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Martin Jackson

Martin Jackson (born 30 August 1955) is a British drummer from , , best known for his work with the post-punk band on their 1978 debut album and with the pop group on their 1987 hit single "". Jackson began his career in the mid-1970s playing with local bands such as , led by . He joined as a founding member in 1977, contributing drums to their first two albums before leaving in 1978. In the 1980s, he briefly played with UK and then joined , appearing on their debut album It's Not Enough (1986) and the follow-up (1987). Later, Jackson worked with on their 1994 album Sex and Death. His contributions span , , and pop genres, reflecting 's vibrant music scene.

Early Life

Childhood in Manchester

Martin Jackson was born on 30 August 1955 in Manchester, England. Growing up in Manchester during the 1960s and early 1970s, Jackson was immersed in a city with a burgeoning music culture that laid the groundwork for later post-punk developments. The era saw the rise of local beat and pop acts, such as the Hollies and Herman's Hermits, which dominated the charts and filled venues like the Twisted Wheel, fostering a lively youth scene centered on rhythm and blues, soul, and emerging rock influences. This environment provided early exposure to live music performances and the energetic atmosphere of Manchester's clubs and ballrooms, shaping the cultural backdrop for Jackson's later musical pursuits. Although specific details about Jackson's family life and early education remain scarce in available records, the industrial city's working-class ethos and close-knit communities likely influenced his formative years. Manchester's music scene in this period transitioned from the mod subculture of the mid-1960s to the raw energy of punk by the late 1970s, with local venues hosting acts that introduced raw, rebellious sounds to young audiences like Jackson, who would have been in his late teens during punk's emergence. This exposure to the evolving local influences, including proto-punk and post-punk elements from bands like the Buzzcocks, contributed to the development of his interest in drumming amid a time of musical innovation in the region.

Musical Beginnings

Jackson developed an interest in drumming as a teenager, influenced by the rock and roll traditions and the DIY ethos of Manchester's local scene in the late and early . He gained early experience playing with local bands, including . By the mid-, he had expanded his skills to include keyboards and was active in the burgeoning Manchester music environment. These early endeavors set the stage for his later professional pursuits.

Early Career

Collaborations with Chris Sievey

Martin Jackson's early experience playing drums in Manchester's burgeoning music scene led him to his first significant professional collaborations with Chris Sievey in the mid-1970s. Around 1975, Jackson and Sievey formed the short-lived band The Bees Knees, where Jackson served as the drummer on several tracks of their self-recorded cassette The Bees Knees (Early Recordings 1975), a handmade indie pop release distributed locally. In this punk-influenced project, Jackson contributed drums to songs such as "Last," "Slump," "Frapper Dehours," and "Washed Up," alongside Sievey's multi-instrumental work on vocals, guitar, saxophone, and violin. These sessions represented some of the earliest documented recordings for both musicians, capturing the raw energy of Manchester's pre-punk DIY ethos, though the material remained largely unreleased beyond limited cassettes at the time. By 1977, Jackson joined Sievey again in the formation of , an early and band that emerged from Manchester's vibrant underground scene. As the initial drummer, Jackson helped shape the band's sound during its nascent phase, alongside other collaborators including future guitarist . The group's early activities included rehearsals and initial recordings that laid the groundwork for their fringe presence in the late-1970s movement, though Jackson's tenure was brief as he soon transitioned to other projects. The Freshies' -driven style, emphasizing Sievey's witty songwriting, marked Jackson's entry into more structured band dynamics amid Manchester's explosive music environment.

