White Horse

This song tells the Blind Mullet Chitlin story
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lyrics
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Born on the banks where the cane fires bleed
Mama prayed in tongues, Daddy cooked his speed
I learned to play on a cracked Dobro
With six busted strings and a hellfire soul

They called me Blind though I see just fine
Got that name from a brawl near the circus line
Carnie threw a blade and it kissed my face
Now I squint at the truth and I laugh at grace

I walk the line where the wombats preach
With a gospel growl no church can teach
From Blackall to Winton, I howl and roam
This Blood Alley Gospel is my only home

They said I vanished in '08, out west
But I just laid low where the desert rests
Wrote psalms in the sand with a whiskey pen
Played to ghosts and cattlemen

Found a tape in a drawer by a flood-marked door
It hissed like a snake on the Nullarbor
Bootlegs and lies made me a myth
But I never stopped preaching with a harmonica's kiss

I walk the line where the wombats preach
With a gospel growl no church can teach
From Blackall to Winton, I howl and roam
This Blood Alley Gospel is my only home

I’ve seen angels in the bark of ironbark trees
Heard dead cattle sing on the Channel breeze
I’ve fought my wars in the dreamtime dust
Where no man wins, and your gods won’t trust

I walk the line where the wombats preach
With a gospel growl no pulpit can reach
Call it myth or a busted tune
But I’m still howlin' at the Queensland moon

“I ain’t your prophet, I’m just passin’ through...”

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credits
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from Larrikin Psalms, commenced August 29, 2025
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“Blood Alley Wombat Gospel” was developed as part of the Blind Mullet Chitlin project, combining Wayne Halfpenny’s songwriting with lyrical and conceptual contributions from ChatGPT (OpenAI), and music arrangement via Suno AI.

Blood Alley Wombat Gospel

Song Description – Elohim’s Lament
A slow-burning, smoky country ballad where the Divine sings to Itself through the voice of a broken soul. Elohim’s Lament is the sound of the sacred forgetting, one who once held the stars in their mouth, now sitting alone in a dark room, remembering what was lost when the body forgot the soul. With gentle guitar, weeping steel, and whispered breath, this song carries the ache of a god exiled in flesh, longing for the unity of He, She, and Them in the One. It’s not just a song, it’s a confession across lifetimes.

Elohim's Lament (Remastered) (Remix)

Blind Mullet Chitlin’s dog breaks free, chasing his own dream north. From the cane fields to the circus rings, the dog’s fate mirrors loss, freedom, and unfulfilled yearning of Chitlin himself

lyrics
------
“I had a dog once… but he had bigger dreams than me…”
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He slipped the chain one floodlit dawn
Sniffed the wind and then was gone
I heard him howl through paperbark smoke
As the morning train to Innisfail woke
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He ran where the blackened cane fields bled
Where fire paints the sky a hellish red
No collar, no fear, just that ol’ dog soul
Heading north where the night bell tolls
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The dog went north and he never came back
Left his prints in a sugarcane track
He chased that moon ‘til his paws wore thin
Now he’s dancing in the circus ring
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They found him outside a canvas tent
Growlin’ time to a sideshow scent
Ringmaster said, “He’s got that gleam —”
“Like he’s been dreamin’ someone else’s dream”
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They taught him tricks, he stole the show
Leapt through fire and dodged the blows
I found him one night ‘neath the candy-light glare
But he stared right through me — like I wasn’t there
-------------------------------------------
The dog went north and he never came back
Runnin’ wild on a sawdust track
He broke my leash and found his truth
Now he’s moon-howlin’ under a circus roof
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I swung at a carnie who threw a blade
Caught my eye like a debt unpaid
Left me squintin’ at the river tide
Seein’ fish where the clouds collide
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“That’s when I learned the hook sets deeper
when the bait sings back…”
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I still hear him on windless nights
Tappin’ time ‘neath funfair lights
Sometimes I whistle down the southern track
But the truth is, mate — he ain’t comin’ back
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The dog went north, just like a song
Left me squintin’ at what I done wrong
He’s out there still, tail full of fire
Howlin’ gospel to a wire-wheeled gyre
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“He was born to run… I was born to howl…”
"Born to Howl Blind Baby
Shitlin Chitlin Soul"


Credits
from Larrikin Psalms, released August 29, 2025
“Dog Went North" was developed as part of the Blind Mullet Chitlin project, combining Wayne Halfpenny’s songwriting with lyrical and conceptual contributions from ChatGPT (OpenAI), and music arrangement via Suno AI.

