Pat Travers -

Pat Travers (born April 12, 1954) is a Canadian guitarist, singer, and bandleader who released eight albums and a live disc between 1976 and 1984 on Polydor. His popularity peaked with the 1977/78 albums Makin’ Magic, Putting It Straight, and Heat in the Street, recorded with input by Glenn Hughes (Trapeze, Deep Purple), Pat Thrall (Automatic Man), and Tony Carey (Rainbow, Planet P).

Background

He was born Patrick Henry Travers in Toronto, Ontario, where he took up guitar at age 12. In nearby Ottawa, he saw an early concert by Jimi Hendrix. As a teenager, he played in the bands Music Machine (not the Cali garage-psych band of “Talk Talk” fame), Red Hot, and Merge. The last of those toured Quebec and brought him to the attention of rock icon Ronnie Hawkins, an early benefactor.

In the mid-’70s, Travers moved to London where he secured a deal with Polydor. He recorded his first album at Chappell Recording Studios with backing by bassist Peter Cowling and drummer Roy Dyke. Cowling came from Gnidrolog and currently played in the free-jazz combos Amalgam and John Stevens’ Away. Dyke hailed from Remo Four and its followup, Ashton Gardner & Dyke. More recently, he played in Badger with Tony Kaye and Jackie Lomax.

Pat Travers

Pat Travers released his self-titled debut album in September 1976 on Polydor.

The album introduced the Canadian guitarist–vocalist’s sharp-edged hard rock approach, combining blues-rooted covers with original material that highlighted his commanding voice and agile fretwork. Travers led a power trio with bassist Peter “Mars” Cowling and drummer Roy Dyke, supported on select tracks by keyboardist Brian Chatton and guest drummer Mike Kellie.

Travers wrote or co-wrote five of the album’s nine tracks. He co-arranged two numbers with Cowling and collaborated with S. Travers on one piece. The remainder consists of covers of songs popularized by J.J. Cale (“Magnolia”), Little Walter (“Boom Boom [Out Go the Lights]”), Chuck Berry (“Maybellene”), and Commander Cody and His Lost Planet Airmen (“Hot Rod Lincoln”).

The album balances Travers’ originals—ranging from riff-centered hard rockers like “Makes No Difference” to the reflective “As My Life Flies”—with rhythmically buoyant R&B and blues selections. “Stop and Smile” and “Feelin’ Right” showcase his firm vocal presence and melodic guitar control, while the extended closing “Medley, Parts 1 & 2” expands into a Jeff Beck–styled instrumental display. “Magnolia” reveals a more subdued tone through Travers’ lyrical solo phrasing, contrasting with the high-velocity treatment of “Boom Boom (Out Go the Lights),” which later became a live favorite.

A1. “Stop and Smile” (3:51)
A2. “Feelin’ Right” (3:55)
A3. “Magnolia” (4:16) — originated as a 1972 side by J.J. Cale from Naturally
A4. “Makes No Difference” (4:37)

B1. “Boom Boom (Out Go the Lights)” (2:48) — first recorded in 1957 by Little Walter; covered since by The Band and Dr. Feelgood
B2. “Maybellene” (2:57) — originated as a 1955 hit by Chuck Berry, written by Berry
B3. “Hot Rod Lincoln” (2:51) — written by Charlie Ryan and W.S. Stevenson; a 1955 regional hit later revived by Commander Cody and His Lost Planet Airmen in 1972
B4. “As My Life Flies” (2:33)
B5. “Medley, Parts 1 & 2” (6:43)

Sessions occurred at Chappell Studio Two in London during April 1976 with producers Emil Zoghby and Pat Travers and engineer Chris Stone, assisted by Ian Taylor.

Polydor issued the album without singles, but Travers’ interpretation of “Boom Boom (Out Go the Lights)” became a concert staple and enduring rock radio track, later featured on his 1979 live album Live! Go for What You Know.

Makin’ Magic

Pat Travers released his second album, Makin’ Magic, in April 1977 on Polydor.

The album expands Travers’ blues-rock foundation into a sharper, more fluid hard rock sound with traces of funk and jazz phrasing. He fronts a trio with bassist Peter “Mars” Cowling and drummer Nicko McBrain (later of Iron Maiden), joined on select tracks by guest guitarist Brian Robertson of Thin Lizzy and vocalist–bassist Glenn Hughes of Deep Purple.

Travers wrote six of the album’s eight songs. He performs two covers: Blind Willie McTell’s “Statesboro Blues,” and “You Don’t Love Me,” a blues staple first popularized in 1960 by Willie Cobbs.

