Off the Top of My Head
By Paul Murray
What I love most about my old school mate Travis Taylor, is his blind, dogged determination to be a blues artist…He has devoted his life to the craft. Several albums, endless live shows, a couple of recording trips to the United States later, he IS a bluesman and there’s life in the Old Dog yet…His two latest albums with band One More Mile (OMM) are absolute bangers…buy them, put them on, crank up the volume and get grooving.
We met at the Prince Alfred College boarding house in Adelaide, South Australia, in the early 1980s, he from Mt Gambier in the SE of the state and me, a farm boy from Kangaroo Island. Travis was the biggest schoolboy I’d ever encountered, a fully developed chap in stark contrast to myself…a squeaky voiced adolescent with hair on my head, but nowhere else. Despite our physical differences, we developed an immediate kinship and have remained good friends for almost 50 years.
Travis excelled on the football field, playing for the First XVIII, but a knee injury put paid to his sporting aspirations and, while convalescing from a knee reconstruction operation in hospital, he began pondering his future. Now that a sporting career was off the agenda, he began wondering how he should spend his life. “I heard Sonny Terry and Brownie McGhee playing on the hospital PA system and I thought, “That’s what I’ll do, I’ll learn to play the harmonica,”” he said.

On the occasion of his 21st birthday, a lovely lass, whom Travis was smitten with, Eleanor “Elle” Dark, gave him a present that launched his musical career. “She gave me a harmonica…and then she gave me the blues,” said Travis, for Ms Dark had sadly fallen for another, and Travis has been singing about “Woman Trouble” ever since.
“I started trying to play harmonica like Sonny Terry, which is close to impossible, because he’s blind and plays upside down and back-to-front as far as the harmonica goes, and he’s just a genius,” Travis said.
John Mayall and Sonny Boy Williamson were also influential in developing his ear for the blues genre, but when his fellow musician friend, Andrew Hall, introduced him to “Hoodoo Man Blues” by Junior Wells and Buddy Guy, his blues wheels really started spinning.
While living in the snowfields with friend “Fish” Thompson, a very patient fellow, Travis practiced the harmonica incessantly and his pursuit of harp mastery continued until he got his dog “Phantom,” who either wasn’t as patient as “Fish” or was attempting to accompany Travis on the mouth organ as he’d start howling as soon as he began to play…this meant he was unable to practice at home for several years.

Travis developed a love for New Orleans-style piano blues listening to Professor Longhair, Alan Toussaint and Fats Domino. He said, “When I was in London, I saw Dr John playing in Camden Town, This inspired me to start writing my own music.” Not having a piano handy, he said, “I decided to teach myself the guitar as I couldn’t write songs on the harmonica.” This was a great leap forward as Travis now started becoming an artist in his own right rather than performing covers of his blues idols.
He started listening to the likes of Freddy, Albert and BB King, ZZ Top, Johnny “Guitar” Watson, Stevie Ray and Jimmy Vaughan. Organ also piqued his broad musical interest, and he tuned into Jack McDuff, Jimmy McGriff and Smith. Fellow muso Brian Morrison gave him an album titled “Wild Bill Davis Live at Count Basie’s Lounge,” and Davis’ swingin’ sounds also had a big influence on his blues style.
“The first band I was in was the “MaliBlues” with some fellas from Pembroke College, and we played gigs at the Marryatville Hotel in Adelaide. I then joined “Cookin’with Chilli” and played at the Ko Club every Friday night, ahead of “Blind Dog and the Guides,” who took over and played well into the night. “Blind Dog Wally” was their lead singer, and when Wally had to spend a bit of time in jail at her Majesty’s pleasure, I filled in for him and assumed the “Blind Dog” handle and “Blind Dog Taylor” I became.”
“Greg Baker (the harmonica player from Smokestack Lightning Adelaide Blues Band) was a mentor of mine, and he used to encourage me to listen to music that helped to focus my musicianship,” Travis said. “He turned me on to “Hooker ‘n’ Heat” a collaboration between John Lee Hooker and Alan Wilson from “Canned Heat.” The album achieves a live music sound in a studio recording and helped shape Travis “Blind Dog” Taylor’s stage personality and presence.
In 2016, Travis reluctantly agreed to attend a religious gathering in Sydney of 16,000 African devotees to the somewhat controversial Malawian Prophet Shepherd Bushiri at the insistence of his devout born-again Christian partner, Ugandan-Australian Esther Poni. At the event, Travis was approached by an event official who asked to interview him. Travis said, “Nah, Man, you don’t want to interview me, I really don’t even want to be here.” The man insisted he had “presence,” and encouraged him to agree to the interview. Esther’s son Simon said, smiling, “You know what “presence” means, right? It means you are the only white guy here!” Looking around, Travis realised the boy was right, he stood out like an Allen’s Kool Mint in a huge bowl of Maltesers!
Later, Travis was selected from the crowd and taken to the stage where the good Shepherd Bushiri asked Travis who “Nick” was…”One of the guys in my band,” said Travis. “Stick with Nick and everything will be alright,” the mystic mysteriously stated. Bushiri, who is much smaller than Travis, then apparently knocked him flat on his back with some kind of African mojo power surge. Travis was completely shocked, and Bushiri informed him that he had cleared a “blockage” from his body that was “preventing him from attaining his full potential.”


