shared stories alongside songs from his catalog. No additional live activity is documented through the 2010s prior to his death. In 1999, Rapp issued A Journal of the Plague Year, his first original studio album since 1972, comprising new songs like "The Swimmer (For Kurt Cobain)" and "Wedding Song" alongside covers such as Neil Young's "After the Gold Rush," produced by Damon Krakowski and Nick Saloman of Bevis Frond. Live material from 1999 concerts appeared on the archival release Discontinuity Live Recordings 1972-3 & 1999. Reissues of earlier works, including Sunforest in 1998, sustained visibility but marked no new compositions beyond the 1999 effort.

Personal Life and Death

Family and Relationships

Tom Rapp was married three times. His first marriage was to Elisabeth Joosten in 1968; the couple, who met in the , collaborated on recordings with Pearls Before Swine, where Joosten contributed vocals, and they resided there for about a year in 1969 while Rapp composed material for the album The Use of Ashes. This marriage produced a son, David Rapp, and ended in divorce in the mid-1970s. Rapp's second marriage, to Susan Hein (also reported as Heim), likewise concluded in divorce, with limited public details available on the union's duration or specifics. His third marriage, to Lynn Madison beginning in 1995, lasted until Rapp's death in 2018, spanning 22 years; Madison survived him and resided in . No additional children beyond are documented in available records.

Final Years and Cause of Death

In his final years, Tom Rapp resided in , where he had settled after pursuing a legal career. He continued to engage sporadically with music, including occasional performances and releases into the , while managing declining health. Rapp died on February 11, 2018, at his home in at the age of 70. The cause of death was cancer, following a prolonged battle with the disease, as confirmed by his son David Rapp. One report specified pelvic cancer as the form affecting him.

Reception and Legacy

Musical Influence and Achievements

Rapp's leadership of Pearls Before Swine yielded the band's debut album One Nation Underground in 1967, which sold approximately 250,000 copies and introduced innovative elements, including techniques such as incorporated into the track "(Oh Dear) Miss Morse." The album's success for an underground release underscored Rapp's early ability to merge folk traditions with experimental and influences. Subsequent releases, including the critically regarded Balaklava in 1968, highlighted Rapp's songwriting focused on countercultural and anti-war themes, delivered through his distinctive gentle, raspy vocals and literate lyrics. Over the late 1960s and early 1970s, Pearls Before Swine produced at least five albums under Rapp's direction, pioneering a surreal, psychedelic strain of folk that diverged from mainstream contemporaries by emphasizing studio experimentation over live performance. Rapp's contributions established him as a foundational figure in , with his experimentalism reverberating through the genre for decades and contributing to the roots of later subgenres like freak folk. His work earned cult status, evidenced by reissues and rediscovery that positioned him as a "psychedelic godfather" among enthusiasts, though it garnered no major industry awards. Posthumous tributes, including performances by artists like , further affirmed his enduring underground legacy.

Criticisms and Commercial Limitations

Despite garnering critical praise for their innovative sound, Pearls Before Swine's albums achieved limited commercial success, with sales failing to translate into mainstream viability. The debut One Nation Underground (1967) sold between 100,000 and 250,000 copies, marking ESP-Disk's biggest seller but remaining niche amid the era's rock dominance. Subsequent releases like These Things Too (1969) underperformed relative to expectations, lacking the broad appeal of contemporaries such as or , partly due to the band's experimental, reverb-heavy production and unconventional song structures. By 1976, after nine albums spanning 1967–1973, Rapp was "virtually broke," prompting his exit from music to pursue , as the industry's focus on radio-friendly hits marginalized his literate, apocalyptic . Criticisms of Rapp's work were sparse and often centered on stylistic excesses rather than substantive flaws. These Things Too drew milder reviews than predecessors, with some attributing its ethereal quality to drug-influenced composition, potentially diluting focus amid the haze of late-1960s . Village Voice critic categorized Pearls Before Swine under "Distinctions Not Cost-Effective," acknowledging influence but implying the output's obscurity outweighed its accessibility for wider audiences. Rapp's band name itself, drawn from :6 ("Give not that which is holy unto the dogs, neither cast ye your pearls before swine"), reflected a deliberate antagonism toward unappreciative listeners, which may have reinforced perceptions of and hindered promotional efforts. Underground press occasionally voiced reservations about the group's consistency post- (1968), though these were outweighed by acclaim for Rapp's erudite songwriting. These commercial constraints stemmed from broader market dynamics: the genre's marginalization by 1970s singer-songwriter trends favoring polished introspection over Rapp's modal, folk-horror experimentation. Rapp's uncompromising approach—prioritizing personal vision over market adaptation—exacerbated this, as he invested little in audience-pleasing refinements, nearly starving by the mid-1970s before pivoting to civil rights law for stability. Later reissues and rediscovery in the affirmed enduring appeal among aficionados, but initial sales trajectories underscored the perils of niche artistry in a profit-driven industry.

