Records: Paul Simon weaves a multitextured Capeman

Paul Simon recently declared that he feels as if he is at the peak of his talents. His new album, Songs from The Capeman, justifies this bold assertion.

The songs, which all come from Simon's new musical The Capeman, outline the true story of Salvador Agron, an immigrant from Puerto Rico who was sentenced to the electric chair at the age of 16 for the murder of two white boys in New York City in 1959. His gang was called the Vampires, and he wore a red cape, prompting the tabloid press to refer to him as the "The Capeman." Because he showed no remorse for the murders, the press portrayed him as symbolic of evil and the collapse of society.

Paul Simon chose this story not only for the social issues it raises, but also for the vibrant musical landscape of late-'50s New York that it encompasses, ranging from Latin styles to doo-wop. While the album is simply quality Paul Simon, with the distinct sound that can be heard in his entire body of work, from The Sounds of Silence up to The Rhythm of the Saints; his words evoke vivid images and emotions, and are always set to flawless original melodies. However, Songs From The Capeman is unlike anything Simon has done previously, an assemblage of diverse musical styles and dramatic perspectives.

Paul Simon's ability to capture the emotional force of his characters amazes the listener as Simon switches effortlessly from one character to another. The opening song, "Adios Hermanos," is performed a cappella with his passionate delivery of the lead on top of the warm eight-part voice arrangement. He smoothly changes styles for the very next song which is in a Latin style with Spanish guitars, high wailing trumpet solos, and infectious rhythms.

The album continues to jump deftly from one musical genre to another while maintaining overall coherence and easy movement from song to song. In between some of the songs are short excerpts from actual interviews with Sal Agron, recorded in 1959 and 1975 for NBC News. They fill some of the spaces and link disparate songs, but more importantly they let us hear the actual voice of both the young killer and the older man serving his prison term. Never is Agron is understood by the condescending reporter, injecting a chilling sense of reality into the songs.

Even amid the seriousness, there are light moments. Some of the pieces are up-tempo songs about love in the city, performed in a catchy '50s style, and one pokes fun at a prison guard to a slow rockabilly beat. Simon sings, "I got a wife, four grown children/ I can't afford their education/ I been a prison guard for fourteen years/ That ain't exactly a vacation."

Beyond its display of musical virtuosity and the familiar appeal of its sounds, however, the burning question of redemption that Paul Simon leaves open-ended is what makes this a truly remarkable album.

Songs from The Capeman marks an important transition in Paul Simon's long and celebrated career. After many years of writing about his own life, he now uses his abilities to portray the compelling stories of others whose lives have inspired and moved him. (Paul Simon)

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