The material alternates between compact rockers and extended pieces. The opening title track sets the pace with a taut rhythmic drive and fierce, wah-inflected guitar tone. “Rock ’n’ Roll Susie” follows with brisk phrasing and a vibrant chorus. “Stevie,” a seven-minute lament of romantic fallout featuring Glenn Hughes, develops over a slow, bluesy progression. Robertson’s guest spot on “Statesboro Blues” adds a second lead guitar and a quote from David Rose’s “The Stripper.” “Hooked on Music,” built on Cowling’s anchored bass figure, rises into one of Travers’ defining concert numbers, while the closing instrumental “What You Mean to Me” resolves the set with sustained, expressive phrasing.

A1. “Makin’ Magic” (5:05)
A2. “Rock ’n’ Roll Susie” (3:39)
A3. “You Don’t Love Me” (3:27) — originated as a 1960 single by Willie Cobbs, written by Cobbs and later covered by The Allman Brothers Band and John Mayall & the Bluesbreakers
A4. “Stevie” (7:13) — a slow-tempo blues reflection on lost love with guest vocals by Glenn Hughes

B1. “Statesboro Blues” (Wille McTell) (3:41) — originated as a 1928 recording by Blind Willie McTell, later revived by Taj Mahal and The Allman Brothers Band; Travers’ version features Brian Robertson on second guitar and incorporates a quote from David Rose’s “The Stripper”
B2. “Need Love” (5:03)
B3. “Hooked on Music” (6:25)
B4. “What You Mean to Me” (4:33) — an instrumental piece expressing emotion through sustained phrasing and tone

Sessions took place at Chappell Studio Two in London with producers Emil Zoghby and Pat Travers and engineer Chris Tsangarides.

Polydor promoted Makin’ Magic in the UK and Europe through touring and radio play of “Makin’ Magic” and “Hooked on Music,” both of which became fixtures in Travers’ live repertoire.

Putting It Straight

Pat Travers released his third album, Putting It Straight, in September 1977 on Polydor.

The album extends Travers’ guitar-driven hard rock with elements of funk and jazz phrasing, recorded as a trio with bassist Peter “Mars” Cowling and drummer Nicko McBrain. The record includes contributions from Thin Lizzy guitarist Scott Gorham, former Rainbow keyboardist Tony Carey, saxophonist Bert Hermiston, and background vocalist Susie McKinley.

Travers wrote six of the album’s eight songs and co-wrote “Gettin’ Betta” with Cowling. The record closes with the two-part “Dedication,” while also featuring an instrumental, “Off Beat Ride,” and collaborations highlighting outside players—Carey on Mini-Moog and Gorham on “Speakeasy.”

“Life in London” opens the set with sharp, riff-based momentum. “It Ain’t What It Seems” and “Runnin’ from the Future” maintain the taut rhythmic drive that defined Travers’ early work. “Speakeasy,” inspired by London’s West End club of the same name, features Gorham’s dual-guitar interplay. The instrumental “Off Beat Ride,” colored by Carey’s Mini-Moog, recalls the technical phrasing of Jeff Beck’s Wired era. “Gettin’ Betta,” one of Travers’ enduring live pieces, builds around a hard, ascending rhythm pattern. The closing “Dedication (Parts 1 & 2)” expands to near-eight minutes, moving between lyrical passages and sustained, expressive solos.

A1. “Life in London” (4:22)
A2. “It Ain’t What It Seems” (4:13)
A3. “Speakeasy” (3:18) — features additional guitar by Scott Gorham
A4. “Runnin’ from the Future” (3:47)
A5. “Lovin’ You” (4:03) — features background vocals by Susie McKinley

B1. “Off Beat Ride” (4:36) — instrumental track with Mini-Moog by Tony Carey and saxophone by Bert Hermiston
B2. “Gettin’ Betta” (Peter Cowling, Pat Travers) (4:45)
B3. “Dedication Parts 1 & 2” (7:55) — features saxophone by Bert Hermiston

Sessions occurred at Eastern Sound Studios in Toronto with producers Dennis MacKay and Pat Travers.

Polydor promoted Putting It Straight with “Life in London” and “Gettin’ Betta,” both of which featured in Travers’ 1978 live sets and on later concert recordings.

Heat in the Street

Pat Travers released his fourth album, Heat in the Street, in October 1978 on Polydor.

The album captures Travers at the head of his most celebrated lineup: bassist Peter “Mars” Cowling, drummer Tommy Aldridge, and recent Automatic Man guitarist Pat Thrall. The set expands Travers’ hard blues-rock sound with twin-guitar interplay, syncopated rhythmic phrasing, and instrumental precision.

