Products of Sean "Diddy" Combes' hit MTV reality show Making The Band 4, Day26 return with their sophomore effort Forever In A Day only a year after their eponymous debut, which was a mediocre effort at best, but did spawn some nice cuts ("Get Me Going" and "Since You've Been Gone") but was collectively lacking. Although there isn't much distinction but Forever In A Day does point to signs of maturity. The album isn't as equable as it should be, venturing on a lengthy 15 track set, no doubt there are many clunkers unfortunately.
The album opens very slickly with the mid-tempo "Just Gettin Started" which features a archetypical kinetic handclap beat --most R&B and hip-hop acts thrive upon that feat these days-- this then leads on swiftly into "Imma Put It On Her" Featuring Young Joc and P. Diddy the albums seductive lead single, despite its Usher's "Love In This Club" reminiscent vibe and pornographic lyrics, funnily the most interesting thing about the song is its repetitive, catchy chorus which is really its main selling point, Diddy gives a pretty weak rap in an attempt to bulk up the song --a decent song it may be it's definitely no "Get Me Going."
There's no need to scan through the track listing to know that T-Pain is featured on "Shawty Wats Up", his vocodered, sultry vocals immediately gets the song off to a thundering start. A very synthesized number, but is backed well with recurring drums throughout the track, doubtlessly among my favorites on here. "Think Of Me" and "Perfectly Blind" are boring cuts, could have easily been left off the album, "Perfectly Blind" attempts a very sensual direction but falls very short, although I do give credit to Brian on his wonderful vocal performance on here. Resting perfectly in-between these 2 tracks are "Stadium Music" and "Bi-Polar" which are the albums' high points, "Stadium Music" has a nice harmonized vocal set on the chorus, advocated by bursts of electronic guitar, which makes it all the better. "Bi-Polar" is album first decent ballad, admittedly getting off to a very weak start, the song pulls itself together around the first chorus when the piano becomes more noticeable and vocals become more combined.
The second half of the album really drags the whole thing to a conventional level. "So Good" is another boring cut --filler than anything else. "Girlfriend" and "Babymaker" are a bit too slow for my taste, although I do like the hook on "Girlfriend", "Babymaker" sounds like something from one of R. Kelly's earlier albums, but done very unsuccessfully --comparing a sex position to an elevator can only seem creative in the dirtiest of minds. "Then There's You" rounds off well with nice rhythmic handclaps and acoustic guitar, giving the song a slight Ne-Yo-Pop edge.
Jermaine Dupree pops up on the funky, disco reminiscent "Need That" which indeed works up to the best of the album and very out of the blue. "Reminds Me Of You" another boring cut, seems like it was features as an attempt to pointlessly lengthen the album. "Your Heels" has a nice kinetic beat, but gets awfully unfulfilling and arid --a 4 minute song about heels? seriously, they must running out of ideas, but although some of this decade's biggest hits have come from random objects (Rihanna's "Umbrella" and Lil' Mama's "Lip Loss" are prime example). Expecting a really heartfelt ballad to close the album, I am a tad disappointed at "The Truth Is A Lie" a bitter, bland song with no melody.
Originally expecting the album to flop very hard in both commercial and quality, I have been proven wrong... to an extent, although the album isn't as bad as I was expecting it to be, it's not that good either, it's lengthy 16 track set doesn't help. The only good thing about it having too many clunkers is that it does feel it out with some pretty good tracks.
Best: Stadium Music, Bi-Polar, Imma Put It On Her, Shawty Wats Up, Just Gettin Started