Tenure with Magazine

Martin Jackson joined the band Magazine in 1977 as part of its original lineup, recruited alongside bassist and keyboardist Bob Dickinson to complement vocalist and guitarist . Drawing briefly from his prior experience drumming in Manchester-based groups led by , Jackson brought a solid rhythmic foundation to the ensemble as they signed with and prepared their debut material. In early 1978, Jackson contributed drums to Magazine's debut single, "Shot by Both Sides," recorded by the core quartet of Devoto, McGeoch, Adamson, and himself, with additional keyboards by . Released in January 1978 on Virgin, the track showcased Jackson's precise, driving percussion that underpinned the band's angular sound, helping it reach number 41 on the and establishing Magazine's early reputation. Jackson's drumming featured prominently on Magazine's debut album, , released in June 1978, where he provided the backbone for the record's eight tracks, including the opening number "Definitive Gaze." On this track and throughout the album—produced by at Virgin's Town House Studios—Jackson's style emphasized taut, economical beats that complemented the band's literate lyrics and experimental textures, contributing to 's critical acclaim as a landmark release. The album peaked at number 29 on the , solidifying Jackson's role in Magazine's initial breakthrough. Following the completion of Real Life and its supporting tour, Jackson departed in mid-1978. His exit marked the end of his brief but influential tenure with the band, after which he was replaced by for subsequent recordings.

Mid-Career Projects

Involvement with

In 1982, Martin Jackson joined the band as a temporary replacement for , who was taking a . Drawing briefly on his prior experience with , Jackson provided a solid foundation in atmospheric drumming during this period. Jackson's contributions included performing on the band's Capital Radio session recorded in April 1982, where he played drums on the tracks "Up the Down Escalator" and "On the Beach." These recordings, capturing the band's tense and echoing sound, were later included on the 1992 Here Today... Gone Tomorrow, which assembled various live and session material from the early 1980s. Jackson departed the band in 1983 upon Lever's return from sabbatical, aligning with the group's lineup stabilization ahead of further recordings.

Role in Swing Out Sister

Swing Out Sister was formed in in 1985 by keyboardist and drummer Martin Jackson, who initially collaborated on an experimental electro project. The duo soon recruited vocalist after encountering her performing with the band Working Week at nightclub, recognizing her voice as a fitting addition to their sound. This trio lineup marked the band's early configuration, with Jackson providing the rhythmic foundation through his drumming. Jackson contributed drums to the band's debut album, It's Better to Travel (1987), which featured the hit single "," co-written by Connell and Jackson. His background from groups like influenced a crisp, versatile drumming style that blended seamlessly with the band's aesthetic, supporting tracks that drew from jazz, soul, and 1960s influences. The album's success, propelled by "," established in the mainstream, with Jackson's percussion integral to its polished yet energetic arrangements. Jackson departed the band around 1988, midway through the recording sessions for their second album, Kaleidoscope World (1989), after which continued as a duo comprising Connell and Drewery. His exit shifted the group's dynamic, but his foundational role in the debut era helped define their breakthrough sound.

Later Career

Work with The Durutti Column

In 1994, Martin Jackson collaborated with the experimental project on their album Sex and Death, contributing programming to the track "For Colette" and a solo to "Beautiful Lies." Released on Factory Too, the album featured Vini Reilly's signature guitar work alongside guest appearances from musicians including on bass and John Metcalfe on viola, with production by . Jackson's involvement marked a shift toward more electronic and introspective elements, drawing on his prior experience in pop and to add textural depth through programming. The album's ambient and art-rock style blended chilled guitar meditations, electro pulses, and subtle strings, creating a contemplative sound that reflected themes of and . This project represented The Durutti Column's return after a four-year hiatus following their 1990 release Obey the Time, revitalizing the ensemble's output during a period of label transition. Jackson's contributions helped underscore the record's atmospheric quality, aligning with the band's evolution toward downbeat, dance-influenced tracks infused with soulful vocals. Sex and Death stands as Jackson's last significant recording, preceding his withdrawal from major musical projects.

Retirement and Post-1994 Activities

After contributing programming and to The Durutti Column's 1994 album Sex and Death, Martin Jackson retired from performing and recording, bringing an end to his active musical career that had spanned from 1975. No public interviews or statements from Jackson have detailed specific reasons for his withdrawal from the industry, such as personal circumstances or . Since 1994, Jackson has maintained a low public profile with no further credited musical releases or live performances. He has occasionally been referenced in retrospectives on Manchester's post-punk scene, including tributes to former collaborators like Chris Sievey.

