An early photo of Earth taken in 1968. Image credit.
“Any band that calls itself Polka Tulk risks being doomed to obscurity.”
—author Chris Welch on Black Sabbath’s earliest incarnation Polka Tulk (or Polka Tulk Blues Band) in the 1982 book, Black Sabbath.
In the early days while still transitioning to the name Earth and then Black Sabbath, John Michael Osbourne, Anthony Frank Iommi, Terrance Michael Joseph Butler and William Thomas Ward frequented their future manager Jim Simpson‘s Birmingham club, Henry’s Blueshouse. In the late 60s, the venue played host to all kinds of musical acts, such as Locomotive and Jethro Tull. Regular patrons included Robert Plant, John Bonham, and members of Judas Priest.
During these early times Geezer Butler recalled the band practicing for months in his parent’s basement. At Henry’s, Simpson would expose the 20-somethings to his extensive collection of jazz and blues records. They would record a demo which contained a song composed in honor of Simpson called “A Song For Jim,” an undeniably jazz-influenced piece featuring an extended drum solo by Bill Ward, a devout fan of jazz drummer Gene Krupa since childhood. Other members of Sabbath were also big jazz fans; Tony Iommi considered Django Reinhardt one of his mentors. In 2005, Geezer Butler spoke about his desire to make a full-fledged jazz album and has referred to Sabbath’s sound while they were still called Earth as having a “jazz/blues influence.” Jazz influences are can be found throughout the band’s extensive catalog. On Sabbath’s debut, it’s heard loud and proud in “Wicked World.” On their follow up, Paranoid, “Electric Funeral” is an excellent example of “Jazz Sabbath.” On 1975’s Sabotage the last two minutes of “Symptom of the Universe” devolves into a jazzy blues-fueled jam. The band’s jazz vein is also pulsing hard on 1978’s Never Say Die, specifically the “Air Dance,” which Ward calls a “typical jazz song.” Additionally, (noted in Welch’s book), the author describes Tony Iommi’s style in “A Song For Jim” as being inspired by the highly influential guitarist Wes Montgomery, and jazz legend Joe Pass.
A membership card for Henry’s Blueshouse.
There was so much upheaval for the future members of Black Sabbath in 1968 that it’s not surprising Polka Tulk was destined to be called Polka Tulk for mere moments. Iommi had just left Mythology, another short-lived Birmingham band who, before breaking up sometime in the summer of ‘68, also included Bill Ward on drums. Iommi was still grappling with the loss of the tops of his ring and middle finger of his right hand (in the years following his accident in 1965, Iommi spent time crafting DIY covers for his fingers with molds he sculpted from melted plastic bottles, eventually covered with leather). Ozzy had just departed Rare Breed along with Geezer Butler. With the addition of slide-guitarist Jimmy Phillips (a pal of Ozzy’s) and sax player Alan “Aker” Clark, they would become a six-piece known as Music Machine (noted in the book Metal: The Definitive Guide by Gary Sharpe Young) which was even more short-lived than Polka Tulk. The first time Polka Tulk performed was on August 24th, 1968 at the County Ballroom in Carlisle. There would only be one more Polka Tulk show with both Phillips and Clark, at a youth club in Workington, England. They were dismissed from the band after that gig. By early September, Polka Tulk morphed into Earth. Tony Iommi abruptly left Earth to join Jethro Tull, which, like the various pre-Sabbath groupings we’ve discussed, lasted (thankfully) about a hot minute.
Quoted in Welch’s book, Jim Simpson claims he still has the demo record containing what is very likely Sabbath’s only known straight-up jazz recording, “A Song For Jim” featuring Iommi playing the flute. While Simpson has never shared the sacred demo, a version of Sabbath performing an instrumental version live in Scotland in 1969 does exist, and it’s absolutely fucking wild. A short clip of the actual demo can be heard in an interview with Tony Iommi in The Black Sabbath Story Vol. 1 (1992). A live recording of “A Song For Jim” and other pre-Sabbath tunes can be found on a release by Witch House Records called Early Rituals.
A frenzied ten-plus-minute live instrumental version of “A Song For Jim” featuring Tony Iommi on the flute. It was recorded in 1969 at Rugman’s Youth Club in Scotland.
Footage of Tony Iommi from ‘The Black Sabbath Story: Vol. 1 with a brief clip of the studio recording of “A Song For Jim.”
Previously on Dangerous Minds:
Dank Sabbath: Ozzy & Tony Iommi talk to High Times about weed, coke, and Quaaludes
“Rap Sabbath?”: Black Sabbath’s bizarre collaboration with Ice-T in 1995
Did Black Sabbath’s Geezer Butler put a curse on a thief who stole Tony Iommi’s guitar?
The curious case of Black Sabbath guitar god Tony Iommi and his very 70s sweater collection
Rat Salad: Eddie Van Halen’s riffy 1994 collaboration with Black Sabbath