While The Shepherd may have cleared one blockage, it seemed Blind Dog had another, and on his return to Adelaide from the evangelical revival in Sydney, he suffered a stroke and was knocked down again.
While recovering from his health scare at Esther’s home, Travis, perhaps from the powerfully compelling influence of Shepherd Bushiri’s religious revelations or, more likely, gratitude for not being dead, Travis began listening to Gospel music. When he found a tune that resonated with him, he’d post it on his FaceBook page. This caught the attention of other blues/gospel lovers worldwide, and he received a friend request from Al Blake, fellow harmonica aficionado and one of the original members of the legendary “Hollywood Fats Band” from Los Angeles.
Their online rapport led to a real friendship and a musical collaboration after Blind Dog Taylor and his band One More Mile won the chance to travel to Memphis, Tennessee, in the United States to play at the Memphis International Blues Challenge in 2019.

When one of the OMM guitarists Sav Palaktsoglou was unable to travel to the United States with the band due to family commitments, Travis urged the other OMM axeman, Nick Kipridis, to join them on the trip. Nick agreed, as did the other members. So Travis and the band boarded a plane and flew to the United States to test their talents and blues mastery against all contenders.
Travis was able to realise the prophecy from Shepherd Bushiri’s gathering to “Stick with Nick “and, while the festival turned out to be what Travis referred to as the “Memphis debacle,” the band won the blues challenge. While in the United States, Travis was able to meet Al Blake in person, and they decided to collaborate on a recording. Al introduced him and the band to another member of The Hollywood Fats Band, Fred Kaplan, a recording studio and music mixing genius, and they recorded about 60 songs over two days at Kaplan’s Full Contact Recording Studios in Camarillo, California. The collaboration resulted in two superbly crafted albums featuring a couple of musical industry legends with bona fide blues chops. These albums (Vol 1: The Hollywood Connection and Vol 2: The Camarillo Connection) include new material, old songs and some well-rendered interpretations of blues classics and have elevated Travis “Blind Dog” Taylor and OMM to star class. “Al and Fred gave our sound an authenticity we didn’t have without them,” said Travis.
His many years playing live gigs in Adelaide and elsewhere in the world enabled Travis to handle the recording sessions with ease, and he quickly developed a professional rapport with the Hollywood Fats chaps. “There’s no substitute for playing live,” he said, “If someone falls off the rigging onto the stage, you’ve just gotta plough on through and keep playing.” “You can practice as much as you like in your room–and you should– to get yourself to a level that you can work with other musicians and understand what’s going on.”
Travis “Blind Dog” Taylor modestly describes himself as a “recording artist/engineer with 30+ years experience,” but he is a genuinely talented artist and performer and has lived the blues in a deliberate and dedicated fashion ever since his hospital-bed revelation in the 1980s. He made the blues his life’s focus since that day, and he’s been diligent and successful in the pursuit of his objective.
Few men at the dusk of their careers can gaze in retrospect at tangible evidence of their life’s work…Travis “Blind Dog” Taylor has an oeuvre of original songs and recordings that showcase his dedication to blues music and his many decades of effort to master the craft.

Travis “Blind Dog”Taylor: Aussie BluesMan
Travis “Blind Dog” Taylor is an award-winning blues singer, guitarist, and harmonica player based in Adelaide, South Australia. He has recorded under names including Blind Dog Taylor & The Healers, Blind Dog Taylor & The Heat and Blind Dog Taylor & One More Mile. His recordings and videos are available on Bandcamp and YouTube.
All of Travis “Blind Dog” Taylor’s recordings with his bands “The Healers,” “The Heat” and “One More Mile,” and collaborations with other artists like JJ Hackett are available for download on BandCamp.
https://travistaylor1.bandcamp.com/
Travis “Blind Dog” Taylor Discography
1996: Heavy Sugar by Blind Dog Taylor & The Healers

