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‘Jazz Sabbath’: Black Sabbath dabbles with bebop as Polka Tulk in 1968
11.05.2019
09:45 am
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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.

More after the jump…

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Posted by Cherrybomb
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11.05.2019
09:45 am
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