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One of the records I’ve been playing the absolute hell out of these last couple of weeks is The Graceless Age, the new album by John Murry, who Uncut regulars may remember from World Without End, a sensationally bleak 2006 collection of contemporary murder ballads he made with the Memphis singer-songwriter Bob Frank. The Graceless Age, like World Without End, produced by Tim Mooney, the former American Music Club drummer, at Closer Recording, the studio Tim owned in San Francisco, at 1441 Howard Street. The more I played it, the more The Graceless Age sounded like one of the best things Mooney had been involved in, as either producer or musician, a dark and festering masterpiece.

Tom Petty is a man of many guitars, most of which seem to make an appearance on stage at some point in tonight’s proceedings. Here’s a red Fender, a blonde Rickenbacker, a white Gibson, back to the Fender, and on. It seems fitting, I suppose: Petty’s first show in the UK for 13 years is very much about craft and musicianship.

Welcome back William Friedkin and Matthew McConaughey - both missing in action, it seems, for some years now - with the terribly funny Killer Joe. Typically, for the director of transgressive genre pieces like The Exorcist and Cruising, one of the first things we see here is Gina Gershon’s lower half, naked. “It’s a bit distracting, your bush in my face,” complains her step-son, Chris (Emile Hirsch).

I missed Mikal Cronin’s UK debut by a few hours, having to leave the excellent No Direction Home festival before he played. From a muddy field in North Nottinghamshire, though, to a hipster pub in Dalston, and the first London show for this Californian early-20something and his terrific band.

Beneath Welbeck Abbey, an expansive estate in North Nottinghamshire thus far untouched by any sort of National Trust daytripping, there is a vast network of underground tunnels, wide and stretching for miles around the roots of Sherwood Forest. Somewhere down there, according to my mother, there’s even a ballroom that she visited for a dance the best part of 60 years ago.

I first came across the English folk singer Sam Lee just over a year ago, when I wrote about a tribute album to Peter Bellamy. Alongside more familiar names like The Unthanks and Trembling Bells, it was Lee’s version of “Puck’s Song” that stood out, as he cut a fine path through an artful mix of old folk recordings and incantatory drones.

In 2005, I went to a talk Ridley Scott gave to ahead of the release of his Crusader epic, Kingdom Of Heaven.

A day or two before Julia Holter’s show at Café Oto, I tweeted something fairly dumb about not understanding why she hadn’t received anything like the same amount of hype as Grimes this year, based on my admittedly rather idiosyncratic idea that, amidst the reveries and abstractions, Holter has a knack for subtly accessible pop music.

What is Lawrence for? Given the acclaim for the recent “Lawrence Of Belgravia” documentary, you could be forgiven for thinking that his role as a British eccentric and pop star manqué is now much more important than the actual music he makes. That his character is more entertaining than his records.

In tribute to the late Band legend, who died in April 2012, this week’s archive feature is a fascinating piece from October 2009’s Uncut (Take 149) – Barney Hoskyns travels to Levon Helm’s Woodstock barn for one of his Midnight Rambles, a musical hogroast-cum-celebration of the drummer’s life and legacy. “To me,” says Helm, “it’s just rock’n’roll…” ________________________________