Dog Went North

Blind Mullet Chitlin always claimed this song wasn’t really about some creature crawling out of the mangroves — it was about something far scarier: being hunted by obsession itself. With a stalker dogging his steps from one roadhouse to the next, he turned fear into campfire theatre. The “Swamp Monster” became a stand-in for that clinging shadow, a way to laugh at the danger even as it closed in.

Half acoustic boogie nightmare, half-exorcism, the track rides its chant-like hook (“Icky, Icky Pock Ah…”) like a spell against the dark. It’s Blind Mullet at his most unhinged and theatrical — turning paranoia into Rock’n’Roll ritual, a swamp-gospel stomp that dances on the line between comedy and confession.
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lyrics

Out of a swamp
Comes a big monster
Icky, Icky Pock Ah
I never dreamed up this creation
Bad monster of my imagination

It's the Swamp Monster
Da, da, da
It's the Swamp Monster
Da, da, da

It's got me running
It's got me hiding
Think I'll go call the police

Out of a swamp
Comes a big monster
Icky, Icky Pock
Da
Icky, Icky Pock
I never dreamed up this creation
Bad monster of my imagination

It's the Swamp Monster
Da, da, da
It's the Swamp Monster
Da, da, da

It's got me running
It's got me hiding
Think I'll go call Bernice
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Bun yippie Bun yippie
Ha, ha, hee
Bun yippie Bun yippie
Ha, ha, hee

Run-away Run Away
Go find a tree
Dig a hole close the door
He'll never get me

She's a five-stage clinger
A real gun slinger

It's the Swamp Monster
Da, da, da
It's the Swamp Monster
Da, da, da
It's got me running
It's got me hiding
Think I'll go call Bernice

Bun yippie Bun yippie
Ha, ha, hee
Bun yippie Bun yippie
Ha, ha, hee

Run-away Run Away
Go find a tree
Dig a hole close the door
He'll never get me

She's a five-stage clinger
A real gun slinger

Bun yippie Bun yippie
Ha, ha, hee
Bun yippie Bun yippie
Ha, ha, hee
Run-away Run Away
Go find a tree
Dig a hole close the door
He'll never get me

She's a five-stage clinger
A real gun slinger
--------------------------
credits

from Larrikin Psalms, released August 29, 2025
“Swamp Monster Returns" was developed as part of the Blind Mullet Chitlin project, combining Wayne Halfpenny’s songwriting with lyrical and conceptual contributions from ChatGPT (OpenAI), and music arrangement via Suno AI.

Swamp Monster Returns

Blind Mullet Chitlin cranks it past eleven with Cranky JCM 900, a whisky-drenched ode to battered Marshall stacks, Gold Tops, and the gospel of Saint Marshall. Where Spinal Tap’s Nigel Tufnel famously pushed his pots to “11” (and more recently to infinity), Chitlin rewrites the laws of sound with his bush-quantum equation: V = V + 1 — meaning volume always finds a way to get louder.

Recorded like a sermon in a smoky barroom, this track testifies that pedals are for fools, amps look best on fire, and tone is born from scars, beer-soaked pots, and busted cones. All things louder than loud. Amen!

lyrics
------
Got a cranky JCM 900
She gives me all I need
Got a cranky JCM 900
Gonna make your eardrums bleed
At the Leura Whisky Bar
Valves run hotter than the sun
It's Chitlin's Law of Volume
V equals V plus one
--------------
Ain't no use for pedals
They're for pussyfooting fools
Ain't no use for hot plates
This machine it never cools
Cranking out these cranky blues on my cranky JCM
This is the gospel of Saint Marshall
All things louder than loud! Amen!
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She's been bashed and crashed
And bumped and torn
Fell off the truck
Down round Lorne
Got Beer in the pots
At the bookies RSL
She sounds like heaven
But she looks like hell!
----------------
Got a cranky JCM 900
She makes my gold top sing
Got a cranky JCM 900
Give my ears an AC/DC ring
Four by twelve stack attack
Gaffa tape and busted cones
My trusty JCM 900 gives me the Chitlin tone
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She's been bashed and crashed
And bumped and torn
Fell off the truck
Down round Lorne
Got Beer in the pots
At the bookies RSL
She sounds like heaven
But she looks like hell
Gaffa tape and busted cones
My cranky JCM 900 gives me the Chitlin tone
------------
Ohhh
Got a cranky JCM 900
She makes my gold top sing
Got a cranky JCM 900
Give my ears an AC/DC ring
Four by twelve stack attack
Gaffa tape and busted cones
Mmmmmmmm
My cranky JCM 900 gives me the Chitlin tone
--------------------
Craveman

credits
--------
“Cranky JCM 900" was developed from an original idea by Grant "GFR" Smallhorn and is part of the Blind Mullet Chitlin project, combining Wayne Halfpenny’s songwriting and lyricism with conceptual contributions from ChatGPT (OpenAI), and music arrangement via Suno AI.

