Songs from the Capeman [Import, Original recording remastered]

Maybe enough time has now passed for the initial negative reaction to The Capeman stage show to fade into the distance. Like everyone else, I never saw it, so can only rely on the accepted wisdom that it was bad. This "soundtrack" album, though, is a complete and utter masterpiece no matter which way you look at it.
I'm certainly a Paul Simon fan, but not blindly so - like most enthusiasts I have my opinions about the higher and lower points in his career (and no two opinions about these things are ever the same). The Capeman is perhaps Paul Simon's highest achievement; sheer unadulterated brilliance from start to finish. Its lack of acceptance, even among many Simon fans, could be due to the perception of it as overly self-indulgent. I find great artists like Simon are often at their best when they are at their most self-indulgent, if self-indulgence is what this is.
Simon synthesises the musical influences from his youth - doo-wop and salsa from the end of the 50's in NYC - to tell a story he remembers from the same period and place. The musical combinations are often incongruous and "challenging", but ultimately brilliantly evocative, while never resorting to pastiche. On top of all this is the "theatrical", storytelling aspect of the album, which somehow works perfectly in its own right - I can only imagine that any stageshow would have been a distraction to the words and music. Even with Simon himself taking on the vocals for multiple roles, the story and characters come across vividly, and the narrative power and scope are unprecedented (I think he intended to but never got around to releasing a full cast album?). Simon's "character" monologue-style singing shows his narrative vocal strength like never before (and yes, there is some rude language - the kids better skip this and stick to their Limp Bizkit and Eminem albums if you don't want them to grow up warped). Marc Anthony and Ednita Nazario have never had better material to sing, and do a magnificent job.
Ultimately, this album stands as a monument to top-class, brave and adventurous songwriting. As such, it of course had to fail commercially, and it's a shame to think of someone like Paul Simon being discouraged by poor public reception to great work such as this. Some people are used to working their whole lives in obscurity, but to someone like Simon it may come as a shock when something he does is so disparaged. I guess Amazon is one place to try to address the balance.

I have never heard a Paul Simon album I didn't like, but, having said that, I have long been wishing for a work to equal Hearts and Bones. Finally! In my opinion, Simon's best music isn't something you find yourself blithely humming along to, and I have never come away from listening to one of his albums for the first, second, or third time with a clear favorite track. Instead, it "grows" on you. Like Hearts and Bones, I had to listen to this album several times before I knew I loved it. I believe he is THE master of blending his music and his lyrics so that they not only complement each other, but texture each other as well. He is a thinking man's artist. This album is an excellent example.

I understand the play was soundly panned, but not the music. Listening to the tracks - the music and lyrics - I could imagine the actors dancing, actually visualizing in my mind the choreography and moves they would be making. His blend of doo-wop and Latin music is, incredibly, seamless.

Simon does not condescend to his audience: the lyrics are raw at times and he does not wrap up the ending in a pretty package. If he did, he wouldn't leave you thinking when you were through.

Concept albums frighten some, especially concept albums based on young minority convicted murderers, but if you are Paul Simon fan you absolutely have to have this album. Beautiful songs written in a 1950's style, complete with "shoo-doo-wops" and spanish guitars. Make sure you get the re-issue with the bonus tracks.