Discography

Albums with Pearls Before Swine

Pearls Before Swine, the band formed and led by Tom Rapp in 1965, issued six studio albums between 1967 and 1971 before Rapp transitioned to solo work. The early releases on ESP-Disk emphasized experimental, lo-fi arrangements, while later efforts on incorporated more orchestral and rock-oriented production.
Album TitleRelease YearLabel
One Nation Underground1967ESP-Disk
Balaklava1968ESP-Disk
These Things Too1970
The Use of Ashes1970
City of Gold1971
Beautiful Lies You Could Live In1971
These recordings, primarily composed and sung by Rapp, showcased his songwriting focused on surreal, introspective themes amid the late-1960s scene. Commercial success remained limited, with modest sales reflecting the band's niche appeal in underground folk and psychedelic circuits.

Solo and Later Recordings

Familiar Songs, released in 1972 on , marked Tom Rapp's debut solo effort and comprised re-recordings and demos of songs originally associated with Pearls Before Swine. That same year, Rapp issued Stardancer via Blue Thumb Records, an experimental incorporating arrangements, recorded between August 29 and September 12, 1972, at Studios. The record featured tracks such as "Fourth Day of July" and "For the Dead in Space," emphasizing introspective and elements over commercial appeal. In 1973, Rapp followed with Sunforest on Blue Thumb Records (catalog BTS 56), blending introspection with influences across nine tracks, including "Comin' Back," "Prayers of Action," and "." The album received positive critical notice for its songcraft, though production quality drew some critique for limiting its impact. These early solo releases shifted from the band's collaborative sound toward Rapp's personal, often politically tinged lyricism, but yielded limited commercial success amid his transition away from music by 1976. Rapp largely ceased recording after Sunforest, pursuing careers in law and civil rights advocacy until a partial return to performing in the . His next and final solo album, A Journal of the Plague Year, emerged in 1999 on the Woronzow label (catalog WOO 35), produced by Damon Krakowski and Nick Saloman of , featuring contributions from both and marking over 25 years since his prior release. The record included originals like "Silver Apples II (For Simeon)" and acoustic reinterpretations of earlier works, reflecting a stripped-down, reflective style amid Rapp's sporadic live appearances, often solo or with his son . No additional solo albums followed before Rapp's death on February 11, 2018.

References

  1. https://www.allmusic.com/artist/tom-rapp-mn0000934290
  2. https://www.npr.org/sections/therecord/2018/02/13/585407666/tom-rapp-60s-folk-experimentalist-and-civil-rights-attorney-dead-at-70
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  9. https://www.discogs.com/master/22657-Pearls-Before-Swine-Balaklava
  10. https://www.discogs.com/release/1365249-Pearls-Before-Swine-Balaklava
  11. https://rateyourmusic.com/release/album/pearls-before-swine/balaklava/
  12. https://www.progarchives.com/album.asp?id=3781
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  14. https://urbanaspirines.blogspot.com/2024/03/pearls-before-swine-studio-discography.html
  15. https://www.progarchives.com/artist.asp?id=3781
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  22. https://www.ctpublic.org/2018-02-14/folk-musician-tom-rapp-dies-at-70
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  48. https://www.progarchives.com/album.asp?id=36509
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