So Amazin' was completed within a three-month period, and Milian received writing credit for nine of the album's songs.

[10] Following the album's release, Milian was cast in a lead role in the horror film Pulse, starring alongside Kristen Bell and Ian Somerhalder.

"[12][13] Whereas Milian's previous albums had pop and R&B stylings, she was encouraged by Island Def Jam to target a new audience and release an urban record.

[14] Explaining the change, Milian said that one of her main problems was that previous releases would often find mainstream success, but would be relatively unsuccessful on urban radio.

As an R&B artist, she wanted to build her core audience–a true fan base that would support her through time–to increase her career's longevity.

The singer described Cool & Dre as "beat makers", rather than just hip-hop producers, and believed that she was really able to express herself lyrically through their music.

For previous albums, Milian wrote about things that had happened in the past, whereas for So Amazin', she focused on the present.

[16] Although Milian was a songwriter since her teenagers years, she only felt real growth during the production sessions when Dre told her, "there are no rules".

Milian felt that Cool & Dre brought their own style of beats to the album, giving it a "raw feel" and "street credibility".

The singer felt it was necessary to have Young Jeezy feature because he spoke for the streets, and thought his rap was "a very real message.

Taking inspiration from Latin soap operas, Milian wanted to portray a very "dramatic feel" in the song.

[16] Milian wrote So Amazin' based on her own life, and each record pertained to a different aspect, especially focused on relationships.

During early production of the album, Milian was dealing with her break-up with actor Nick Cannon and wrote several records based on that.

[19] Milian wrote the hip-hop ballad "Gonna Tell Everybody" about "thinking that I had something good, what happens when it's over, and going forward with my life."

Milian wrote the track with Dre, which she said helped because hip hop artists write about real things in their lives and are not afraid to say anything.

The album's lead single, "Say I", featured rapper Young Jeezy and had a music video, directed by Ray Kay.

[22][28] Although she was dropped from the label, Milian continued to promote the album through live appearances,[29] including performing on Power 106's Summer Splash.

Milian stated that before the release of So Amazin', the label and L.A. Reid knew that the album would not have immediate large sales, since she was targeting a new urban audience, but promised to support her.

[32] David Peisner of Maxim gave the album three out of five stars and said that Milian's "talent is real", and commended her "silky and sassy" voice.

[38] Clover Hope of Billboard wrote that Milian tried to transform from "peppy pop sweetheart" to "sweet urban soulstress", but the album could not "pinpoint her true identity" and could "only [scratch] the surface of who she really is."

He praised single "Say I", saying it "shimmies to a feisty ghetto strut and Shaft-sized orchestrals", as well as "Twisted", "Hot Boy" and "Just A Little Bit".

[3] Andy Kellman, of music database AllMusic, felt that So Amazin' was "Milian's strongest album yet, if only by a narrow margin".

He felt that Milian's weakness was ballads, which were "more like placeholders that merely apply some forced variety to the album"; but described the club tracks as "perfectly functional and appealing".

[2] Spence Dookey of IGN gave the album a 6.9 out of 10 and said that "Milian glistens most brightly on the tracks that are the most stripped down, such as 'Gonna Tell Everybody'".

He said given the nature of the style of music Milian was practicing, "there's a fair share of rump shaking club jams offsetting the more slow tempo fare".

Dookey described single "Say I" as "a poundingly theatrical ditty", and "Foolin'" as one of the "few tracks that genuinely attempts to lift Milian up from the generic R&B/club stylings".

The reviewer found the overall sound was the album's biggest flaw; "the production rings with a sense of detached hollowness ...

"[34] Quentin B. Huff of PopMatters praised the album, "despite a few lyrical hiccups, a couple of lackluster hooks, and some obvious influences.