Martin Hannett. Photo by Kevin Cummins
|Also known as||Zero, Martin "Zero" Hannett|
|Born||31 May 1948|
|Origin||Miles Platting, Manchester, England|
|Died||10 April 1991(aged 42)|
|Genres||New wave, post-punk|
|Occupations||musician, record producer|
|Instruments||Bass guitar, guitar, keyboards|
|Labels||Rabid, Factory, Virgin|
|Associated acts||Joy Division, The Durutti Column, Paul Young, John Cooper Clarke, The Invisible Girls, Pauline Murray, Nico|
James Martin Hannett (31 May 1948 – 10 April 1991), initially credited as Martin Zero, was a record producer and an original partner/director at Factory Records with Tony Wilson. Hannett's trademark sound, most apparent on Joy Division's debut album Unknown Pleasures (1979) and its follow-up, Closer (1980), is sparse, eerie and spacious.
Born in Manchester, Lancashire, England, Hannett was raised in a working class, Catholic family in Miles Platting, Manchester; he attended Corpus Christi school and Xaverian College in Rusholme. In 1967, he began to attend UMIST (University of Manchester Institute of Science and Technology), where he earned a degree in chemistry but chose not to pursue that profession.
Martin's uncle was a bass player and he gave Martin a bass guitar when Martin was 14. Martin played bass with Spider Mike King and as member in a band called Paradox, in 1973, alongside Paul Young, later of Sad Café and Mike + The Mechanics.
His production work began with the cartoon show All Kinds of Heroes soundtrack, which also was produced by Steve Hopkins (with whom Martin later worked again). By this time, he also began to mix at pub gigs. Other early production works included Greasy Bear material, Belt & Braces Road Show Band's eponymous album, in 1975, and five songs from Pete Farrow's repertoire recorded at Pennine Studios, Oldham, later included on that artist's compilation album Who Says There's No Beach in Stockport. However, he first came to musical attention in 1977, when, as Martin Zero, he produced the first independent punk record, The Buzzcocks' Spiral Scratch EP. Under the same moniker he produced early records by punk poet John Cooper Clarke, whose Salford monotone was complemented by drum machines, simple synthesiser motifs, and Hannett's own bass playing. Jilted John's first single (Jilted John) was Hannett's first hit single.
Hannett became closely associated with Joy Division. Hannett's production incorporated looping technology to treat musical notes with an array of digital filters and both Melos analogue tape and Melos bucket brigade early digital echoes and AMS digital delay units of which Hannett owned three. The Melos tape and Melos quasi digital. BBD echo units were at the opposite end of the price spectrum to the AMS delays, but Hannett still loved using their crude echo effects. The first synthesizers Hannett and Joy Division guitarist Bernard Sumner both used were Transcendent 2000s and then ARP Omnis.Hannett also owned and used an International 4600 synthesiser on many early recordings. Hannett liked to feed sounds through his Marshall Time Modulators and the three AMS delays he had, along with a fourth owned by Strawberry Studios. Much of Hannett's studio effects units and synths are now in a private archive. After sessions in the recording studio Hannett would take a quarter inch tape of his mixes home and play them on his home hi fi system which consisted of Revox A77 and B77 tape recorders, Quad Electrostatic Loudspeakers and Auratone cube speakers. If he played vinyl at his home he had Garrard 301 and 401 turntables with SME arms. His love of hi fi equipment from an early age was part of his career path to becoming a legendary producer.