Discography

Contributions to Magazine

Martin Jackson contributed drums to Magazine's debut single "Shot by Both Sides," released on January 20, 1978, by Virgin Records, where he provided the rhythmic backbone for the track alongside Howard Devoto on vocals, John McGeoch on guitar and saxophone, and Barry Adamson on bass. The single, co-written by Devoto and Buzzcocks' Pete Shelley, peaked at number 41 on the UK Singles Chart, marking an early post-punk milestone with Jackson's precise and energetic percussion driving its angular, tense energy. Jackson's most prominent recording output with Magazine came on their debut album Real Life, released on June 2, 1978, also by , where he is credited as the drummer across all eight tracks, including "Definitive Gaze," "My Tulpa," and the "Real Life." His contributions formed a solid and dynamic with bassist , supporting the album's blend of and elements through propulsive beats and economical fills that underscored Devoto's lyrical themes of and . The album achieved commercial success, reaching number 29 on the and receiving critical acclaim as a pioneering record. During his brief tenure, no official unreleased studio recordings or live albums featuring Jackson's drumming with have been widely documented or released.

Contributions to Swing Out Sister

Martin Jackson co-founded in 1985 with keyboardist , initially as an instrumental project, before vocalist joined to complete the lineup. As the band's and occasional , Jackson played a pivotal role in shaping their sophisticated pop sound during the group's formative years. His contributions began with the band's breakthrough single "," released in October 1986, on which he provided percussion and co-wrote the song alongside Connell and Drewery. The track, produced by Paul Staveley O'Duffy, showcased Jackson's rhythmic foundation, blending jazz-inflected grooves with elements that defined Swing Out Sister's early style. Jackson's drumming and keyboard work extended to the band's debut album, It's Better to Travel, released in May 1987. He performed on all nine tracks, including "Breakout" and "Surrender"—another single co-written by the trio—delivering precise, syncopated beats that supported the album's lush arrangements and Drewery's smooth vocals. His percussion added a layer of elegance to songs like "Twilight World" and "It's Not Enough," helping establish the band's signature blend of influences and contemporary production. The album, also produced by O'Duffy, marked Swing Out Sister's commercial breakthrough, with Jackson's contributions underscoring their polished, accessible sound. Jackson's tenure with the band ended during the recording of their second album, Kaleidoscope World, released in 1989, after which he departed to pursue other projects. Despite his exit, he maintained partial involvement, providing drum programming on several tracks, including "Tainted," "Precious Words," "The Kaleidoscope Affair," "Between Strangers," and "Get in Touch with Yourself." Additionally, he co-wrote "Tainted" and "Between Strangers" with Connell and Drewery, infusing these songs with his melodic sensibilities before the album shifted to a core duo of Connell and Drewery. The liner notes acknowledged his input with special thanks, reflecting his lingering influence on the record's diverse, worldly vibe.

Other Recordings

In the mid-1970s, Martin Jackson contributed drums to several early recordings by The Bees Knees, a short-lived band formed alongside . These included tracks such as "Last," "Slump," "Frapper Dehours," and "Washed Up" on the 1975 cassette The Bees Knees (Early Recordings 1975), a collection of homemade demos later reissued on in 2005. His involvement with during the same period (1975–1977) focused on unreleased demo tapes and practice sessions, yielding no commercially available singles or albums at the time, though the collaboration marked his initial foray into the local and scene alongside Sievey and other rotating members like . During his brief 1982 tenure as drummer for , Jackson appeared on live radio sessions that were later compiled on the 1992 release Here Today... Gone Tomorrow, particularly the Capital Radio session tracks from April 1982, including "Up the Down Escalator," "Nathan's Phase," and "On the Beach." These performances captured the band's intensity before his departure, with his drumming providing a precise, driving rhythm amid the group's atmospheric guitar work. Additional early material featuring Jackson's drums appears on the 1992 compilation , such as "Up the Down Escalator" and "On the Beach," highlighting his role in the band's formative sound during a transitional lineup period. Jackson's later miscellaneous contributions included multi-instrumental work on The Durutti Column's 1994 album Sex and Death. He provided programming on "For Colette" and stylophone solo on "Beautiful Lies," adding subtle electronic textures and rhythmic support to Vini Reilly's avant-garde guitar compositions in a project produced by Stephen Street. No verified studio session or uncredited appearances from 1979–1985 or post-1994 beyond these have been documented in available discographies.

References

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