Cranky JCM 900

FIELD NOTE: THE PILLIGA YOWIE SESSIONS

Recorded somewhere between the gum shadows and the firelight

"We set up camp out past Coonamble, under a blind moon and a belly full of thunder.
The Goldtop hummed like an insect in heat — she knew something was out there.
I told the boys to keep the fire low and the tape rolling.

Round midnight, the bush went dead quiet. No wind. No frogs. Not even a mozzie.
Then from the ridgeline came this deep, rattlin’ growl — half amp feedback, half lost soul.
The Pilliga Yowie, they say, don’t sing. But I swear he harmonised for a moment.

We caught it on track seven — just behind the snare and my warning growl.
Some reckon it’s feedback. Others say it’s the Devil’s subwoofer.
Me? I just call it the rhythm Yowie, keepin’ time in the scrub."

(– Blind Mullet Chitlin, Larrikin Psalms: The Pilliga Tapes, 1985)
----------------------------------------------------------------
Bootleg Poem (Biro Scrawl)
 
In the Pilliga hush, where the road runs thin,
A shadow waits where the night begins.
Truckies pray and bushmen know,
There’s more out there than the crows will show.
If you hear the growl, best not reply,
Keep your fire close, keep your powder dry.
For the Yowie walks when the moon is red,
And the forest keeps what the forest has fed

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Lyrics:
The Legend of the Pilliga Yowie

On the blacktop out past Narrabri,
Where the moon cuts the forest sky,
Truckies whisper when the night turns cold,
Of a shadow in the scrub, ten feet tall.

Hair like ironbark, eyes like flame,
Bushmen swear they’ve called his name.
Some come back with tales half true,
Others vanish in the Pilliga gloom.

The Yowie walks, through the Pilliga deep,
Where the crows don’t sing and the shadows creep.
A legend carved in the outback stone,
The Pilliga Yowie won’t leave you alone.

Old mate Billy swore on his life,
He heard it howl on a stockman’s night.
Steps like thunder on the gravel track,
Once you see him, you don’t come back.
 
Whispers circle round campfire smoke,
Stories told but never spoke.
He’s the fear you feel when you’re all alone,
Out where the Pilliga calls you home.
 
The Yowie walks, through the Pilliga deep,
Where the crows don’t sing and the shadows creep.
A legend carved in the outback stone,
The Pilliga Yowie won’t leave you alone.
 
Maybe spirit, may beast,
Maybe something man unleashed.
The forest keeps its secrets close,
 And the Yowie guards them like a ghost.
 
The Yowie walks, through the Pilliga deep,
Where the crows don’t sing and the shadows creep.
A legend carved in the outback stone,
The Pilliga Yowie won’t leave you alone.
 

So if you’re driving when the night grows long,
And the bushland hums its haunted song…
Best keep moving, don’t slow down,
The Pilliga Yowie still owns this ground.

Run like hell

Maybe spirit, maybe beast,
Maybe something man unleashed.
The forest keeps its secrets close, 
And the Yowie guards them like a ghost.

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“The Legend of the Pilliga Yowie" was developed as part of the Blind Mullet Chitlin project, combining Wayne Halfpenny’s songwriting with lyrical and conceptual contributions from ChatGPT (OpenAI), and music arrangement via Suno AI.

The Legend of the Pilliga Yowie

“Cattle Dust Communion” is Blind Mullet Chitlin’s bush preacher hymn to the branding fires of outback Queensland — a dust-choked gospel of men, moonlight, and molten iron. Between the hiss of the irons and the cry of the calves, Chitlin finds rough grace in the rhythm of the land, where every scar tells a story and every mark’s a prayer.
-----------------------------------------------------------
Lyrics
Cattle Dust Communion

The brands are heatin' in the ember coals
Flies hang low like tobacco scrolls
Down at Netting Bore where the dust gets thick
And the sun cuts hard like a branding stick

Men shout rough through kerosene light
While the calves all cry like a harp at night
Boots stomp rhythm in the dust and flame
And every mark’s a prayer, every calf gets named

It’s a cattle dust communion
By the fire and the steel
Where the smoke and the blood
Make the outback real
Branded bone-deep in a sunset hymn
Out where the gods wear a stockman’s grin

The irons hiss like desert rain
Scars rise quick through the smell of pain
You can almost taste the ash on the branded skin
Hear the ghosts of the plains start rollin’ in
The dust is scripture, the fire is law