Travers wrote six of the album’s eight songs and co-wrote two with producer Jeffrey Lesser. He covers “Evie,” a 1974 Australian hit by Stevie Wright, written by Harry Vanda and George Young of The Easybeats.

The material balances riff-based aggression and taut funk pacing. The title track opens with tight rhythm changes and contoured guitar breaks. “Killer’s Instinct” and “Go All Night” showcase the Cowling–Aldridge rhythm team in compressed, driving form, while the slow, reflective “I Tried to Believe” provides a lyrical interlude. The instrumentals “Hammerhead” and “Prelude” display Travers and Thrall in fluid tandem, the former with sharp rhythmic thrust and the latter with sustained melodic interplay. “One for Me and One for You” extends over six minutes, closing the album in a dynamic, multi-sectioned build.

A1. “Heat in the Street” (Jeffrey Lesser, Pat Travers) (4:29)
A2. “Killer’s Instinct” (Lesser, Travers) (5:09)
A3. “I Tried to Believe” (5:05)
A4. “Hammerhead” (Peter Cowling, Travers) (3:04) — instrumental with twin-guitar phrasing and double-kick drumming by Tommy Aldridge

B1. “Go All Night” (3:58)
B2. “Evie” (Harry Vanda, George Young) (4:14) — originated as a 1974 three-part suite by Stevie Wright, written by Vanda and Young of The Easybeats; Travers condenses it into a single uptempo section with double bass accents
B3. “Prelude” (3:39) — instrumental with dual guitar harmonies by Travers and Thrall
B4. “One for Me and One for You” (6:12) — extended closer that moves between lyrical passages and interwoven solos

Sessions occurred at Quadradial Cinema Corp. Sound Studio in North Miami, Florida, with producer Jeffrey Lesser and engineer Dennis MacKay.

Polydor promoted Heat in the Street with the title track and “Go All Night,” both of which became concert staples. The album marked the beginning of Travers’ most visible period, leading into his 1979 concert set Live! Go for What You Know.

Live! Go for What You Know

In June 1979, Polydor issued Live! Go for What You Know, the first live album by the Pat Travers Band.

Travers led the performances on guitar and vocals, accompanied by guitarist and backing vocalist Pat Thrall, bassist Peter “Mars” Cowling, and drummer Tommy Aldridge. The set captures the dual guitar interplay of Travers and Thrall, blending Travers’ blues-rooted hard rock with Thrall’s modern, high-speed technique, anchored by Cowling’s bass and Aldridge’s precise, double-bass drumming.

Travers wrote most of the material, with co-writing contributions from Cowling on “Gettin’ Betta” and Jeffrey Lesser on “Heat in the Street.” The album includes a cover of Stan Lewis’ “Boom Boom (Out Go the Lights).”

The performance alternates between energetic rockers and tighter, extended jams. “Hooked on Music” and “Stevie” showcase Travers’ guitar phrasing and vocal energy, while “Boom Boom (Out Go the Lights)” delivers sharp turns and heightened dynamics that became a live favorite. Tracks like “Makin’ Magic” and “Makes No Difference” balance brisk pace with layered guitar harmonies.

A1. “Hooked on Music” (6:26) — from Makin’ Magic
A2. “Gettin’ Betta” (4:52) — from Putting It Straight, co-written by Cowling and Travers
A3. “Go All Night” (4:02) — from Heat in the Street
A4. “Boom Boom (Out Go the Lights)” (5:05) — originated as a 1950s single by Stan Lewis, covered live by Travers, emphasizing sharp guitar bursts and call-and-response vocals

B1. “Stevie” (6:21) — from Makin’ Magic
B2. “Makin’ Magic” (4:00) — from Makin’ Magic
B3. “Heat in the Street” (4:24) — from Heat in the Street, co-written by Travers and Jeffrey Lesser
B4. “Makes No Difference” (7:03) — from Pat Travers

The album was recorded on tour at Great Southern Music Hall in Gainesville, the Opry House in Austin, and Olympia Theater/Gusman Center in Miami, produced by Pat Travers and Tom Allom.

Design and album artwork were created by Stephanie Zuras.

Polydor promoted the album with the live single “Boom Boom (Out Go the Lights),” which became closely associated with Travers’ live performances and remains a signature track in his catalog.

Live! Go for What You Know captures the energy of Travers’ 1979 tour, highlighting dual guitar interplay, precise rhythm work, and extended live arrangements that cemented the band’s reputation for dynamic, high-voltage performances.

