After 1973’s uncharacteristically upbeat There Goes Rhymin’ Simon, Paul Simon’s next release was the enjoyable but inessential single live album Live Rhymin’ (1974). But his subsequent studio album stands among his very best work — an anthology of ten very different songs that nevertheless cohere around Simon’s underlying theme: a growing concern that, at the age of 34, he had passed his creative peak, couldn’t successfully settle in a relationship, and had tied himself into decisions that he might now make differently.
As I write this at age 48, Simon has just released Stranger to Stranger at age 74. The idea that he was once 34 seems impossibly distant; and the idea that he could have worried then about being past his prime nothing short of absurd. Yet that concern, treated in Simon’s distinctively whimsical and self-deprecatory manner, gave rise to a masterpiece.

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