As a producer, Hannett obsessed over drum sounds; he was never content until they completely coincided with the sounds in his head. Legend has it that he once forced Joy Division drummer Stephen Morris to take apart his drum kit during a recording session and reassemble it to include additional parts from a toilet. He also reputedly had Morris set up his kit on a first floor flat roof outside the fire escape at Cargo Recording Studios, Rochdale. The studio was used for the recording of "Digital", "Glass", "Atmosphere", "Dead Souls", and "Ice Age". Hannett's unorthodox production methods resulted in drum sounds mixed with synthesisers that were both complex and highly distinctive. According to Hannett: "There was a lot of space in [Joy Division's] sound. They were a gift to a producer, because they didn't have a clue. They didn't argue. A Factory Sample was the first thing I did with them. I think I'd had the new AMS delay line for about two weeks. It was called 'Digital'. It was heaven sent." Hannett was instrumental in the early development of these particular AMS delays, asking the engineers in the company to try to recreate within the electronics the sounds he was hearing in his head. Hannett had a fascination for working in three particular studios: Pennine Studios in Oldham, Cargo Studios in Rochdale, and Stockport's Strawberry Studios. Hannett and Chris Hewitt designed Peter Hook's Joy Division/New Order bass equipment set up, the Alembic, Amcron, and Gauss system, which Hook used for approximately 20 years.
Hannett also produced two albums by Magazine, as well as worked extensively with John Cooper Clarke. He worked with U2, producing the single 11 O'Clock Tick Tock, however the band did not get on with him feeling that he was overbearing in his production style at the expense of their sound, and the association was swiftly terminated. He also produced many early Factory Records bands including Orchestral Manoeuvres in the Dark, A Certain Ratio, The Durutti Column, Section 25, ESG, Minny Pops, Stockholm Monsters, Crispy Ambulance, The Names, and Tunnelvision. However, his role as in-house producer at the legendary label diminished in importance after New Order, A Certain Ratio, and The Durutti Column all elected to produce themselves.
Hannett's production can also be heard on Basement 5's album 1965 - 1980. Hannett remixed some of the tracks from 1965-1980 for In Dub, which features dub versions of Basement 5's material. In 1981, he was name-checked by the Dead Kennedys frontman Jello Biafra on their track "Nazi Punks Fuck Off!", which appears on the In God We Trust, Inc. EP. Biafra introduces the track by saying, "This is 'Fuck Off', overproduced by Martin Hannett, take four". The comment was tongue-in-cheek; Hannett never produced for the Dead Kennedys.
A rift formed with Factory and he sued them in 1982 over various financial disputes; the matter was eventually settled out of court. The lawsuit is listed as part of the Factory Records catalog as FAC61. When Hannett returned to produce the Happy Mondays he worked as a freelance producer, and was not reinstated as a Factory director.
Susanne O'Hara was his partner from 1972 until 1984. They lived together from 1975 in Chorlton and Didsbury, in Manchester. Susanne worked with Martin at Music Force, a musicians' cooperative in Manchester, until it closed, when Hannett's production career began to develop, around 1979.
Post Factory, Hannett's career spiralled into decline due to his heavy drinking and drug use, especially his use of heroin: his weight eventually reached 26 stone (165 kilogrammes).
Hannett died on 18 April 1991 at the age of 42 in Manchester, as a result of heart failure. Hannett is survived by a wife, stepdaughter and son. His headstone at Manchester Southern Cemetery pays him tribute as the creator of The Manchester Sound. A film documentary looking at Martin Hannett's whole life and featuring many of the people he was in bands with and engineered or produced is due for release in 2013.
Hannett was portrayed by actor Andy Serkis in the 2002 film 24 Hour Party People, which was based on Tony Wilson's career as the co-founder of Factory Records and The Haçienda nightclub. In the DVD commentary, Wilson notes a review that described Hannett as Serkis' "strangest role", and points out that Serkis is best known for his portrayal of Gollum in Peter Jackson's Lord of the Rings trilogy. Wilson concludes that the reviewer's implication is correct, that indeed, Hannett was far stranger than the Lord of the Rings character.
