HalleyAnna | HalleyAnna

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by HalleyAnna

The new Self-Titled album produced by Bill Chambers proves you can still make a record like the did in the old days.
Genre: Country: Americana
Release Date: 

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  Song Share Time Download
1. The Letter
2:48 $1.50
2. From Linda
3:02 $1.50
3. You Don't Need Me
2:28 $1.50
4. Out of the Blue
3:04 $1.50
5. Walk Away
3:09 $1.50
6. The Bee
3:02 $1.50
7. Nothin' At All
3:00 $1.50
8. Tattoo
2:31 $1.50
9. Playing Along
4:40 $1.50
10. Songwriter's Prayer (feat. The Cheatham Street Choir & Sterling Finlay)
4:06 $1.50
Downloads are available as MP3-320 files.


Album Notes
HalleyAnna Finlay simply sings like her songs were stamped on her heart at birth. Evidence: The Country. HalleyAnna’s superb debut collection swaggers (“So Heavy”) and sways (“Fast Train”) with effortless elegance. The album, which deftly spotlights her meeting point between Patsy Cline and Emmylou Harris, serves as a shining introduction to a skyward bound emerging talent. High watermarks – particularly, “Back in Your Arms Again” and “Peace Is Lonely, Love Is War”– already show HalleyAnna growing exponentially sharp as a songwriter.

“Experience is what happens when you don’t get what you want, so songwriting makes me feel better,” she says. “Any time I’d go through a heartache growing up, my dad would say, ‘Well, you’ll get a good song out of it.’ Sure enough, I really did. You can’t write every single song about how somebody broke your heart, so some of the stuff I’ve done is more serious. ‘Back in Your Arms Again’ may sound like a song about somebody who dumped you, but it has a much deeper, eternal, death-related theme about meeting in the next life.”

For the last decade, HalleyAnna has honed her songwriting skills at Cheatham Street Warehouse, the legendary Central Texas listening room owned by her father, singer-songwriter Kent Finlay. She now leads the next generation of compelling writers who follow James McMurtry, Todd Snider, Bruce Robison and others who started out at Cheatham Street. “I grew up listening to people who play music in Texas,” says the youthful singer-songwriter. “I really love the traditional stuff that’s going on in East Nashville like Elizabeth Cook and Caitlin Rose and Hayes Carll and Slaid Cleaves here in Austin. They embody the same traditional country that I like.”

All personify the literate storytelling so identified with the Texas music tradition and HalleyAnna has put her creative writing studies to good use following their footsteps. Look for further proof one her sophomore effort (due in early 2013). Americana all-star Bill Chambers (Kasey's father) produced the collection. “Working with Bill is so easy and great,” HalleyAnna says. “Bill came up and was here for the summer touring with Kasey and he had about a week window to make a record with me. He brought this really nice microphone that Kasey used on ‘The Captain’ and ‘Barricades and Brickwalls’ and we did vocals pretty much live. We cut the album in five days in the Wood Shed in San Marcos.”

Brian T. Atkinson, author of I'll Be Here in the Morning: The Songwriting Legacy of Townes Van Zandt



to write a review

M.L. Downey

A traditional voice taking country music in new directions
HalleyAnna from San Marcos possesses this marvelously-rich voice born for country music. Evocative of everyone from Loretta Lynn and Tammy Wynette through EmmyLou Harris to The Trishas’ Jamie Wilson. In addition to that, she is a cunning and often-wry songwriter.
Evidence of that intelligence is throughout this her second CD (“The Country” in 2011 is also excellent) in the pointed “You Don’t Need Me” as well as the album’s bittersweet opener: “The Letter,” which takes the clichéd bridegroom-left-at-the-altar into an unexpected direction. “Tattoo” is just a funny take on what we do for love.
HalleyAnna is the daughter of Kent Finlay, the legendary Texas singer/songwriter/club owner credited with launching George Strait’s career and nurturing dozens of other Texas artists including the late Stevie Ray Vaughn. However, she’s carving her own niche in country music now even though Dad helps out with vocals on the classic “San Antone Rose” to close this one out in fine style. (first printed in 979Represent)