ࡱ> proE@ 7bjbj ./ t"6!!!!!!!$*#R|%""."!!!2!!!!0!QQ `0XQ!D"0t"Q&0&QQJ&X`~!0\S""D0  0 MILESAGO Producers & Engineers MIKE PERJANIK The Mike Perjanik Band NZ, 1964-66 Mike Perjanik (keyboards) Doug Jerebine (guitar) John 'Yuk' Harrison (bass) Bruce King (drums) The Mike Perjanik Group NZ/Sydney 1967-68 George Barna [sax] A, B Pat Crichton [trumpet] A, B Bruce King [drums] A Mickey Leyton [vocals] A, B Mike Perjanik [keyboards] A, B Wally Scott [guitar] A, B Peter Skerret [bass] A, B Doug Gallacher [drums] B The Mike Perjanik Complex Sydney, 1969 Mike Perjanik [keyboards] Terry Kaff [vocals] Synthesis Sydney, 1973 Mike Perjanik [keyboards, synthesiser] Dave Donovan [guitar] Dave Ellis [bass] Will Dower [drums] Mike Perjanik exemplifies the tremendous influence and importance of New Zealand on the Australian music scene. Starting out as an aspiring rocker in New Zealand in the early 60s, Mike Perjanik has become one of Australias most prolific and respected composer-arranger-producers, and his influence on Australian and New Zealand music extends even further thanks to his long-standing role as the chair of APRA. Mike grew up in the New Zealand town of  HYPERLINK "http://communities.co.nz/Dargaville/Index.cfm" \t "_blank" Dargaville. While attending Dargaville High School he joined The Spotlights, an instrumental band formed with fellow students Doug Jerebine (guitar) and Barch Sevren (drums). They caught a New Zealand Herald truck down to Auckland to enter a Joe Brown talent quest at the Auckland Town Hall and came third. The group expanded to five, with Ken Lawrie replacing Sevren, and Roy Calkin (guitar) and Ray Mayall (bass) joining. I came from a small country town. At 18 I moved to Auckland determined to make a career in music. I got a great start, learned a lot and worked with a lot of talented people. I knew nothing about life, and I certainly knew very little about the music business. In 1963 Mike moved to Auckland, where he became a member of  HYPERLINK "http://www.sergent.com.au/embers.html" \t "_blank" The Embers, and he encouraged his friend Doug to follow and Doug eventually joined the group after a short spell in the popular band The Keil Isles. Doug went on to become one of New Zealands most famous rock guitarists and a member of the legendary psych band Human Instinct. When The Embers split up, Mike grabbed some of the members to form his own group, The Mike Perjanik Band which became the mainstay session band on the Auckland recording scene between 1964 and 1966. They also worked as the backing band for many popular solo artists including Tommy Adderly, whom they backed on The Dinah Lee Spectacular, Dinahs farewell tour of New Zealand before her move to Australia. Mike soon started writing, his songs recorded by the pop singers of the day such as Dinah Lee. He arranged for Ray Columbus and toured with performers like Gene Pitney. One of their first sessions involved backing a new singing sensation duo that Ron Dalton had heard singing, and had invited into the Viking Studio to make their first real recording, "Heart Of Stone"/"I Want You To Be My Boy". The duo were Sue and Judy Donaldson, and Mike was responsible for giving them their name, HYPERLINK "http://www.sergent.com.au/chicks.html" \t "_blank"The Chicks. Sue and Judy also were old friends of La De Das guitarist Kevin Borich. In 1966 Mike and the band also backed Sue and Judy on what is considered their best track,  HYPERLINK "http://www.borderlinebooks.com/nz/c2.html" \l "The_Chicks" \t "_blank" The Rebel Kind. Mike was also responsible for spotting another talented female singer called HYPERLINK "http://www.sergent.com.au/jayepae.html" \t "_blank"Jay Epae while he was doing a show in a Morrinsville hotel. Impressed by her powerhouse voice Mike immediately returned to Auckland to tell Viking Records' chief Ron Dalton that he'd found a new star in the Waikato. Jay was soon whisked into the Viking studio to record Tumblin' Down, which came under her new stage name HYPERLINK "http://www.sergent.com.au/mariadallas.html" \t "_blank"Maria Dallas. Mike also played an important part in launching the career of future Queen of Pop HYPERLINK "http://www.sergent.com.au/allisondurbin.html" \t "_blank"Allison