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4.6 out of 5 stars
4.6 out of 5 stars
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on 31 July 2014
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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TOP 1000 REVIEWERon 10 May 2014
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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on 18 January 2014
I don't listen to a lot of contemporary music, preferring my extensive CD collection. But I always watch Jools Holland's Hootenanny, and what a good job I did this month! That was the first time I encountered Haim (ok you can accuse me of living under a rock). Fantastic live sound (love Este's "bass face" as her sisters call it [YouTube interview]). I then watched all Haim's YouTube clips, live and studio (if you like them, you have to catch their cover on YouTube of Fleetwood Mac's "Oh Well") before buying. Unlike some other reviewers, I like the echoes of Fleetwood Mac and the 70s. Bring it on I say.

Can't stop playing this CD. I recognise the comments that this CD is studio produced - but what do you expect? Studio sound is always different. One day there will be a Haim "live" album, be patient. Although personally, I can't wait.

In the meantime, the studio production brings out to the full the depth of the tracks. Not only the singles, but almost all the tracks are very strong. As with any album from a successful singles band you have to listen to the rest with a little more care.

My faith in contemporary music restored, thanks girls.

You did not say you will save me but you did save me.

Now, where is Haim's 2014 European tour website ... ?
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on 15 August 2014
I came across Haim after hearing one of the tracks in the background on "Made In Chelsea". It's a bit like Cyndi Lauper, Kate Bush, Little Boots and La Roux all bundled up into one. One minute it's very fresh and modern, the next it has a kind of 80s retro-feel. Most of the tracks are catchy, with my favourite being "Go Slow". Definitely worth downloading, you will just keep playing it. Yes, it's probably a little over-produced when compared to their initial raw tracks when they were first discovered; but who cares, it works!
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on 5 October 2013
Having seen Haim twice on Jools Holland and live on TV from Glastonbury, I'd really been looking forward to this album coming out. Now that it has, it has to be one of the disappointments of the year. Compared to the live performances, it's grossly over-produced and drained of the rawness and freshness that makes Haim live so exciting. The sound is dominated by electronic "drum and clap" rhythms and heavy slide bass, with synthesised backdrops and vocal arrangements reminiscent of 60s Tamla Motown and 70s disco - with nods towards Chrissie Hynde in some of the phrasing (no bad thing, that last one). The strength of the songs is obvious (can't give it fewer than three stars for this reason), but having just re-played April's live performance on Jools Holland of "Forever" and "Don't Save Me" back to back with the album versions, the latter sound like bad covers. The music has been so produced that it has become "product".
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on 31 January 2015
I wasn't that keen on Haim when I first saw them as a support act for Florence a while back, but I have to say they are growing on me. Their vocal style can sound a little like the rattle of a machine gun but once you get past that they are quite identifiable in their style.
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on 31 December 2013
Great album, first discovered this group watching radio ones bid weekend derry/Londonderry and immediately liked there boho style and there live performance. This album lives up to that and I like all the songs on the album witch is rare as there is always 1 or 2 I don't like . Would be on my top five favourite albums of the year, just falling sort of my favourite by foals holy fires.
Would recommend to people that like something a little different.
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on 7 April 2014
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. Sure, the album may occasionally veer too close to Shania Twain territory at times, and it’s true that Haim do wear their musical influences on their sleeves, but the album remains a satisfying listen irrespective of this.

Their biggest crime? Cosying up to David Cameron on BBC1’s The Andrew Marr Show. Although, to be fair, Este Haim’s dedication of ‘The Wire’ to the Prime Minister by saying that it was all about him – a song which has lyrics ranging from ‘I’m bad at communication’, ‘it’s not right’ and ‘I fumbled it when it came down to the wire’ – may have been more rebellious than you’d think. But in spite of that incident of shameless political posturing, I’m willing to let it slide. After all, if women did less swinging around on a wrecking ball in their birthday clothes and followed Haim’s musical example, the BBC Radio 1 playlist would be an entirely different beast.
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on 2 October 2013
Haim seem to have been around a very long time now, releasing some great singles and appearing on radio and TV regularly. No surprises then that this is one of the most eagerly awaited releases of 2013 for a lot of people.

Unfortunately there is no escaping the fact that the singles are the stand out tracks by quite some way. That's not to say there aren't other good songs on the album but none quite get you tapping your foot along or singing like 'Falling' and 'Don't Save Me' do.

I'd like to tell you that if you like what you've heard on the radio you'll love the album but sadly that's not necessarily going to be the case. Tracks such as 'Honey & I' and 'My Song 5' for example lack any real rhythm and were not what I was expecting.

The 30 second clips on Amazon give a fair reflection at to what each song offers so use that as a guide as to whether you should buy 'Days Are Gone' or not. If you don't like what you hear stick with the singles.
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on 8 January 2014
I ranked 'Days Are Gone' #6 on my top 25 from 2013 list (of which Savages, Vampire Weekend and Janelle Monáe gained top 3). Overall it is a fantastic indie pop record with seemingly universal appeal; I suspect because of it's ability to combine accessible (and catchy!) pop structure with interesting and dynamic sonics. Because of this it is one of those rare records that you can play to the entire extended family!
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