Songs From The Capeman may be Paul Simon's least commercial album. It is also one of his best. Co-written with the Nobel prize-winning poet Derek Walcott for a Broadway musical, the songs tell the story of the double murder crime, background, prison term, politicisation and eventual turning-to-religion of Salvador Agron, aka "The Capeman". As such, although clearly limited in its appeal, it is, ultimately, a tale of redemption to which anyone can relate. More specifically, as Simon himself says, "at its core is a moral question about the possibility of redemption at the end of the 20th century." Is it possible? Obviously. If, out of the life of a social outcast such as Agron, you can create a work as transcendent as Songs From The Capeman. Then again, with its base in 1950s do-wop and rock'n'roll The Capeman takes Simon back to those days when he first fell in love with music - and it shows. In songs such as The Vampires he explores the "rich, rhythmic heritage of Puerto Rica" and a form of street-corner language that no doubt will lead to censorship, but which is totally true to its social setting. As in when the racist "Paddy boy's mother" is "bitchin' about spics" and her son "says "f--king Puerto Rican dope-dealin' punk/Get your shit-brown ass out of here." Can I Forgive Him, on the other hand, is pure folk; Simon circa 1966, minus Garfunkel. Best of all is the multi-voiced Satin Summer Nights, with Paul Simon at full flight. Likewise this album.