Xavier Naidoo's Studio Albums Ranked by Martin Canine
Xavier Naidoo (born on October 2, 1971) is a German singer-songwriter in the neo-soul genre. He is one of the most influential German music artists of the 21st century.Naidoo first publicly appeared in 1994 when he released an English-language album in the USA through an indie label. This album has been sold under the titles Seeing Is Believing and Kobra. As you can probably tell, since you most likely have never heard of this record until now, it didn't sell well and was soon out of print. After his breakthrough, there were attempts by his former label to re-release the album in Germany, but this resulted in a legal dispute with Naidoo, who wanted to keep the record out of the public eye, calling it soulless. He won the case. To this day, the album is virtually impossible to hear. Not a single physical copy can be bought, it was never available digitally, and even on websites like YouTube, the music cannot be found. Nevertheless, the tracklist and cover artwork are known. The album was essentially Naidoo covering a selection of standards, likely not reflecting the artistic ambitions he holds today.
It would take four years before he released his second album, Nicht von dieser Welt (Not from This World). As the title suggests, it was primarily in German and was widely distributed in German-speaking regions. Created in close collaboration with producer, songwriter, and rapper Moses Pelham, the record became his breakthrough, reaching number one in Germany. It was also quite successful in Austria and Switzerland. Initial reviews for the album were mixed, with some critics expressing discomfort with the overtly Christian tone of certain songs, as German critics tend to be skeptical of religious themes in music. However, over time, the album became a fan favorite and was remembered as the project that introduced a superstar.
The success of Nicht von dieser Welt had a significant impact on the German music scene, establishing German-language neo-soul in the mainstream and differentiating it from American contemporary R&B, popularized by artists like R. Kelly and Usher. German neo-soul took on a softer, more meditative, and less explicit character. Influential acts such as Ich+Ich and Glashaus may not have emerged without Naidoo's influence. Even some rock bands and pop artists who departed from prevailing trends - whether by emulating U.S. styles or embracing eurodance - owe something to his legacy.
At the dawn of the new millennium, Naidoo's career skyrocketed. His 2002 double album Zwischenspiel / Alles für den Herrn (Interlude / Everything for the Lord) spawned four top ten singles, including his first number one hit, Ich kenne nichts (das so schön ist wie du) (I Know Nothing [As Beautiful as You]). Critics lauded the album for its adventurous and varied sound, with Naidoo - working without Pelham - exercising full artistic control. This newfound autonomy earned praise, even as the album's religious elements became even more pronounced.
Naidoo followed up with the 2005 album Telegramm für X (Telegram for X), a commercial juggernaut that was also well-received critically. The album features his signature song Dieser Weg (This Path), one of the most popular German songs of the 2000s. Personally, I rank it as the 13th greatest song of the 21st century so far. The album also included his second number one hit, Danke (Thanks), a seven-minute epic in which he expresses gratitude to the German soccer team for their performance. I'm not a fan of the sport, but the passion he channels in the track is remarkable.
During this period, Xavier Naidoo was at the peak of his career. Critics adored him, the public embraced him, and his music was ubiquitous. His concerts were consistently sold out, and he became one of Germany's most prominent music superstars. Legendary artists such as Herbert Grönemeyer (the best-selling German music artist) and Udo Jürgens (Austria's biggest star alongside Falco) praised him as a beacon of modern music. Virtually every German-language artist expressed admiration for him. Beyond his solo career, he was also a key member of the successful group Söhne Mannheims, with whom he regularly released albums.
However, as the 2010s approached, things became more complicated. His 2009 triple album Alles kann besser werden (Everything Can Get Better) was commercially successful and received strong international reviews. However, critical reception in Germany was mixed. The album was often criticized as being overly long, with many songs perceived as filler. Additionally, the third disc, containing politically charged songs, ventured into conspiracy theory territory. Unfortunately, that part of the critique was justified.
In the 2010s, Naidoo appeared on several reality TV shows, serving as a judge on The Voice of Germany and hosting Sing meinen Song (Sing My Song), where artists covered each other's music. However, outside these shows, he made some of his most controversial political statements. He expressed beliefs in conspiracy theories, including claims about secretive global elites, mind control by politicians, and the notion that Germany is not a truly sovereign country - all laced with mysticism.
Although most of his music avoided these themes, he occasionally released tracks exploring these ideas, none of which were hits. More controversially, he attempted to engage with right-wing protestors, seeking to peacefully share his views. His appearance at a right-wing protest was widely misinterpreted as support for their cause.
Meanwhile, his albums Bei meiner Seele (2013, By My Soul), Nicht von dieser Welt 2 (2016, again produced with Moses Pelham), and für dich. (2017, For You.) were critically regarded as weaker efforts, with his music seen as increasingly formulaic. These albums were still commercially successful, though für dich. was his first solo album not to top the German charts since Kobra and other early releases. Additionally, Naidoo released two electronic albums under the moniker Der Xer, both of which were critical and commercial failures. Conversely, his collaborative album with rapper Kool Savas, as the duo Xavas, was well-received and a commercial success.