- Belt & Braces Road Show Band, Belt & Braces Road Show Band LP 1975 private pressing - rare- tracks issued on Hannett Maverick Producer compilation cd
- Pete Farrow, Who Says There's No Beach In Stockport? recorded 1977 issued 2001 on cd by Ozit Morpheus and on Maverick Producer Hannett compilation cd
- John Cooper Clarke, Disguise in Love 1978
- The Durutti Column, The Return of the Durutti Column 1979
- Joy Division, Unknown Pleasures 1979
- Pauline Murray And The Invisible Girls, Pauline Murray And The Invisible Girls 1979
- Basement 5, 1965-1980 1980
- John Cooper Clarke, Snap, Crackle & Bop 1980
- Joy Division, Closer 1980
- Magazine, The Correct Use of Soap 1980
- The Psychedelic Furs, The Psychedelic Furs 1980 (songs "Susan's Strange" and "Soap Commercial")
- A Certain Ratio, To Each... 1981
- Joy Division, Still 1981
- Magazine, Magic, Murder & the Weather (mixed) 1981
- New Order, Movement 1981
- Section 25, Always Now 1981
- John Cooper Clarke, Zip Style Method 1982
- The Names, Swimmin' 1982
- Orchestre Rouge, Yellow Laughter 1982
- Armande Altaï, Nocturne Flamboyant 1983
- Blue in Heaven, All The Gods Men 1985
- The Stone Roses, The Martin Hannett album 1985 (Finally released as Garage Flower, coupled with the single So Young in 1996)
- Walk in the Walk, Walk the Walk 1987
- Happy Mondays, Bummed 1988
- The High, Somewhere Soon 1990
- Joy Division Martin Hannett's Personal Mixes 2007
- Joy Division In the Studio with Martin Hannett 2008
- Buzzcocks, "Spiral Scratch" 1976 as Martin Zero
- Jilted John, "Jilted John" 1978
- Joy Division, "Transmission" 1979
- Orchestral Manoeuvres in the Dark, "Almost" 1979 as Martin Zero
- A Certain Ratio, "Flight" 1979/1980
- A Certain Ratio, "Do The Du" EP 1980
- Kevin Hewick, "Haystack" 1980
- Joy Division, "Love Will Tear Us Apart" 1980
- U2, "11 O'Clock Tick Tock" 1980
- Pauline Murray And The Invisible Girls, "Mr X" 1980
- Pauline Murray And The Invisible Girls, "Searching For Heaven" 1981
- Crispy Ambulance, "Live on a Hot August Night" 1981
- ESG, "ESG" 1981
- Kissing the Pink, "Don't Hide in the Shadows" 1981
- New Order, "Ceremony" 1981
- New Order, "Everything's Gone Green" 1981
- New Order, "Procession" 1981
- Stockholm Monsters, "Fairy Tales" 1981
- The Names, "Nightshift" 1980
- The Names, "Calcutta" 1981
- The Names, "The Astronaut" 1982
- Blue in Heaven, "Across My Heart" (version) 1984
- The Stone Roses, "So Young" / "Tell Me" 1985
- Kit, "Overshadowing Me" 1990
- Kitchens of Distinction, "Quick as Rainbows" 1990
- New Fast Automatic Daffodils, "Get Better" 1991
- World of Twist, "She's A Rainbow" 1991
- Martin: The Work of Martin Hannett (Factory Records, 1991)
- And Here is the Young Man (Debutante, 1998)
- Zero: A Martin Hannett Story 1977-1991' (Big Beat, 2006)
- Martin Hannett- Maverick Producer,Genius and Musician 2-CD set ( Ozit Morpheus Records Sept 2011)
- CerysmaticFactory.info: FAC61 - Martin Hannett Lawsuit 16 March 1982
- Simmonds, Jeremy (2008). The Encyclopedia of Dead Rock Stars. Chicago Review Press. p. 272. ISBN 1-55652-754-3.
- Interview (...) although we (he and John Cooper Clarke) both come from the Catholic working class in Manchester.
- Savage, Jon (May 2006). "Faster, but slower". Mojo.
- FactoryRecords.com: FACT325 - Martin: The Work of Martin Hannett
- The Martin Hannett biography project
- Martin Hannett biography at LTM
- Martin Hannett page.
- The work of record producer Martin Hannett
- Martin Hannett and Tony Wilson in Strawberry Studios, July 1980 Martin Hannett explaining his production of Pauline Murray And The Invisible Girls' "The Visitor" song.
- A page about working with Martin in the early 1980s