Album review overview: Andre Rieu, Jimmy Cliff and more

Dozens of new albums arrive at Maxazine’s editorial staff every week. There are way too many to listen to them all, let alone review them. It ensures that too many albums are left behind. And that’s a shame. That is why today we post an overview of albums that arrive at the editors in short reviews.

Horace Andy – Respiration

With his distinctive, haunting tenor voice, Horace Andy remains true to his roots reggae heritage on “Respiration”. This collection of twelve tracks breathes the authentic spirit of classic Jamaican music, enriched by his years of experience in various genres, including his collaborations with Massive Attack. A unique surprise is the rare live recording of “Stir It Up” performed by Bob Marley & The Wailers – a valuable collector’s item for reggae enthusiasts. Andy’s rendition of “Wherever I Lay My Hat” transforms Paul Young’s familiar version into a lighter, reggae-tinged approach that perfectly suits his signature vocal style. The production is warm and organic, and Andy’s voice remains as captivating as in his “Skylarking” days, effortlessly gliding between whisper-soft melodies and powerful crescendos. A worthy chapter in the long career of one of Jamaica’s most distinctive voices. (Jan Vranken) (6/10) (Codex)

Jimmy Cliff – Africa

Codex releases another compilation at the same time :). Beneath the thin veneer of commercial opportunity lies a fascinating mosaic of reggae’s evolution in Jimmy Cliff’s “Africa”. This collection of twelve tracks navigates through different eras of Cliff’s career, with each song telling its own story about the transformation of Jamaican music. The inclusion of Bob Marley’s “Mr. Chatterbox” feels more like a marketing ploy than a musical necessity – a repeated echo from “The Essential Bob Marley” (2005). The album’s most intriguing moment comes with “Over The Border”, where Dave Stewart’s production and Joe Strummer’s punk influences blend reggae with a modern urgency. While this is clearly a strategic release for the gift-giving season, the eclectic composition also reflects the versatility of Cliff’s artistic journey. However, the collection lacks the coherence of a truly essential compilation. For devoted fans, it offers some interesting fragments, but as a whole, it feels like a missed opportunity to do justice to Cliff’s legacy. And why call it “Africa”? (Jan Vranken) (5/10) (Codex)

Dhafer Youssef – Izmir Concert (Live 2013)

In the mystical space between Eastern spirituality and Western improvisation, “Izmir Concert” by Dhafer Youssef finally emerges – a long-awaited live recording from 2013 that has lingered as a whisper on the internet for years. From the enchanting opener “Blending Souls And Shades”, an alchemical transformation unfolds, merging Youssef’s heritage as a muezzin with his later musical odyssey. His characteristic falsetto soars like a spiritual guide over architectural compositions, while his oud builds melodic bridges between traditional maqams and contemporary jazz textures. This concert, captured as Youssef’s international star began to rise, showcases the essence of his artistry in its purest form. Each track is a journey, with the Tunisian master turning sound into pure magic, blending the sacred and the profane into a new musical language. A true gift for anyone who believes in the transformative power of music. (Jan Vranken) (8/10) (Back Beat Edition)

DMX – Let Us Pray: Chapter X

At a time when hip-hop struggles with its identity, this posthumous DMX release serves as a raw reminder of the genre’s soul. “Let Us Pray: Chapter X”, composed of previously unreleased material, bridges generations as Earl Simmons’ unmistakable barking flow echoes once more through the streets of collective hip-hop consciousness. The album acts as a spiritual testament, framing earlier recorded vocals with contemporary productions that emphasize the timelessness of DMX’s message. “Until I’m Gone” stands out as a prophetic meditation on mortality, with his signature voice – always balancing aggression and vulnerability – gaining a new dimension in light of his untimely death in 2021. The gospel undertones, always a hallmark of DMX’s work, acquire an added layer of urgency in this posthumous context. For a new generation of listeners, this album provides a perfect entry point into the complex universe of an artist unafraid to publicly confront his inner demons. A worthy tribute to a voice we lost far too soon. (Elodie Renard) (8/10) (UMG Records)

André Rieu – The Sound Of Heaven

On his latest album, “The Sound Of Heaven”, Maastricht’s violin virtuoso André Rieu once again proves why he has become a global phenomenon. With his precious 1667 Stradivarius in hand, he leads his Johann Strauss Orchestra through a collection of carefully selected pieces that bridge the gap between classical and popular music with his signature sweetness. The arrangements sparkle with Rieu’s distinctive style, from the sugar-dusted interpretation of Bernstein’s “One Hand, One Heart” to a surprisingly compelling version of Mecano’s “Hijo De La Luna”. Each piece carries the unmistakable Rieu signature – a formula that consistently fills the Vrijthof in Maastricht with devoted fans from all corners of the world. Strategically released for the gift-giving season, this album serves both as a souvenir for those who attended his legendary live concerts and as a gateway for newcomers to Rieu’s world of accessible classical music. While critics may deride his saccharine approach, Rieu’s unwavering dedication to his artistic vision remains impressive and undeniably effective. Hats off and a deep bow to André Rieu. (Jan Vranken) (6/10) (André Rieu Productions)