As you might expect of a book about Leonard Cohen, Sylvie Simmons spends a fair proportion of I’m Your Man writing about love, faith, depression, finance, and the demands and consolations of poetry and women. Mostly, though, the focus of this hefty and thorough book is Leonard Cohen’s charm: about how an exceptionally gifted artist has seduced most everyone who has come into contact with him, through the course of an uncommonly eventful life.

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If you've ever suspected that Brian Eno's enduring reputation as an avant-garde genius is more mythical than actual, his discography from the past few years makes for a satisfying read.

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That pretending-not-to-be-annoyed-by-the-Mercurys morning of the year. But as way of distraction, here’s this week’s rather late office playlist.

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As the first song of Jessica Pratt’s first album begins, you could be forgiven for believing it was a private press folk album from the early ‘70s. The work of a lost canyon comrade of Linda Perhacs, perhaps, or the implausibly lovely efforts of a “Blue” disciple from some one-horse town in the mid-west.

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News from Oliver Gray, who runs The Railway in Winchester, where he has promoted the Uncut Sessions, as a kind of Club Uncut in exile since we quit our original home at London’s Borderline. The Uncut Sessions started a couple of years ago when Oliver booked Richmond Fontaine for two special shows. The first, on what I remember was a rather damp and windswept Saturday afternoon, saw Richmond Fontaine play their brilliant Post To Wire album in its entirety. Their second show, that evening, featured just about every other song the band had ever played, written, recorded, covered or merely just heard, possibly once, blasting out of the radio of a passing car, whistled by a waitress, hummed by a barman or otherwise brought to their passing attention in vague and possibly unremembered ways. The set went on for what people later reckoned was about four hours, although by its end the crowd had in all likelihood have lost all sense of time and the band could have carried on well into the following week without complaint from anyone there.

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Most important things first: apparently www.neilyoung.com will be streaming the whole of “Psychedelic Pill” today. Once you’ve had a listen, let me know what you think.

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Usual excuses about too much work to do (currently: a forthcoming Ultimate Music Guide on The Kinks, and the dark mathematics of Uncut’s end-of-year charts, as well as the rest of the next issue) mean that I failed yesterday to write a review of the Six Organs Of Admittance show at Birthdays in Dalston.

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Allan’s off today – something about a cat in the well, I think – so he’s asked me to write this week’s newsletter blog. It’s not an especially difficult task seeing as a new issue of Uncut goes on sale this week. You might have already caught some of our recent news stories on www.uncut.co.uk, in which case you’ll already know that our cover stars this month are the Rolling Stones.

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In 2009, Uncut spoke to The Wire’s creator David Simon, shortly before the broadcast of his follow-up series, Treme. The show was set during the aftermath of 2005’s Hurricane Katrina in New Orleans, a city that Simon felt had effectively been abandoned by the rest of America since the storm. “The only thing that brought this city back was the people who understand its unique culture and who participate in that culture refused to give that up,” he told us.

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For those who are disappointed not to have scored a ticket to see the Rolling Stones in 2012, then there is some slight consolation.

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