Complete List Of Supertramp Band Members

Supertramp Band Members

Feature Photo: Rs3, CC BY-SA 3.0 , via Wikimedia Commons

Supertramp, formed in 1969 in London, England, is a progressive rock band known for blending sophisticated arrangements with pop sensibilities. Over the years, the group released 11 studio albums, with Breakfast in America (1979) becoming their most successful, selling over 20 million copies worldwide. Supertramp achieved critical and commercial success with hits like “The Logical Song,” “Take the Long Way Home,” and “Dreamer.” The band’s dynamic sound was shaped by its rotating lineup, which included many talented musicians. Supertramp has been honored with Grammy Awards and other accolades, marking their influence in the music industry. Despite several breakups and reformations, their legacy endures through their recordings and live performances.

Rick Davies

Rick Davies is the founding member of Supertramp and the only musician to appear on all of the band’s releases. Joining in 1969 as a vocalist, keyboardist, and harmonica player, he became the driving force behind the band’s sound. Davies played a pivotal role in crafting albums such as Crime of the Century (1974), Breakfast in America (1979), and …Famous Last Words… (1982), contributing to hits like “Goodbye Stranger” and “Bloody Well Right.” His blues-influenced piano style and rich baritone vocals defined much of Supertramp’s musical identity.

Outside of Supertramp, Davies pursued a solo career briefly and worked on various production projects. His leadership brought the band back together in 1996 for the album Some Things Never Change and subsequent tours. Davies’ dedication to the group remained steadfast until the band ceased touring after 2011.

Roger Hodgson

Roger Hodgson joined Supertramp in 1969, co-founding the band with Rick Davies. As a vocalist, guitarist, and multi-instrumentalist, Hodgson contributed significantly to the band’s early and most iconic works, including Crime of the Century, Even in the Quietest Moments… (1977), and Breakfast in America. His high-pitched vocals and introspective songwriting gave life to classics like “Give a Little Bit,” “The Logical Song,” and “Take the Long Way Home.” Hodgson’s work often contrasted with Davies’, providing a unique duality that propelled the band’s success.

Hodgson left Supertramp in 1983 to focus on his solo career, releasing albums such as In the Eye of the Storm (1984) and Open the Door (2000). He continued performing Supertramp classics in his live shows, solidifying his status as a respected figure in progressive rock.

Richard Palmer

Richard Palmer was Supertramp’s original guitarist and lyricist, joining the band in 1969. His tenure was brief but impactful, contributing to their debut album, Supertramp (1970). Palmer’s distinctive guitar work and lyrics helped define the band’s initial sound, particularly on tracks like “Nothing to Show” and “Words Unspoken.”

After leaving Supertramp in 1971, Palmer pursued a career as a songwriter and joined King Crimson’s lyricist team under the pseudonym Richard Palmer-James. His collaboration with King Crimson on albums like Larks’ Tongues in Aspic (1973) remains a highlight of his post-Supertramp career.

Keith Baker

Keith Baker served as Supertramp’s drummer in its earliest formation from 1969 to 1970 but did not appear on any of their recordings. His departure occurred before the band entered the studio for their debut album.

After leaving Supertramp, Baker joined Uriah Heep for their second album, Salisbury (1971), contributing to its heavy progressive sound. Though his time with Supertramp was short, Baker’s work with Uriah Heep earned him recognition in the rock genre.

Robert Millar

Robert Millar was a founding member of Supertramp, joining the band in 1970 as their drummer and percussionist. He also contributed harmonica to their music. Millar played on the band’s debut album, Supertramp (1970), which showcased the group’s early progressive rock sound. However, he left the band in 1971 before Supertramp found commercial success. Tragically, Millar passed away in 2024, leaving behind a legacy tied to the band’s formative years.

Dave Winthrop

Dave Winthrop joined Supertramp in 1970 as their saxophonist and woodwind player, adding a distinctive melodic element to their sound. He also provided backing vocals during his tenure. Winthrop contributed to the band’s second album, Indelibly Stamped (1971), which marked a stylistic shift towards a more straightforward rock sound. He departed the group in 1973, just before Supertramp achieved its breakthrough.

Kevin Currie

Kevin Currie became Supertramp’s drummer and percussionist in 1971, stepping in after Robert Millar’s departure. He played on Indelibly Stamped (1971), contributing to the album’s rawer, more rock-oriented sound. Currie left the band in 1973, as Supertramp began reshaping its lineup in preparation for their classic era.

Frank Farrell

Frank Farrell joined Supertramp in 1971 as a bassist, adding backing vocals and occasional piano and accordion to the band’s sound. His tenure with the group was brief, but he played an essential role during a transitional period for the band. Farrell left Supertramp in 1972, shortly before the lineup solidified around their classic era. Beyond his work with Supertramp, Farrell contributed to various projects as a session musician before his passing in 1997.

Dougie Thomson

Dougie Thomson joined Supertramp in 1972 as the band’s bassist, staying with the group during their most successful years. His basslines formed a crucial part of the band’s rhythm section on every album from Crime of the Century (1974) through Live ’88 (1988), including the iconic tracks on Breakfast in America (1979). Thomson also appeared on the posthumously released live album Is Everybody Listening? (2001). After leaving Supertramp in 1988, Thomson moved on to work in the music business outside of performing.

Bob Siebenberg

Bob Siebenberg became Supertramp’s drummer in 1973, just before the band released Crime of the Century (1974). His powerful drumming style defined the group’s sound on every subsequent album, from their breakthrough Breakfast in America to their later works such as Free as a Bird (1987). Siebenberg rejoined the band for their later reunions from 1996 to 2002 and again from 2010 to 2011, maintaining his role as a steady rhythmic force.

