(DRUMS)
Michael Puggaard-Müller was born on August 9th 1951 in Ronne, Denmark.
He first started out playing trumpet and harp, though in 1968 soon took up the drums in order to play in the Delta Blues Band with older brother, guitarist Thomas Puggaard-Müller.
For over 15 years since '68, Michael played drums for many different bands and artists around the world, including:
My Ship, Curled Edge, Pierre Dørves, The Rattler, Sideshow, Helsingør Revyen, Tryk 16, SURVIVORS, Himmelexpressen, Hvalsøspillemændene, Det Danske Teater, Cafe Teatret, Husets Teater, Nimbus Band, Poul Banks, Culpeppers Orchard, Sten Vigs Swingsters, Rugsted & Kreutzfeldt, Rugsted og Lis Sørensen, Kenn Lendings Blues Band, Loge-Trioen, Thomas Melaus Blueslaunge, A- Train, De bedste Legekammerater, Ole Bendix, Rene’ Evald, Troels Jensen & The Healers, Soulfood, Lis Dam, Michael Landin, Sverige Jönköbing, Survivors, Gruppen Z, Sonny Terry & Brownie McGhee, Jazzgroup, All Stars, Soulfood, and Survivors among others.
In 1979, Michael also had a bit part playing drums in the band featured in Danish film "Charly & Steffen".
After 15 years of playing drums for various bands & artists, Michael semi-retired in 1984, playing here and there in a few bands up until 1994, where he returned to music full-time From '84 to '94, Michael instead worked as a set designer for various hit theatre productions in Denmark.
As of 2008, Michael is currently playing in long-time group Survivors, with brother Thomas, former Pan organist Henning Verner, Jens Rugsted, and Roy Richards. His last show was with Survivors on January 30th, 2008 in Denmark.
From a recent February 2008 Q & A piece for this site, Michael had this to say about his days in Pan:
"I was only 18 at the time and it meant a lot to me. I did not really know what success was – but we were successful in Denmark at the time. There was not really anyone who saw it as commercial. The music was too complex to sell very much – there was zero hit list songs. With Pan we worked hard practising every day. Back then it was common that people would smoke a lot of dope where we would play and they would usually be unable or too tired to help carrying the heavy equipment we brought with us. We never drank or smoked in the group; but the audience would not believe us. Back then the music we played had to be inspired by spirits or some higher elements that came to us while on stage. (The stoned audience believed) it could not be through hard daily practise from 11am to 5pm. If you read music, it was not real music. The whole period is the most closed period in modern Danish history… it was stupid and one-sided to smoke dope and do drugs, while trying to change the world around you. It was well seen to be unable to do anything. For me as a young person it was depressing to see how little acceptance it was to work hard. We still suffer under this perception, but I am glad that things changed away from that, and left these childish misconceptions behind, so that more and more diverse people can get a chance to realize themselves, now knowing, that this freedom can be very frustrating."
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