Durbin. She was back by Mike's band in the studio and it wasn't long before she was dating him and then playing gigs as the band's featured singer. In October 1966, Allison, Mike and the band moved across the Tasman for a residency at Sydney's Coogee Bay Hotel, before moving into Sammy Lees prestigious Latin Quarter club in May 1967. After nine months with the band, Allison left the band to pursue a solo career. Mikes new band The Mike Perjanik Group recorded a single in 1967 called We Can Make It/My Girl on HMV, which was released in both Australia and New Zealand. The vocals were performed by Mickey Leyton, the little-known but often heard singer who was one of Australias most in-demand session vocalists in the 60s and 70s. Ca. 1969 Mike formed a new band called The Mike Perjanik Complex, which released another single on Columbia, She Never Smiles Anymore/I'm Gonna Love You. During the late 60s and early 70s Mike established himself as a sought-after record producer and was appointed as a house producer for EMI. Among his production credits are most of the 1969-71 recordings by pioneering Australian country-rock band  HYPERLINK "circus.htm" The Flying Circus including their Top Ten chart hits Hayride, La La and Run Run Run and their debut LP (1969), the Frontier EP (1970) and their acclaimed second album Prepared in Peace (1971). We hope to provide a fuller account of Mikes production work at EMI in the near future. In 1973 Mike put together a new group called Synthesis, with himself on piano, organ and synthesiser, Dave Donovan on guitar, Dave Ellis on bass and Will Dower on drums and they released an album called Lennon and McCartney : Today and Yesterday on the Drum label. Always in demand as a session player, Mike contributed to many important recordings. In 1972 he was part of the studio band that recorded HYPERLINK "../Artists/clapton.htm"Richard Claptons debut LP Prussian Blue. In 1975 he was part of the all-star studio group HYPERLINK "Artists/patch.htm"Patch, put together by producer  HYPERLINK "dawkins-peter.htm" Peter Dawkins, which recorded the concept album Star Suite. As well as Mike, Patch included Mike McClellan (acoustic guitar), Mike Rudd (electric guitar), Rod Coe (bass), Tony Esterman (keyboards), Doug Gallacher (drums), Bill Putt (bass), Tim Gaze (lead guitar) and Tony Ansell (organ). TV and film music became a major part of Mikes work during the 70s. One of his first soundtracks was for the 1972 movie PRIVATE COLLECTION. Since then he has written, recorded and produced themes and incidental music for literally hundreds of Australian films, TV shows and advertisements and he remains in high demand as a session musician. His many credits include ads for Arnotts Scotch Finger Biscuits, Johnsons Baby Oil, McDonalds and Wrigleys chewing gum and his jingles have helped to sell millions of dollars worth of products and services. In 1977 he formed The Mike Perjanik Orchestra, who featured as the house band on the hit comedy series THE NAKED VICAR SHOW; this marked the start of his long association with the shows co-creators Gary Reilly and Tony Sattler. Mike has since written the theme and incidental music for many of their popular TV shows. His many TV credits include the themes for some of Australias most popular and successful TV series -- THE NAKED VICAR SHOW, GLENVIEW HIGH and THE RESTLESS YEARS (released on a single with Renee Geyer performing the vocal version on the A-side), CHOPPER SQUAD, KINGSWOOD COUNTRY, ARCADE, HOLIDAY ISLAND, DAILY AT DAWN, A COUNTRY PRACTICE, RAFFERTYS RULES, HEY, DAD!, THE FAMILY BUSINESS, FAMILY AND FRIENDS, MY TWO WIVES, LATE FOR SCHOOL, BULLPITT and the long-running serial HOME AND AWAY. Mike has also been writing the incidental music for HOME AND AWAY since it started. With five episodes a week, were doing the equivalent a movie a week. His mini-series credits include THE POWER, THE PASSION and GRIM PICKINGS and his movie and telemovie scores include NORMAN LOVES ROSE, BUSH CHRISTMAS, QUEEN OF THE ROAD, WARMING UP, WHIPPING BOY and WITHOUT WARNING. Mainly self-taught, and still composes in the traditional manner -- I still write scores on paper,. His cites his major influences as the great pop writers of the 1960s