Originally, I had this plan to listen to all of Aminé's past projects to get to know him and examine how his artistry has evolved. But then I decided to go into Good For You with a fresh ear since I didn’t even listen to his hit “Caroline” yet either. My strategy proved to be a good one since I couldn’t be disappointed because I liked other work more. Peep my track by track review below.
1. Aminé begins opens Good For You with the Ty Dolla $ign-assisted “Veggies.” The beginning the track is beautifully string driven, and as it goes on other elements such as drums and keys are added to the instrumentation. Ty Dolla $ign’s vocals are what I appreciate most about this track, the raspy auto-tune sound of his voice adds soul. As a first-time listener Amine’s bars don’t only let me know what kind of rapper he is, but what kind of person he is. “Destined for destiny, I sew no hate no jealousy” raps Amine in the third verse. The verse let’s me know that’s he’s determined and focused without being absent of other elements of his character. The one thing I don’t know for sure is if “Veggies” is about weed, sex, or the things that motivate him.
2. For the track named after one of his favorite colors (I’m guessing) Aminé links with Nelly for “Yellow.” I think of “Yellow” as a track to listen to when you need gassing up or already feel like all that and a bag of chips. Amine and the fun instrumental help boast this energy but in a sophisticated way. Stunting because you’re proud, stunting because you worked for it, flexing because life now allows you. “I rock yellow on some yellow like what purple is to Prince,” is a line that embodies the cut’s message.
3. Track 3 is “Caroline.” When I listened to it first time my reaction was immediate and I replayed the song about 15 times before moving to next track. Something about the production and Aminé’s adlibs and flow make “Caroline” addictive. I say flow because it’s not exactly the words he’s saying that are captivating to me, rather it’s how everything comes together from the backing vocals, synths, and more.
4. Unlike “Caroline” my opinion of “Hero” does stem from its words. At its surface Aminé is telling a story of losing yourself in a relationship, but not in a good way. Aminé may be getting a good lay but the coupling he raps about lacks intimacy and is tore of humanity and sanctity. And Aminé takes the brunt of what results from such turbulence. He feels disrespected, but not enough to bow out. “You don’t wanna cry with me, you just wanna keep sighing, sometimes I wonder if you’re bad for me that’s what keeps me excited,” sings Aminé. This girl is definitely sucking him dry in more ways than one, these two are the most important though: his pockets and his soul. This production on isn’t the most extravagant in terms of layers, which may have been intentional.
5. “Spice Girl” is the nostalgia track you think it is. Even though the track uses Spice Girls in a creative way, it didn’t keep my attention and continues not to.
6. “STFU” is a cut directed toward those that are always chatting whether they’re boasting or instigating. The instrumental is mystical with its futuristic loops.
7. Aminé recruits Migos’ Offest for “Wedding Crashers.” I like to think of the track as the antithesis of Jidenna’s “Bambi.” Because instead of lamenting over an ex moving on Aminé’s humorously celebrating the fact. “Wedding Crashers” is a fun track that reminds me of Mya’s “Take Me There” thanks to the xylophone underlining the instrumental. “Hope you play this at your wedding, yeah the one I won’t attend” sings on the chorus. Offset verse keeps with the carefree nature of the track by focusing on enjoying life.
8. “Sundays” is one of my favorite tracks on the album because I learned what’s important to him and the battles he fights. Family, loyalty, having faith, and bringing others happiness are important to him and those things help him fight. “Sundays” is a beautifully crafted narrative laid over a tranquil instrumental that feels like the ocean. Leon Bridges’ additional vocals bring that feeling home.
9. “Turf” is a clever song that finds Aminé recounting his past, taking in the present, and looking into the future. In an earlier track proclaims that he is a Westside n***a and “Turf” tells us why.
10. I would describe “Blinds” as a sequel to “Yellow” because Aminé knows he’s shining and rightfully so. His bars are delivered conviction that commands many a playback from me.
11. I interpret Aminé’s “Dakota” as an ode to a love , but to be honest I don’t know how accurate that interpretation is. Nonetheless, the track is a dope one that I hope gets a visual.
12. “Slide” is an energetic track that I describe as the song version of a “U up” text. The production makes it easy to dance to with its electric-infused string loop and drum.
13. On “Money” Aminé explores the power money has over society and himself as well, while noting these things that money has no control over like ambition and happiness. The kickdrum pattern in the instrumental is reminiscent of the Get Light era, the synths are reminiscent of Drake’s “Marvin’s Room.” A combination that made a good place for to Aminé to lay down some bars. He does this effectively and once again let’s listeners what his priorities.
14. Aminé’s penultimate track “Beach Boy” is yet another feel-good cut. The instrumental sounds like happy vibes are supposed to go over it. However, towards the end of “Beach Boy” things get somber as talk about not knowing when death will come gets introduced.
15. To read how I feel about ““Heebiejeebies”, click HERE.