If you walked into a bar in the US, say in one of the southern states, and Bonnie Raitt and her band were playing, you’d have the best night of your life. They are the kind of purely American rhythm’n’blues experience, tempered with FM radio balladry, that somehow works best, and perhaps only, on those endless highways and dusty plains.

The tag “the most Tony-nominated play of all time” may mean less to London theatregoers than it does to New Yorkers, but Stereophonic, newly arrived at the Duke of York’s, deserves the accolade wherever it plays.

Tate Britain is currently offering two exhibitions for the price of one. Other than being on the same bill, Edward Burra and Ithell Colquhoun having nothing in common other than being born a year apart and being oddballs – in very different ways. And since both reward focused attention, this makes for a rather exhausting outing – I’m reviewing them separately – so gird your loins.

"It was really strange. Really quite conflicting, the sort of thing most bands didn't have to deal with. At the front, we'd have the kids who'd come along to scream and at the back were the people who'd come along to hear the music. We didn't know whether to talk to the kids at the front or to speak over their heads to the other people.”

“Forest and the Shore” by Keith Christmas is remarkable. In his essay for Gather In The Mushrooms, compiler, author and Saint Etienne member Bob Stanley says it is “as evocative as its title. The song has a deeply wooded sound, like a cross between Serge Gainsbourg’s “Ballade de Melody Nelson” and Ralph Vaughan Williams.” To this can be added the brooding, dramatic melancholy of Scott Walker’s “The Seventh Seal.”

Johnnie Taylor’s big break came with the ever-fabulous September 1968 single “Who's Making Love.” His ninth 45 for the Stax label, it went Top Ten on the Billboard Hot 100. Up to this point, the Arkansas-born singer had been on the R&B charts only. Hitting the mainstream countdown had taken a while: Taylor’s first solo single had been issued in April 1961.

“Soul Scene,” by Echoes Limited, is built from elements of the James Brown sound. But it’s put together in such a way that the result is unfamiliar. The angular drum groove edges towards a 5/8 shuffle. The circularity of the guitar suggests Congolese rumba. Funk, but outside recognised templates.

Then there’s “Anoshereketa” by Oliver & The Black Spirits. The swirling township structure is recognisable but the drums and the nature of the guitar playing – clipped and spindly, respectively – give an edge. This music is hard to place aesthetically and geographically.

Gary Oldman has always lived life to the fullest, on screen and off. Maybe that's why he is often at his best in his pitch-perfect portraits of real-life personae such as Winston Churchill in Darkest Hour and Herman J Mankiewicz in Mank. He now stars as the bibulous middle-aged American author John Cheever in Parthenope, Paolo Sorrentino's latest lush homage to Italy's recent past. 

Sixes and Sevens is a surprise. A big one. Since leaving Siouxsie and the Banshees in September 1979, John McKay has largely been a mystery. On record, the only suggestion this influential guitarist had continued with music was the EP his post-Banshees band Zor Gabor issued in 1987. Otherwise – nothing.

Purporting to be a documentary about John Lennon in the 1970s, Borrowed Time is no such thing. Instead, we have a lot of fan boys stating the bleeding obvious and covering a much longer period of time. On the other hand, there are some really interesting and illuminating details here, so the film is an absolute must for fans.