In a dramatic and unexpected clash that has rocked the world of classic rock, Jim Simpson, the original manager of legendary heavy metal pioneers Black Sabbath, has publicly responded to Sharon Osbourne’s scathing accusations.

The dispute centers around a treasure trove of rare, unreleased recordings from the band’s earliest days when they were still called Earth.

This conflict not only exposes deep personal and professional rifts but also raises questions about who truly owns a priceless piece of rock and roll history.

The saga began when Sharon Osbourne, famously known as the wife and manager of Ozzy Osbourne—the iconic frontman of Black Sabbath—publicly criticized Jim Simpson on the Osbourne family’s podcast.

She accused him of attempting to cash in on these “Lost Recordings” dating back to 1969, claiming that Simpson was exploiting the legacy of the band for personal gain.

Sharon did not hold back, labeling Simpson a “pig” and suggesting he was motivated solely by greed, wanting to keep 100% of the profits from the release while neglecting the band members’ rightful royalties.

Simpson, now in his late 80s, fired back with a comprehensive and detailed rebuttal, rejecting Sharon’s allegations point by point.

He insists that those early recordings belong to him, having personally financed the studio sessions that captured the band during their formative period.

According to Simpson, he has restored and remastered these recordings and is eager to share this crucial chapter of rock history with the world.

Jim Simpson’s role in the genesis of Black Sabbath is often overshadowed by the band’s later fame, but he was integral to their early development.

Managing the band when they were still called Earth, Simpson personally paid for studio time to record what would become some of the earliest examples of heavy metal music.

His involvement predates the band’s rise to superstardom, and he claims to have been instrumental in renaming Earth to Black Sabbath and managing them through their self-titled debut album and the follow-up, *Paranoid*.

Simpson’s defense is not just about money; it’s about preserving the legacy of a band that changed music forever.

He argues that the recordings are a “crucial segment of music history,” capturing the raw talent of Ozzy Osbourne, Tony Iommi, Geezer Butler, and Bill Ward before they became legends.

Sharon Osbourne’s accusations focus heavily on the financial aspects of the release.

She questions whether Simpson even had the means to pay for the original studio sessions and accuses him of waiting half a century for copyrights to expire before attempting to profit.

Sharon also claims that Simpson never promised royalties to the band members and is trying to keep all the profits for himself.

Simpson’s response is firm and factual.

He points out that at the time, Earth was just one of many bands he managed, and he had already achieved success with other acts and record deals.

He insists that he did pay for the recordings and that they legally belong to him.

Importantly, he states that he always intended for the band members to receive royalties “in the usual way” and remains open to this arrangement.

To counter Sharon’s claim that he is only after money, Simpson provides evidence of his charitable intentions.

He has correspondence with a Birmingham-based charity for homeless youth, St. Basil, indicating that if the band refuses royalties, the payments will instead be donated to this cause.

This move paints Simpson as someone interested in honoring the band’s legacy and giving back, rather than simply enriching himself.

The conflict escalated when Sharon reportedly sent threatening emails to Simpson to halt the album’s release.

Simpson alleges that these emails were aggressive and intended to intimidate him.

The public nature of Sharon’s accusations, including calling him a “pig” on the podcast, has made the dispute very personal and bitter.

Simpson’s detailed rebuttal seeks to clear his name and defend his reputation.

He calls Sharon’s criticisms “inaccurate and unfair,” emphasizing that he acted in good faith and out of respect for the band’s history.

At the heart of this dispute is a question that has long haunted the music industry: who owns the rights to early, unreleased recordings? Simpson claims ownership based on his financial investment and management role during the band’s early years.

Sharon and the Osbourne camp argue that the legacy and rights belong to the band members and their estates, especially given the recordings’ significance to Black Sabbath’s history.

Simpson also points out that after the band left his management in 1970, their career trajectory changed, implying that any financial or legal troubles that followed were not his responsibility. He insists that under his management, the band was paid properly.

The recordings in question offer a fascinating glimpse into Black Sabbath’s origins.

They include rare covers like “Blue Suede Shoes,” early versions of original songs such as “Song for Jim” featuring Tony Iommi on guitar and flute, and the first inklings of the heavy metal sound on tracks like “Freeman,” “Wicked World,” and “Warning.”

For fans and historians alike, these tapes represent a priceless archive that documents the band’s evolution from a bluesy rock group named Earth to the pioneering force of heavy metal.

Despite the acrimony, Jim Simpson has expressed a willingness to negotiate.

He revealed that he reached out to Sharon Osbourne in July 2024, suggesting a meeting over coffee to discuss a potential joint release of the album.

Simpson claims his sole aim is to share this important music with the world and honor the band’s legacy.

Whether the Osbourne camp will accept this olive branch remains to be seen, but the offer indicates that Simpson is not interested in a prolonged legal battle but rather in preserving and celebrating rock history.

As of early 2025, the album’s release remains on hold due to the ongoing dispute.

The rock community watches with bated breath, eager to hear these lost recordings but also aware of the complex legal and emotional battles behind the scenes.

This conflict highlights the often messy intersection of art, legacy, and business in the music industry.

It raises important questions about how early recordings should be handled and who gets to decide what becomes part of the official narrative.

The showdown between Jim Simpson and Sharon Osbourne is more than just a personal feud; it is a clash over the stewardship of one of rock’s most iconic legacies.

Simpson’s passionate defense of his role and rights challenges the narrative put forth by the Osbourne family, while Sharon’s fierce protection of her late husband’s legacy underscores the emotional stakes involved.

For fans of Black Sabbath and rock historians, the hope is that this dispute can be resolved amicably so that the world can finally hear the lost sounds of Earth before they became Black Sabbath.

Until then, the battle rages on—a testament to the enduring power and complexity of rock and roll history.