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Days Are Gone
 
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Days Are Gone

19 Feb. 2014 | Format: MP3

£8.49 (VAT included if applicable)
Buy the CD album for £4.41 and get the MP3 version for FREE. Does not apply to gift orders.
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Song Title
Time
Popularity  
30
1
4:17
30
2
4:05
30
3
4:05
30
4
3:49
30
5
4:11
30
6
3:51
30
7
3:33
30
8
3:51
30
9
4:16
30
10
4:08
30
11
4:03
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Product details

  • Original Release Date: 1 Jan. 2013
  • Release Date: 19 Feb. 2014
  • Label: Polydor Ltd.
  • Copyright: (C) 2013 Haim Productions Inc., under exclusive licence to Polydor Records, a division of Universal Music Operations Ltd
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 44:09
  • Genres:
  • ASIN: B00F99I6F8
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (255 customer reviews)
  • Amazon Bestsellers Rank: 2,211 in Albums (See Top 100 in Albums)

Customer Reviews

4.6 out of 5 stars

Most Helpful Customer Reviews

6 of 6 people found the following review helpful By susiec on 31 July 2014
Format: Audio CD Verified Purchase
Purchased for my 17 year old who loves this group - haven't stopped playing this all summer! Really good songs, really good musicians - stand out tracks for me Days are Gone and The Wire, daughters like If I Could Change Your Mind and Falling. So refreshing to have talented young girls who can sing, play their instruments so well and don't feel the need to strip down to their knickers in order to sell records.
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1 of 1 people found the following review helpful By Mr. Iain R. Wear on 22 Feb. 2015
Format: Audio CD
Take three musical siblings, with a surname starting with H and what do you get? If you're as old as I am, memory may provide the answer "Hanson". Fortunately, however, there is little comparison other that these between Hanson and Haim. Whereas Hanson were teenagers when they burst onto the scene in the mid 90s with their rather annoying "MmmBop" single, Haim have built up their talents playing with and for other artists and only now, when all three sisters are in their 20s and more musically mature, as well as physically mature, than the brothers Hanson were, have they come to prominence as a group.

Outselling Justin Timberlake to get a Number 1 album in the UK suggests they may have something going for them. But it's not just the public who are behind Haim, as they were voted the BBC's Sound of 2013, beating another chart topping artist in Tom Odell and following on from the likes of Adele and Jessie J in winning the award. So the expectation is certainly there as their debut album "Days Are Gone" is released.

Given that the majority of my favourite tracks were quite early on, I'm left with the feeling that "Days Are Gone" is only half a decent album. What is here is certainly musically accomplished, but the vast range of influences suggests that the group haven't quite picked their own sound as yet and are experimenting a little with what sounds right for them. However, this is a fairly decent 11 tracks and 45 minutes of music that suggests that there is the talent within Haim, both musically and especially vocally, for them to be something quite impressive given time.

This is not a bad album to say you've listened to, especially if things do settle and they become huge in the future.
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Format: Audio CD
I’m a sucker for that early ‘80s new wave blend of palm muting and power chords, so Haim provided a rather Fleetwood Mac-inspired breath of fresh air to the pop mainstream. The indie scene is crying out for axe-wielding rock chicks comparable to Stevie Nicks and Christine McVie, so Haim deserve some credit for having the cajones to drop the bomb that is Days Are Gone, an album which recalls the golden era of ‘80s pop rock.

From the ‘Vienna’-esque Ultravox pulse at the start of its opening track ‘Falling’, the Haim sisters hurl themselves into a maelstrom of new wave abandon from the Tango in the Night arpeggiated synths in the background of ‘The Wire’ to the breathy vocals of ‘Honey & I’. These girls are adept at crafting danceable pop songs with rhythms so tight that Quincy Jones would be hard-pressed to deny the similarities between the riff in ‘Forever’ and Michael Jackson’s ‘Don’t Stop ‘Til You Get Enough.’

‘Don’t Save Me’ is a standout track showcasing Danielle Haim’s vocal hiccups and her ability to switch octaves down to little more than a murmur, and ’If I Could Change Your Mind’ shows that the girls are unafraid of trying on the pop formula for size without being branded as Pussycat Dolls, with ‘Days Are Gone’ itself hinting at the influence of contemporary R&B. However, it’s Este Haim’s peerless bass-playing which allow these influences to cohere firmly under the ‘pop rock’ genre.

In the same year which saw Fleetwood Mac reunite with Christine McVie at the London O2 Arena, it’s refreshing that Haim garnered critical recognition for taking sips from the same creative well of inspiration – in fact, if Haim open the door for more women to enter the music world to strum a guitar instead of ‘twerking’ to Robin Thicke then I think that can only be a good thing.
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1 of 1 people found the following review helpful By Lola TOP 1000 REVIEWER on 10 May 2014
Format: Audio CD Verified Purchase
Not the best album I've ever heard, but give "Days Are Gone" a few listens, and then it just clicks. There are, of course, songs that stand out and are much better than the rest ("Falling", "If I Could Change Your Mind" and "Days Are Gone" are the shining stars of the album, and, having bought the limited edition with 8 extra tracks/remixes, I would say don't bother, unless you are a hard-core fan). The album is bright and breezy pop sound (with a hint of rock), polished and chillaxing.

The sister-act rock band Haim are from the sunny LA, and you can almost feel the sunshine seeping through the album. The songs are sparkling, danceable and infectious, and this is a classic Haim sound. Yes, it is their first studio album, but Haim have been cultivating their sound for over fifteen years, and [some think] they are much better live than recorded. There are debates around the fact that Este, Danielle and Alana Haim let the producers rub the edges off their talent, and I agree. If you saw them on Jools Holland (or any other life performance) you can tell some of the momentous live energy has been lost in production of "Days Are Gone". But it does not make the album any less enjoyable and easy-listening.
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