John Helliwell

John Helliwell joined Supertramp in 1973 as their saxophonist and woodwind player, contributing clarinet, brass, keyboards, and occasional backing vocals. Helliwell’s distinctive saxophone playing became a hallmark of the band’s signature sound, especially on songs like “The Logical Song” and “Breakfast in America.” He remained with Supertramp throughout their heyday and returned for reunions in the 1990s and 2000s, solidifying his place as one of the band’s most enduring members.

Carl Verheyen

Carl Verheyen joined Supertramp in 1996 as their guitarist, bringing his intricate and versatile style to the group. He contributed to albums such as Some Things Never Change (1997), It Was the Best of Times (1999), and Slow Motion (2002). Verheyen also toured with the band during their 1985–86 tours before becoming an official member. His work with Supertramp showcases his adeptness in both studio and live performances, adding layers of depth to their later works.

Lee Thornburg

Lee Thornburg joined Supertramp in 1996, bringing his talent as a trumpeter and trombonist along with his vocal harmonies. Before becoming a formal member, Thornburg contributed as a session musician during the recording of Free as a Bird (1987). His official involvement spanned from 1996 to 2002 and again from 2010 to 2011, during which he appeared on albums such as Some Things Never Change (1997), It Was the Best of Times (1999), and Slow Motion (2002). Thornburg also toured extensively with the band, adding depth to their horn arrangements and live sound.

Cliff Hugo

Cliff Hugo served as Supertramp’s bassist from 1996 to 2002 and again from 2010 to 2011. He contributed to Some Things Never Change (1997), It Was the Best of Times (1999), and Slow Motion (2002), where his steady basslines enriched the band’s later works. Hugo’s skillful playing supported both studio recordings and live performances, particularly during the 70–10 Tour in 2010.

Tom Walsh

Tom Walsh joined Supertramp briefly in 1996 as a percussionist and backing vocalist. His contributions are featured on the album Some Things Never Change (1997), where his percussive additions enhanced the band’s rhythm section. Though his tenure was short, Walsh played a key role in the band’s studio sessions during this period.

Mark Hart

Mark Hart became a permanent member of Supertramp in 1996, following his earlier work with the band as a touring musician from 1985 to 1988. Hart’s versatile skills on keyboards, guitar, and vocals are evident on all Supertramp releases from Free as a Bird (1987) onwards, excluding Is Everybody Listening? (2001) and the 70–10 Tour (2010). His ability to seamlessly blend into the band’s sound contributed to their evolving musical identity during his tenure.

Jesse Siebenberg

Jesse Siebenberg joined Supertramp in 1997, following in his father Bob Siebenberg’s footsteps. He played percussion, keyboards, guitar, and provided vocals, showcasing his multi-instrumental talents. Jesse’s contributions are highlighted on It Was the Best of Times (1999) and Slow Motion (2002). He also participated in the 70–10 Tour (2010), where his dynamic presence added to the band’s live energy.

Gabe Dixon

Gabe Dixon joined Supertramp in 2010, playing keyboards, percussion, and providing vocals during the 70–10 Tour. Though his time with the band was brief, Dixon brought a fresh perspective to their live performances, enhancing the soundscape with his musicianship.

Cassie Miller

Cassie Miller joined Supertramp as a backing vocalist, adding harmonies and depth to the band’s live performances during later tours. Her contributions to their concerts complemented the band’s sound, enriching the vocal arrangements for live audiences.

Scott Page

Scott Page joined Supertramp in 1983, bringing his expertise as a saxophonist, woodwind player, guitarist, and backing vocalist. His first major contribution came with The Story So Far… (1983/1990), and he was an integral part of the recording and live tours for Brother Where You Bound (1985) and Free as a Bird (1987). Page’s dynamic saxophone performances added depth to the band’s later works, and his guitar and backing vocals contributed to the layered soundscapes of these albums. After his tenure with Supertramp, he went on to perform with iconic acts like Pink Floyd, further solidifying his legacy in rock music.

Fred Mandel

Fred Mandel joined Supertramp briefly in 1983 as a session musician, contributing keyboards, guitar, and backing vocals. His work is featured on The Story So Far (1983/1990) and later revisited during the production of Some Things Never Change (1997). Mandel’s experience with other renowned artists, such as Queen and Alice Cooper, brought a unique flair to his contributions during his short tenure with the band.

Marty Walsh

Marty Walsh became a member of Supertramp in 1984, playing guitar and providing backing vocals. His contributions were essential to Brother Where You Bound (1985), where his precise guitar work shone on the album’s more progressive and ambitious tracks. He also played on Free as a Bird (1987) and the live album Live ’88 (1988), solidifying his place as a key member during this period. Walsh later pursued a career as a music educator, sharing his expertise with a new generation of musicians.

Brad Cole

Brad Cole joined Supertramp in 1985 and returned in 1987 to play saxophone and keyboards. While his contributions were primarily live performances, his work is documented on Live ’88 (1988). Cole’s versatility added a fresh element to Supertramp’s live shows, enhancing their performances with his multi-instrumental talents.

Steve Reid

Steve Reid joined Supertramp in 1987 as a percussionist. His work is featured on the studio album Free as a Bird (1987) and the live release Live ’88 (1988). Reid’s contributions added rhythmic complexity and texture to the band’s recordings and live performances during his brief tenure. His percussion work was particularly notable during the band’s exploration of more experimental sounds on Free as a Bird.

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