News Marshall moved to New York in 1981, where he had latterly painted murals

Austin John Marshall, record producer, folk-revival ideas man, lyricist and songwriter, performance poet and muralist, created, nurtured or acted as cultural midwife to many strands of art. His fingerprints are all over Shirley Collins & Davy Graham's folk roots, new routes, Shirley & Dolly Collins' magnum opus Anthems in Eden, Ultravox!'s pre-Midge Ure incarnation Tiger Lily and English songwriter Steve Ashley's groundbreaking Stroll On. He also contributed footage to Peter Neal's Jimi Hendrix film Rainbow Bridge (1972) and to the Incredible String Band's film Be Glad for the Song Has No Ending (1970).

Reggie Watts, Union Chapel, London

Tonight he regales us with how Druids and Romans clashed in the time of Boudicca

Album: Lucas Santtana, The God Who Devastates Also Cures (Mais um Discos)

Maybe it's no coincidence that the cover of this Brazilian modernist's latest shows a world dissolved by a rain-washed car windscreen.

Album: Dappy, Bad Intentions (Universal Island)

Dappy clearly doesn't believe in keeping his powder dry: no sooner has "Intro" begun than he's off, attacking MPs, media and playa-haters in general in that vituperative monotone patter.

Awfully good: Harold Macmillan was a fan of Sixties satire

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Album: Kathryn Roberts & Sean Lakeman, Hidden People (Navigator)

Husband-and-wife team Kathryn Roberts & Sean Lakeman have many associations with the folk scene, notably with Lakeman's brother Seth and Roberts' fellow South Yorkshire siren Kate Rusby.

Album: Joey Ramone, Ya Know? (BMG)

Did "punk" offer a more loveable figure to posterity than Joey?

Album: Regina Spektor, What We Saw from the Cheap Seats (Sire)

Just when you think Regina Spektor is coasting into a song's shallower waters, she'll catch an outsized wave – like the gulping sound in "Open" – which yanks it back into the choppier swell.

Album: Delaney Davidson, Bad Luck Man (Voodoo Rhythm)

This New Zealander's second album is a rattling, twanging, guitar-thumping celebration of the inebriated underdog as tragicomic hero.

Imelda May, Royal Albert Hall, London

“He’s a big bad boy,” lustily croons six-months pregnant Imelda May on “Johnny’s Got a Boom Boom”, the saucy rockabilly song that catapulted the singer to instant fame.

Album: Santigold, Masters of my Make-Believe (Atlantic)

Santigold was one of 2008's great pop finds, making the sound of tumbleweed whistling around her second album baffling.

Album: Alabama Shakes, Boys & Girls (Rough Trade)

Essentially, a high-school band playing old-fashioned R&B and soul with a rock attitude and rhythm section: unrefined, unresigned, occasionally clunky, frequently obtuse but always, always fit to bust.

Album: Jim Moray, Skulk (NIAG)

Jim Moray's filtering of traditional folk music through a mesh of modern sensibilities continues on Skulk, where eight adaptations of old ballads are punctuated by impassioned versions of Anais Mitchell's fretful "If It's True" and Fleetwood Mac's "Big Love".

Album: Simone Felice, Simone Felice (Reveal)

Having himself suffered considerable setbacks in his 20-something years, Simone Felice should be well placed to track the threads of tragedy in his briefly sketched narratives about characters like the lost girlfriend "Stormy-Eyed Sarah", the doomed "Dawn Brady's Son", and the sexual predator cruising for a deserved bruising in "Hey Bobby Ray".

Niceness rocks! Ballads take centre stage at the Brits

To some they're just the stars of the 'New Boring' but Adele, Ed Sheeran and Coldplay took the major awards last night

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