1998: Cash To Splash by Blind Dog Taylor & The Healers

1999: After Hours Inferno by Bind Dog Taylor & The Heat

2000: One Bite At The Cherry by Blind Dog Taylor & The Heat

2011: Blue In The Face by Travis “Blind Dog” Taylor

2018: Secrets Of Kangaroo Island by Travis Taylor & JJ Hackett

2019: Are We There Yet? By Travis Taylor and ONE MORE MILE

2021: Forbidden Fruit: by Travis Taylor and ONE MORE MILE

2025: Volume 1 THE HOLLYWOOD CONNECTION by Travis Taylor’s ONE MORE MILE with Al Blake and Fred Kaplan

2025: Volume 2 THE CAMARILLO CONNECTION by Travis Taylor’s ONE MORE MILE with Al Blake and Fred Kaplan































































































































































































































































































































































































































































































































































































































































































































































Democracy Crumbles while Nero Blows his Trumpet
Beware the Conductor, but Watch the Orchestra
Off the Top of My Head
By Paul Murray
Donald Trump has a rare talent that his critics underestimate and his supporters misunderstand. It is not policy. It’s not discipline. It’s certainly not restraint or intelligence….It is velocity and an uncanny ability to control the media narrative and command public attention.
The man operates at a speed that overwhelms comprehension. One day he is floating the idea of buying Greenland as if it were a slightly used jet ski on Trade Me or e-Bay. The next, he’s crowing about absorbing Canada into the United States as the 51st State, withouit bothering to discuss this with officials from the sovereign state of Canada. Then comes a Trump Tower beachfront redevelopment for Gaza, which sounds less like foreign policy and more like a brochure for a distressed luxury resort: “Sun, sea, and geopolitics—great potential, just needs a tidy-up.” And just when you think the well has run dry, out pumps something new. A White House ballroom. A national digital currency. His tariffs, which are somehow supposed to bring American manufacturing back, he launches a line of Trump Bibles—manufactured in China.
It would be hilarious if it wasn’t so sinster, because while everyone is reacting to Trumps ludicrous proclamations—laughing, fuming, sharing, arguing, sharing and reposting—the machinery of governance continues to shift in ways that are much more ominous and consequential.
This part of the show is off stage and well out of the spotlights. While Trump performs, others plot nefarious machinations. While he dominates the narrative and captures public attention, backstage, quiter, more methodical efforts reshape the long-term policy frameworks, staffing strategies, and institutional changes that they don’t want trending on social media. They just need to be implemented slowly enough that no single moment feels like significant.
And so Trump keeps his bike moving, pedalling ever faster to stay ahead of public scrutiny, legal process and Democratic opposition to Republican redrawing of the blueprints to ensure perpetual dominion.
That, really, is the image that best captures the current state of play: Trump on a stationary bike, pedalling furiously. Not moving forward in any meaningful sense, but generating just enough motion to stay upright. The pedals are labelled outrage, distraction, crisis, and counter-crisis. The flywheel is powered by attention. And the rule is simple—stop pedalling, and everything catches up, because there is always something coming up behind him.
Legal cases, for one thing. Civil, criminal, procedural—layered, complex, and, most importantly, slow. The justice system, by design, is not built for speed. It grinds rather than sprints. Which creates a peculiar advantage for anyone able to operate faster than it can respond. Politics can change in days. Court cases take years. And in that gap between action and consequence, a great deal can happen.
This timing mismatch is useful to the incumbent administration. By exploiting reality and keeping public attention and conversation stays on the smoke and mirrors Trump keeps spewing out, ensure the slower checks and balances of common sense, prudent policy and Constitutional guidelines struggle to keep pace.
But what happens when Trump can’t pedal any faster and the wheel falls off?
For all its effectiveness, the spectacle Trump creates has a shelf life. Promises, particularly the simple ones, tend to linger in the public mind. Promises need to be kept to glean continued support. No more wars. Lower costs. A better deal for working people. Make America Great Again…the hubris is beginning to wane, the strategy is faltering and the audience is starting to tire. These are not abstract ideological commitments; they are everyday expectations, and such expectations keep quietly and persistently returning, like unpaid bills.
When such expectancy is not met, something shifts. Not dramatically or suddenly, but subtly. People begin to hear questions where there were once slogans. Conversations where there was once certainty. Not a collapse of support, but a dilution and a hesitation before blind acceptance.
