The 23rd studio album from the artist formerly known as John Cougar was originally destined to be a religious album, but the songs he and Carlene Carter wrote turned out to be not quite so God-fearing as all that, though there’s certainly a discernible ol’ timey vibe, what with the pedal steel and fiddle and all. There’s a joyous setting of Woody Guthrie’s “My Soul’s Got Wings”, one of many previously unsung lyrics now archived in Tulsa, in which Guthrie dreams of a heaven “full of joy”. Angels abound, but the devil rears his head among the Sad Clowns & Hillbilllies.

In the second week of September 1979, Nick Lowe’s “Cruel to be Kind” entered the Top 40. A month later, it peaked at number 12. The commercial success was belated validation for a song with a history. In May 1978, an earlier version was the B-side of his “Little Hitler” single. Fans with long memories heard another, even earlier, “Cruel to be Kind” when his old band Brinsley Schwarz recorded it for the BBC’s John Peel Show in February 1975. It was co-written by Lowe with fellow bandmember Ian Gomm.

From Muswell Hillbilly to Beverly Hillbilly, Ray Davies – Sir Ray – has long been infatuated with America and it must have been a great disappointment when the Kinks were banned from touring there in the mid-1960s. Then in the 1970s and Eighties they were reborn as a stadium rock band, criss-crossing the States and losing their audience back home.

It’s a while since John Mayall last played Ronnie Scott’s, and the six shows this week didn’t begin to accommodate his many fans. The line to get in on Tuesday started a long while before show-time, and those who turned up hoping for returns will be pleased to know the British blues legend will be heading back to Britain in the autumn. Those lucky enough to possess tickets were treated to an excellent opening show, much of it drawn from his recent album Talk About That.

As Imelda May releases her fifth CD, it can’t but help that Bob Dylan has come out as a fan – it was, she wrote, "like being kissed by Apollo himself". No doubt his buddy T Bone Burnett passed him a copy of the album, for he produced it in Los Angeles, where it was recorded over seven days, with guest appearances from guitarist Jeff Beck and pianist and band leader Jools Holland, on whose TV shows May has guested several times.

George Saunders has written a historical novel. Of course, this being Saunders, author of four volumes of dystopian short stories about contemporary America (the wonderful Tenth of December is the most recent), it’s unlike any other. This is a tale told by ghosts, three in particular, who inhabit the graveyard in Georgetown where Willie, Abraham Lincoln’s 11-year-old son, dead from typhoid, lies interred.

An album to please old fans and make new ones, Windy City is a peach – even at first playing it feels like slipping in to a worn-in pair of jeans or boots, a comfy ol’ fit. And that’s because the songs are country classics and in our musical DNA.

“I’m not necessarily the ‘I’ in my songs” declared Tom Waits in James Maycock's documentary, its title a tipping of the proverbial hat to another artist who, in his 69 years on earth, inhabited many roles.

Tom Waits has mostly kept journalists at arm’s length and he’s never been one to talk about his private life, so producer/director Maycock (whose subjects have included Yehudi Menuhin and Yoko Ono) relied on archives for this rewarding 60-minute film. But he found plenty of other figures prepared to speak intelligently about his work, and in some cases about the man.

The only British gig in Josh Ritter’s so-called work-in-progress tour took place in the somewhat unlikely venue of St Stephen’s Church, Shepherd’s Bush, a rather fine example of gothic revival style. It’s almost opposite Bush Hall, which would have been a more logical venue: an altar was not perhaps the most obvious setting for the Idaho-born alt folkie though the acoustics were splendid.

Ryan Adams’s 16th solo album since he debuted in 2000 with Heartbreaker reveals many influences, including AC/DC and the Electric Light Orchestra - notably on the opening track and single, “Do You Still Love Me”, where keyboards are to the fore. But mostly Adams is channelling The Boss.