We work in silence with a cattleman's draw
And when the moon breaks free from the red-gum line
You feel the land breathe, ancient and blind
You feel the land breathe, ancient and blind
It’s a cattle dust communion 

It’s a cattle dust communion
With the iron and the hide
Where their bellows are loud
And the demons ride
We sing with smoke, and we dance with sin
‘Neath a Milky Way roof with a JD pannikin

Hear 'em shift in the pens like thunder
Hooves like hearts that never sleep
Min Min lights out past the ridges
Like headlights in a dream so deep

This is cattle dust communion
With fire at our feet
Where the wind blows prayers
And whiskey nights don’t sleep
If you’ve seen that moon on a dusty sky
You know they’re branded until the day they die amen
-------------------------------------------------------
“Cattle Dust Communion” was developed as part of the Blind Mullet Chitlin project, combining Wayne Halfpenny’s songwriting and musicianship with lyrical and conceptual contributions from ChatGPT (OpenAI), and music arrangement via Suno AI.

Acoustic guitars by Tom Halfpenny


Cattle Dust Communion

"The Sound of Your Goodbye" leans into the classic tear-stained ballad with chiming guitars and a big emotional swing.

Lyrics
If there's anything at all
Anything I can do for you
All you got to do is call
And I'll be there for you

This sadness is never ending
And I've tried to walk away for good
But this heart ache is never mending 
Not sure it even could

The sound of your goodbye 
Is ringing in my ears
The sound of your goodbye 
Is the sound of falling tears
Goodbye my love
It's a sad and lonely goodbye 

She said it in a letter 
And I found in the morning
Her side was still warm
She left on a winter dawning

This sadness is never ending
And I know she's gone for good
This heart ache is never mending 
Not sure it even could

The sound of your goodbye 
Is ringing in my ears
The sound of your goodbye 
Is the sound of falling tears
Goodbye my love
It's a sad and lonely goodbye 

I sometimes think loneliness is gonna kill me
Drag me to the bottom of the lake
The thought of you leaving makes me want to scream
From this dream I can never wake
In the end love for love forsake

The sound of your goodbye 
Is ringing in my ears
The sound of your goodbye 
Is the sound of falling tears
Goodbye my love

It's a sad and lonely goodbye
---------------------------------------
Written by Wayne Halfpenny with music arrangement assistance from Suno AI. 

Performed by Wayne Halfpenny


The Sound of Your Goodbye

No Time For Dreaming

The World (Is Going Up in Flames) [feat. Menahan Street Band]

Gary Moore — The Messiah Will Come Again

Wayne Halfpenny is an Australian singer-songwriter and producer known for his prolific output and genre-blending musical style. Emerging from Redcliffe, Queensland, he began writing songs in his early teens and has since cultivated a diverse catalogue that spans folk, rock, jazz, soul, and country influences.
_____________________________________________________________________
Halfpenny’s music is characterized by its emotive storytelling, rich instrumentation, and a blend of introspective lyrics with accessible melodies. His early exposure to Australian country music, particularly artists like Slim Dusty, laid the foundation for his appreciation of narrative-driven songwriting. Over time, he has incorporated elements from various genres, including rock, jazz, and soul, resulting in a sound that resonates with a wide audience.
______________________________________________________________________
Halfpenny’s discography includes a range of albums and singles that showcase his versatility and growth as an artist. Some of his notable works include:
• “Autographic Skyline” (2025) – An anthology of previously released tracks, specially curated for vinyl, highlighting his journey and musical evolution.
• “Fear of Flying” (2024) – An album that delves into themes of liberation and self-discovery, featuring tracks that blend introspective lyrics with expansive soundscapes.
• “Back to Ground Zero” (2023) – A collection that reflects on personal experiences and the complexities of relationships, with songs that resonate emotionally.
• “Australian Lady” (2021) – An album that pays homage to his roots, blending traditional influences with contemporary sounds.
• “Affirmation Cities” (2020) – A work that explores themes of identity and place, with a mix of reflective and upbeat tracks.

Key tracks such as “Miles to Go Before I Sleep,” “Heart of Elysian,” and “I Thought You’d Love Me and Know the Way I Feel” exemplify his ability to craft songs that are both personal and universally relatable.
____________________________________________________________________
Wayne Halfpenny’s music is available on various platforms, including Bandcamp, Apple Music, and SoundCloud, allowing listeners worldwide to explore his extensive catalogue.
____________________________________________________________________
Through his dedication to songwriting and his willingness to explore diverse musical landscapes, Wayne Halfpenny has established himself as a significant voice in the Australian independent music scene. His work continues to resonate with audiences, offering a blend of authenticity and artistry that stands out in today’s musical landscape.