Even within the broader media ecosystem, which has often been sympathetic, there are signs of Trump’s magnificent, malicious public persona crumbling. Debates about strategy, delivery, and whether the constant motion is producing results or merely sustaining itself. Many of his champions are having second thoughts; Former political allies and Trump trumpeters, Majorie Taylor Green, Rex Tillerson, Thomas Massie and media trumpets, Megan Kelly, Tucker Carlson, Joe Rogan et al., are all rethinking their MAGA hats. The list goes on, and MAGA voters are also starting to wish they hadn’t supported Trump at the ballot and polls support this assertion.
This is where the bike metaphor becomes less amusing, because the faster you pedal to maintain balance, the harder it becomes to slow down without falling. Each new statement must be louder than the last. Each new idea more attention-grabbing. Each new controversy more consuming. Greenland wasn’t enough? Try Canada. Canada not enough? Try Gaza. Gaza not enough? Try something else entirely. Invade Cuba? Arrest former FBI Director Comey (again), ban transgender athletes in the Olympics? Demand rare-earth minerals from Ukraine? A gold statue of himself? Mt Rushmore? Trump passports? Demand a Nobel Peace Prize? Claim he has ended numerous wars? How about a Melania Movie?
Escalation is not a choice. It is a requirement and things are going to get weirder as the need to pedal faster looms ever closer.
Meanwhile, behind the curtain, the iniquitous changes quietly continue. Electoral rules debated and redrawn. Institutional norms stretched or reinterpreted. Media landscapes reshaped—not necessarily silenced, but nudged, pressured, aligned and purchased by Trump allies. Not in a single sweeping act, but in a series of incremental adjustments that, over time, begin to add up into substantial and possibly irreversible change that favours Republican sentiment.
This is how systems change in modern democracies. Not with a dramatic break, but with a gradual reconfiguration. A tweak here. A precedent there. A personnel change that seems minor until it isn’t. All of it occurring while the maddened crowd is watching the man on the bike pedalling furiously.
It would be comforting to believe that the spectacle is the story. That the outrageous statements, the grandiose ideas, the theatrical gestures are the entirety of what is happening, but they may, in fact, be the least important part.
Yes, the spectacle, by its nature, demands attention, but public heed is finite. Every moment spent reacting to the latest absurdity is a moment not spent examining the quieter, more structural shifts it is designed to obfuscate.
It is not whether Trump believes his own ideas about Greenland or Gaza or ballroom expansions or digital currencies, imported Bibles or…Trump Unicorns? The question is whether it matters and what is really going on behind the scenes.
If the effect is to keep the conversation perpetually occupied, constantly reactive, continuously one step behind—then the content of the distraction is almost irrelevant. What matters to the Trump administration is that it works, but maybe it is becoming less effective, maybe people are starting to peek backstage to see what is really happening as Trump’s proclamations become increasingly farcical, absurd and laughable. Perhaps public opinion, including MAGA supporters are catching up to the tiring one-trick president, and the real agenda is becoming increasingly evident.
Because democracies, for all their flaws, have a stubborn tendency to reassert themselves through the unglamorous mechanisms that built them in the first place. Voting. Courts. Institutions. Public scrutiny that arrives late but, occasionally, decisively. The slow stuff. The boring stuff. The stuff that does not trend on social media.
Which leaves us, awkwardly, with a choice. Not a dramatic one, not a revolutionary one, but a quietly demanding one: whether to keep watching the bike, or to start paying attention to what’s really happening and who is really running the show. Because the entertainment provided by Trump is not the future, the reengineering of political systems in the United States is what is real about all this reality show. Eventually, even the sychophantic Republican nutters he has surrounded himself with and who help obfuscate the truth will realise they are destroying the democratic structure that actually made America great and will eventually find their balls…maybe in the Trump ballroom?
Trump can pedal, but he can’t hide; he’s already in top gear and out on the open road pushing into in a headwind. The thing he fears most is bearing down on him…it’s a new word, one may soon discover and claim as his own…Accountability. In the face of losing public support, former allies turning against him, economic failure, affordability (another word Trump apparently recently discovered), irrelevance, public humiliation, truth, the threat of jail time and being the brunt of late-night TV comics monologues…it’s coming for him, and he will be held accountable. This is why he’s trying to stem media commentary that is not favourable to him and encourage friends to purchase mainstream media outlets to control the messaging. It’s also why he needs to rig elections, for without public support, he’s finished, and the end will come soon, hopefully before the United States is on the trash heap of Trump Failure; Like Trump Airlines, Trump Steak, Trump University, Trump Vodka, Trump Casinos and Trump Underpants
Accountability won’t be kind to Trump, but it is possibly the only thing he’s really earned in his life.
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