Patrick Henry Travers (born April 12, 1954) is a Canadian rock guitarist, singer and songwriter who began his recording career in the mid-1970s.

[2] His self-titled debut album was released in 1976 and featured bassist Peter "Mars" Cowling, who was a mainstay in Travers' band for several years.

After an appearance before 35,000 people at the Reading Music Festival in England, both Thrall and Aldridge announced they were leaving the band to pursue other projects.

Although the tour was Travers' most successful road outing, the Radio Active album barely made it into the Top 40, reaching only number 37.

Hot Shot was Travers' last major label release of original music, and was a return to a harder-edge style of rock than his previous two albums had been.

[7] After Hot Shot's release in 1984, Polydor made plans to issue a greatest hits package, and then ended their relationship with Travers.

Having entered the decade at the top of the music game, he found himself in 1986 without a record contract and being forced to earn a living once again playing nightclubs and touring constantly.

Shortly after, Travers signed a deal with U.S.-based Blues Bureau International Records, a company formed by producer Mike Varney.

Travers has not been able to regain the level of commercial success he once had, despite a large and loyal fan base who call themselves "Hammer Heads".

Pat Thrall, Nicko McBrain, Clive Edwards, Mick Dyche, Tommy Aldridge, Peter "Mars" Cowling, Barry Dunaway, Jerry Riggs, Gunter Nezhoda, Carmine Appice, Michael Shrieve, Aynsley Dunbar, Kirk McKim, Sandy Gennaro, Rodney O'Quinn, Sean Shannon, Frank McDaniel, David LaRue, Eric Fretas, and Rick Navarro are some of the noted musicians who have been members of the Pat Travers Band through the years.

[10] "Rage of Travers", the ninth track on The Mountain Goats' 2017 album Goths, retells an incident in which Travers—on tour in 1982 or 1983—showed up, guitar in hand and looking to jam, at a Bauhaus concert after his own gig ended.

The chorus, "Nobody wants to hear the 12-bar blues/from a guy in platform shoes", highlights the speed with which the commercial landscape of rock changed in the early 1980s, especially as MTV promoted more visually distinctive acts.