And that's his career in a nutshell. Only time will tell if he regains the artistic and public acclaim he once enjoyed.
In my personal opinion, Xavier Naidoo is one of the greatest musical geniuses Germany has ever produced. During his heyday, he pushed the boundaries of neo-soul, seamlessly incorporating elements of classical music, hip hop, rock, and jazz. Despite his occasional controversies, he remains a masterful and poetic songwriter, deeply invested in the beauty of the German language.
This is why I've decided to rank his studio albums, including those released under the alias Der Xer, but excluding works from Söhne Mannheims and Xavas.
"Zwischenspiel / Alles für den Herrn" is Naidoo's opus magnum. Divided into a "worldly" and a "religious" side, we get the full palette of amazing, smooth soul numbers and stunningly well-crafted songwriting on disc 1, while disc 2 is apocalyptic and dark, often focusing on the evils of the world and how they will finally get what comes to them.
The fatalism of the second CD may be too extreme for some people, but the experience is highly intense, while the first one will move you to close your eyes and let the sound flow through you.
★★★★★
"Alles kann besser werden" is without a doubt his most ambitious project to date. Over the course of 35 full songs, we get elements of almost every genre in the book blended into soul - an operatic Mozart rendition, a big band, or a drum and bass beat. It never gets repetitive, as the record constantly shapeshifts. This is a brilliant display of Naidoo's passionate love for every style of music, and it feels organic, alive, and full of emotion.
The reason I ranked it lower than the equally good Zwischenspiel / Alles für den Herrn is the lyrical content of disc 3, the "dark" one, as it is called. On some songs, he has intelligent strains of thought going on, but very quickly, he falls into the crudest of Dan Brown-ish explanations. However, that doesn't change the fact that this is one of the greatest German albums out there.
★★★★★
Apart from the fact that it introduced the king of neo-soul in a big way, "Nicht von dieser Welt" is also a magnificent record in its own right. Naidoo and Pelham created some of the most soulful, silkiest tunes that best showcased Naidoo's ability to softly croon into the microphone with a soothing voice that sends chills of comfort down your spine. The beats are chilled, even touching upon trip hop territory, and form a great foundation for the singer's vocals to shine.
★★★★★
"Telegramm für X" contains Naidoo's absolute masterpiece, "Dieser Weg," as well as his biggest, most epic tune, "Danke." The rest of the songs are poppy soul numbers that feel like Nicht von dieser Welt with added hip-hop and funky rhythms, a couple of synth lines, and other more modern influences that make the tunes individual and fresh.
This might be the first of his records to check out if you want to get into his music.
★★★★1/2
"Nicht von dieser Welt 2" may not be as extremely impressive as the first volume, but Moses Pelham is without a doubt a great producer who got Naidoo some awesome instrumentals to provide vocals for. One thing you'll immediately notice: comparing the two entries in the series, you wouldn't guess there are 18 years between them. Naidoo's vocals are still as strong and expressive, and Pelham fortunately didn't try to offer him trap or pop rock, or some other more modern style that wouldn't complement his voice. A very welcome throwback.
★★★★☆
"Bei meiner Seele" is the moment where Xavier Naidoo started to decline from a brilliant neo-soul genius to a mere pop singer. Professionally produced, performed, and written, it has all the ingredients to grant you an album-length of entertainment - some love, some slight touches of humor, a soul-style cover of a well-known punk rock song, and one conscious song in the form of a somewhat provocative anti-wife-beater anthem.
But in the end, it didn't really feel all that creative, and the music itself comes off as polished and not that memorable.
★★★☆☆
The songs on "für dich." are often closer to radio-friendly feel-good indie pop tunes rather than the inventive masterpieces we are used to hearing from him. Apart from the fact that the soul influences have largely disappeared, it is also widely free of material that leaves a lasting impression.
Neither musically nor lyrically does the album break new boundaries or have something to say. What's probably its biggest flaw is that, while it is fun and easily digestible to listen to, nothing really gets stuck in your head after it's over.
★★1/2☆☆
Xavier Naidoo and autotuned dubstep simply don't work out. The only result is that we wish he would have separated the two elements. The electronic instrumentals are pretty much what is to be expected of the genre, which is great for clubs, but Naidoo sings on them just like he would on a soul song, only with some effects in between.
In the end, it doesn't add up to much, and vocals and music might have been better on their own.
★★☆☆☆
On his second album as Der Xer, Naidoo at least has higher ambitions than on "Mordsmusik." While the predecessor was essentially the basic dubstep formula, just with soul singing on top, here he experiments with a few different electro sounds and makes more excessive use of effects. Unfortunately, it's not better. It still feels as if Naidoo doesn't understand how this kind of music works and tries too hard to blend his soul style into electro.
★★☆☆☆
This is a placeholder. Hopefully, one day Xavier Naidoo decides to share his beginnings with the world. Even if it is probably closer to a demo album, I'm still interested in where he came from.