Crash and Burn

Pat Travers released his fifth studio album, Crash and Burn, in March 1980 on Polydor.

The album captures the final outing of Travers’ classic quartet with guitarist Pat Thrall, bassist Peter “Mars” Cowling, and drummer Tommy Aldridge. It balances Travers’ established hard blues-rock approach with ventures into funk rhythm, jazz-rock textures, and atmospheric keyboard layers. Santana drummer Michael Shrieve adds percussion, while Dawn Shahan provides additional vocals on select tracks.

Travers wrote five of the album’s eight songs, co-wrote “Snortin’ Whiskey” with Thrall, and recorded two outside covers: Albert King’s “Born Under a Bad Sign” and Bob Marley’s “Is This Love.” Guitarist Pat Thrall co-wrote the closer “Material Eyes” with Alex Kash.

The album opens with the taut, syncopated “Crash and Burn,” driven by Cowling’s bass pulse and alternating keyboard and guitar lines. “Snortin’ Whiskey” became a defining number for Travers, its rapid tempo and brash lyricism emblematic of the band’s late-’70s intensity. “Born Under a Bad Sign” retains the original’s slow, minor-key tension with added guitar sustain, while “Is This Love” contrasts as a laid-back reggae adaptation built on steady rhythm and layered harmony vocals. Instrumental piece “The Big Event” reveals the group’s improvisational interplay, and “Material Eyes” closes the set in freeform, syncopated fashion.

A1. “Crash and Burn” (5:21)
A2. “(Your Love) Can’t Be Right” (3:34)
A3. “Snortin’ Whiskey” (3:29) — Pat Thrall, Pat Travers
A4. “Born Under a Bad Sign” (5:51) — William Bell, Booker T. Jones; originated as a 1967 single by Albert King, later covered by Cream, Paul Rodgers, and Etta James

B1. “Is This Love?” (5:30) — Bob Marley; first issued in 1978 on Kaya by Bob Marley & The Wailers, a song about steadfast affection amid hardship
B2. “The Big Event” (5:37)
B3. “Love Will Make You Strong” (4:06)
B4. “Material Eyes” (5:53) — Alex Kash, Pat Thrall

Sessions occurred at Quadradial Recording Studio in Miami between June 1979 and January 1980 with producers Dennis MacKay and Pat Travers. Final mixes took place at Bayshore Studios in Coconut Grove in February 1980.

Polydor issued “Snortin’ Whiskey” (b/w “Born Under a Bad Sign”) as the lead single; it gained wide FM rotation across the U.S. “Crash and Burn” followed as the second single. The album reached No. 20 on the Billboard 200 and marked the last studio collaboration of the Travers–Thrall–Cowling–Aldridge lineup.

Radio Active

Pat Travers released his sixth studio album, Radio Active, in March 1981 on Polydor.

Travers recorded the album following the departure of guitarist Pat Thrall and drummer Tommy Aldridge, retaining bassist Peter “Mars” Cowling and adding drummer Sandy Gennaro. The sessions highlight Travers’ guitar work alongside increased keyboard textures and percussion contributions from Michael Shrieve, with Thrall and Aldridge appearing as additional personnel. The album mixes straight-ahead blues-rock and hard rock with lighter, keyboard-driven tracks.

Travers wrote six of the nine tracks, with the opener “New Age Music” credited to Roger Lewis, Ian Lewis, Jacob Miller, and Bernard Harvey.

The album begins with the angular, effect-heavy “New Age Music,” followed by the driving rock of “My Life Is on the Line” and the extended, paced “(I Just Wanna) Live It My Way.” Travers’ signature guitar dominates “I Don’t Wanna Be Awake,” while side two transitions into slower, keyboard-led numbers: “I Can Love You,” the jazz-inflected instrumental “Untitled,” reggae-tinged “Feelin’ in Love,” the ballad “Play It Like You See It,” and the closing instrumental “Electric Detective,” which restores an upbeat tempo and layered guitar lines.

A1. “New Age Music” (5:05) — Roger Lewis, Ian Lewis, Jacob Miller, Bernard Harvey; first recorded by the Wailers, layered with Travers’ guitar textures
A2. “My Life Is on the Line” (3:43)
A3. “(I Just Wanna) Live It My Way” (5:32)
A4. “I Don’t Wanna Be Awake” (3:54)

B1. “I Can Love You” (2:24)
B2. “Untitled” (3:25)
B3. “Feelin’ in Love” (3:30)
B4. “Play It Like You See It” (5:12)
B5. “Electric Detective” (3:07)

Sessions occurred at Bee Jay Recording Studios in Orlando, Florida, from October 1980 to February 1981 with producers Dennis MacKay and Pat Travers.

