I was toying with the idea of previewing the Mercury Music Prize…

…but William B. Swygart’s just-published piece on Rocktimists is so bang on the money, that there scarcely seems any point.

In short, then:

If Rachel Unthank and the Winterset win, I shall be beside myself with joy. Look, one of the token specialist genre acts (folk/jazz/classical) has got to win the thing sooner or later, or else what’s the point in including them in the first place?

If Elbow or British Sea Power win, I shall be very very happy. Because they’re both bloody wonderful albums, that’s why.

If Estelle or Burial win, then I shall smile broadly – because both albums are more than worthy, and it will be a nice change from the usual skinny white boys with guitars.

If Radiohead or Plant & Krauss win, then I shall think: fair enough in terms of quality, but what’s the point, and what purpose has been served?

If Laura Marling wins, then I shall smile fondly, and resolve to listen a little more closely.

If the Portico Quartet win, then I’ll be all like, huh? Pretty but unessential, that’s my verdict.

If the Last Shadow Puppets win, then I’ll be all like, sigh. It’s an interesting but flawed project, and Alex Turner certainly doesn’t need the award a second time.

If Neon Neon win, then I’ll be all cross-armed and resentful and frowny and BAH.

If Adele wins, then I might require oblivion-hastening medication, with some degree of urgency.

The Guardian are live-blogging the whole thing, by the way. As of now.

Update: I am very very happy at Elbow’s well deserved win. This seems like a good moment to link back to my interview with guitarist Mark Potter, which I conducted on the very morning that The Seldom Seem Kid hit the shops.

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