and 70s -- Bacharach and David, Jimmy Webb and Randy Newman. Thats the music I love I love songs. But it was very hard to say, I want to be a songwriter, full stop. When I was younger you had to be everything. So I was an arranger, Ive been a record producer for a long time, Id score albums, I used to do a lot of commercials, write jingles. Jingles are a great discipline; its very hard to write a 30-second jingle that people can whistle in the shower, and thats like mini-songwriting if you like, writing songs to order. And then Id compose music for films, and Id write television themes which in a sense are songs. Mikes favourite international TV composer is Mike Post. Hes one of my heroes; over a 20-year period he wrote some of the great television themes like Hill Street Blues. I go back to my favourite themes like Mission Impossible by Lalo Shiffrin. Or Henry Mancinis Peter Gunn. Or Johnny Mandells M*A*S*H. Or more recently Mark Snows X Files. The guys who put these themes together get it right, and that is the craft. Locally, he cites Tony Hatchs Neighbours theme and Alan Caswells Prisoner theme as fine examples of the craft. You mustnt write a hit song or something trendy thats going to have a short life span. Youve got to write a standard when you write a theme, and all the themes Ive mentioned, all the great ones, are still great pieces of music 20 years later. They still work. As well as his gruelling schedule of composing, recording and production, Mike has been a board member of the Australasian Performing Rights Association (APRA) for 15 yeas and has been the Chair of the Board APRA for the last 10 years. Mikes involvement with APRA, provides a welcome balance to his solitary occupation. Composing is a pretty lonely business. You sit in your room and write away, and talk to nobody. And the only time you hear any new jokes is when you go to a recording session. He enjoys being contacted by young composers for advice. And I get the biggest kick out of knowing that some kid whos just starting off in the business has got this organisation to support him and look after his interests. Even though he may not be that skilled at it, especially when hes young, but hes not going to get ripped off. DISCOGRAPHY Singles 1967 (as The Mike Perjanik Group) We Can Make It / My Girl [HMV EA 4876 (Aust), HR 10483 (NZ)] 1969 (as The Mike Perjanik Complex) She Never Smiles Anymore / I'm Gonna Love You [Columbia DO-9013] Album 1973 Lennon and McCartney : Today and Yesterday [Drum] LP REFERENCES / LINKS Dreams Fantasies & Nightmares  HYPERLINK "http://www.borderlinebooks.com/nz/c2.html#The_Chicks" http://www.borderlinebooks.com/nz/c2.html#The_Chicks The Doug Jerebine Story homepages.ihug.co.nz/~crawl/hahaha/doug.htm Debbie Kruger Mike Perjanik: Paving The Way For Young Writers  HYPERLINK "http://www.debbiekruger.com/writer/aprap/perjanik.html" http://www.debbiekruger.com/writer/aprap/perjanik.html Bruce Sergent New Zealand Music  HYPERLINK "http://www.sergent.com.au/embers.html" http://www.sergent.com.au/embers.html  HYPERLINK "http://www.sergent.com.au/mikeperjanik.html" http://www.sergent.com.au/mikeperjanik.html Studio Connections  HYPERLINK "http://members.optushome.com.au/studioconnect/PicBk/ABCPicM.html" http://members.optushome.com.au/studioconnect/PicBk/ABCPicM.html The Naked Vicar Show episode list  HYPERLINK "" !"/015GHIKTUdm~̽raraM<+<+ h.h4oCJOJQJ^JaJ h.hrCJOJQJ^JaJ&h.h1P5CJOJQJ\^JaJ h0[5CJOJQJ\^JaJ&h.h4o5CJOJQJ\^JaJ&h.hqkc5CJOJQJ\^JaJ&h.hr5CJOJQJ\^JaJh5CJ(OJQJ^JaJh pq5CJ(OJQJ^JaJ#hY0hqkc5CJ(OJQJ^JaJ h.hqkcCJOJQJ^JaJhY0hqkc5OJQJ^JaJ!"01 ( D c }   :Bm ]^gd(gdqkc &dPgdr gd$! gd*pgdr &dP7      ! # % ' ޹zeSeSeSeSeSeSeSeSeSe#h/B*CJOJQJ^JaJphf3)h.h*pB*CJOJQJ^JaJphf3&h~5B*CJOJQJ^JaJphf3&h=5B*CJOJQJ^JaJphf3,h/h/5B*CJOJQJ^JaJphf3&h.hqkc5CJOJQJ\^JaJ h.h4oCJOJQJ^JaJ h.hqkcCJOJQJ^JaJ h.hrCJOJQJ^JaJ' ( 5 7 8 9 : ; = ? @ B Q ^ _ a n p q s t u v { ڶڶڶڶڶڶڶڶڶڶڶڶڶڡ{&h/hrO5CJOJQJ\^JaJ#h/hrO5CJOJQJ^JaJ)h$!h.B*CJOJQJ^JaJphf3#h xB*CJOJQJ^JaJphf3#h/B*CJOJQJ^JaJphf3)h.h*pB*CJOJQJ^JaJphf3 h.h*pCJOJQJ^JaJ)          , ͼͼͫͫͫͫtbQ@ h.hrOCJOJQJ^JaJ hhrOCJOJQJ^JaJ#hh5CJOJQJ^JaJhCJOJQJ^JaJ&h.hrO5CJOJQJ\^JaJ)h$!hrOB*CJOJQJ^JaJphf3 h.h*pCJOJQJ^JaJ 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