Polydor promoted the album with no notable singles charting. The release reached No. 37 on the Billboard Pop Albums chart, marking Travers’ last Polydor effort before he successfully sued the label for breach of contract.

Black Pearl

Pat Travers released his seventh studio album, Black Pearl, in November 1982 on Polydor.

Travers assembled a new band for the recording, retaining bassist Peter “Mars” Cowling and drummer Sandy Gennaro while adding keyboardist Don Harriss on piano and synthesizer. Travers leads with guitar, keyboards, and vocals, sharing instrumental space with his band. The album blends hard rock, blues, jazz-inflected runs, and touches of reggae, with arrangements that balance riff-driven passages and contoured melodic sections.

Travers wrote five tracks, with additional compositions including a cover of Bob Marley’s “Misty Morning” and an adaptation of Ludwig van Beethoven’s Fifth Symphony. Some tracks were co-written with drummer Sandy Gennaro and keyboardist Don Harriss.

The opening tracks, “I La La La Love You” and “I’d Rather See You Dead,” combine rock punch with lyrical interplay, while “Stand Up” highlights Travers’ interplay with Harriss’ synthesizer. Side two features the reggae-infused “Misty Morning,” the blues-rock “Can’t Stop the Heartaches,” the jazz-tinged instrumental “Amgwanna Kick Booty,” and the closing tracks “Rockin’” and the rock-classical hybrid “The Fifth,” which integrates Beethoven motifs with electric instrumentation.

A1. “I La La La Love You” (3:40)
A2. “I’d Rather See You Dead” (4:14) — co-written with D. Harriss and P. Travers
A3. “Stand Up” (4:30) — G. Wallace
A4. “Who’ll Take the Fall” (4:17)
A5. “The Fifth” (3:27) — adaptation of Ludwig van Beethoven

B1. “Misty Morning” (5:06) — Bob Marley cover
B2. “Can’t Stop the Heartaches” (5:11)
B3. “Amgwanna Kick Booty” (3:27) — co-written with D. Harriss and S. Gennaro
B4. “Rockin’” (5:36)

Sessions occurred at Quadradial Studios, with Travers producing alongside engineer Eric “Eagle Ears” Schilling. Jerry Thichava and Ron Taylor assisted on engineering, and mixing was completed at Quadradial. Travers employed the Synclavier II on “The Fifth.”

The album art was designed by Bill Levy and Fran Strauss, with photography by Dean Janoff.

Black Pearl showcases Travers’ expansion into layered arrangements and diversified styles, combining hard rock drive with keyboard textures, jazzy instrumental passages, and classical reinterpretation, maintaining sharp contrasts between guitar intensity and nuanced melodic lines.

Hot Shot

Pat Travers released his eighth studio album, Hot Shot, in 1984 on Polydor.

Travers led the sessions on guitar, organ, and vocals, with contributions from bassists Dave Kiswiney and Peter Cowling, drummers Don Brewer, Pat Marchino, and John Thorpe, and backing vocalist Joey Jelf. Travers’ performance emphasizes tight hard rock phrasing, with layered guitar textures and occasional keyboard accents across both uptempo and mid-paced tracks.

Travers wrote the majority of the material, with no specific covers noted. Some tracks involved co-writing or performance input from Kiswiney, Brewer, and Marchino.

The album alternates between driving rockers, such as “I Gotta Fight” and “Hot Shot,” and smoother, rhythmically varied numbers like “Women on the Edge of Love” and “Night Into Day.” “Just Try Talking (To Those Dudes)” blends vocal interplay with sharp guitar lines, while “Louise” and “Tonight” maintain concise, punchy structures.

A1. “I Gotta Fight” (5:44)
A2. “Killer” (4:00)
A3. “Just Try Talking (To Those Dudes)” (4:56)
A4. “Hot Shot” (5:16)

B1. “Women on the Edge of Love” (3:27)
B2. “In the Heat of the Night” (3:52)
B3. “Louise” (3:23)
B4. “Tonight” (3:21)
B5. “Night Into Day” (5:15)

Sessions occurred at Bee Jay Recording Studio with producers Pat Travers and Barry Mraz, engineered by Andy de Ganahl and Barry Mraz, and mastered by George Marino at Sterling Sound.

Album art was designed by George Corsillo with photography by Jimm Roberts.

Hot Shot delivers Travers’ signature hard rock guitar alongside layered vocals and textured rhythm sections, balancing high-energy tracks with tighter, measured compositions that highlight both guitar intensity and ensemble interplay.

Discography: