Anything by Pearl Jam.

Everything by The Doors, they're the most over rated band in history.

 I think that Pink Floyd's The Wall is over rated. Dark Side of The Moon and Wish You Were Here are far better albums.

Metallica is over rated, especially when it comes down the The Black Album and ...And Justice For All.

I was thinking about this topic and while compliling my list in my head, I started to separate things that are thought of as icons or milestones of music that I thought was really the emporer's new clothes from stuff that I just don't get that others see something valuable in. To me, there is a difference between something being overrated and just not liking something that it seems most other people like.

For example, Beefheart's Trout Mask Replica is on the Guardian's list. That's one of those records that critics like to namedrop because it shows how cool they are for understanding such a difficult and brilliant piece of art. While I admit that I never sat down and listened to the record itself (and I wonder if some of the critics who namedrop it have actually heard it either!) but anything that I've heard or seen of Captain Beefheart (and similarly, Tom Waits, as Duncan mentioned) I never can get into (though Waits has some beautiful songs, when covered by others. I feel the same way about Dylan too).

Lists like this sure do inspire a lot of debate on boards like this, and looking at some of the mentions so far, I'm champing at the bit to defend one or two of them, and completely concur with some others.

So to stoke the fire:

Sonic Youth (no CD in particular)

I like about a third or less of SY's music (these tend to be the dreamy and melodic stuff like "Theresa's Sound World" and "Dissappearer") and think their forays into noise can be tedious. I've seen some live video of them and it seems so formulaic to me.... oh, here's where they're going to stray from playing the song and Thurston will put a drumstick in his strings.... Almost every song does that.

Bright Eyes (no CD in particular)

Man, I don't get this at all. I'm not giving up yet, but I haven't heard anything from this poster boy for the sad and lonely mid-western misfit that doesn't just annoy me. Hey Conor, Robert Smith called. He want's his schtick back.


The Beatles (the white album)

It's no secret that many feel this record never should have been a double album. I'm one of those who could go the rest of their lives never hearing Wild Honey Pie or even Revolution 9 again and not be sorry. That said, McCartney's brilliant response to critics from the Anthology documentary is priceless though. "It's the fookin' White Album! Come on!" There is some amazing music on that record. I just skip half of it when I listen to it.

Other records and artists pop into my head, but I think they're just more a case of "I'm just not into it." For instance, I never liked David Bowie's mid 70's period, particularly Station To Station (Golden Years, TVC-15.) I really like other Bowie periods, but this stuff just sounds like cocaine and saxophones to me (which reminds me, I feel the same way about John Coltrane). I know Bowie knows what's what and he likes to genre hop and reinvent himself and sometimes it works, sometimes not so much. That's what makes me keep going into those records (Low, Lodger and finally Heroes) to find what the fuss is about. In small bits, I start to discover elements I really love about this stuff and that makes it worth the effort. As for Coltrane, I think it was sitting there and listening to "My Favorite Things" that made it sink in. Here was a beautiful song that I know by heart, and he was reinterpreting it in a way that showed who HE was, in the framework of the song. At least that's how I thought of it when it finally "clicked" with me.

Oh and it's no secret that In Utero is a better record than Nevermind, but sometimes the masses don't like the better record.

Roger

I love early Elvis Costello and hate later Elvis as well. Bob Seager is evidence that there is no God! I disagree about the Doors though especially because they were very unique for their time and Rog I think Bright Eyes is kind of like the Smiths, one either loves them or hates them. Bright Eyes have put out some shit but they have some real good tunes as well.
I don't get Sonic Youth.

I am a huge fan of Tom Waits. I'd say that he's unquestionably one of the best lyricists I've ever come across. I find his voice to be an astonishing instrument: he is a very theatrical vocalist,

Some of his stuff is quite bizarre and not easily approached. He has always recorded with impunity... he does what he wants and brooks no oversight from record companies (which is why he's on ANTI- now). I feel as though he's so completely detached and independent from the nuances of the music industry that reviewing him seems pointless and irrelevant. I think that you will either have a personal reaction to Waits or you won't... though it can take some time to encounter the right song in his massive genre-mangling catalogue.

I find the production on his albums from the 90's onward to be absolutely remarkable. There's an enormous depth of sound on those tracks, and they're usually profoundly organic, complete with the creak of wooden chairs and other 'noises' that most artists would scrub out.

Duncan, I shall have to discuss this with you over homebrew...

Duncan mentions Elvis and Kiss.

I too have no love for Elvis, but as a kid, like many people who grew up in the 70's, I loved Kiss. I loved Kiss as cartoon characters. The fact that they made music was a coincidence. I loved listening to Kiss Alive II over and over. As an adult though, I listen to Kiss songs on the radio with a bit of nostalgia, but man.... what a bad band. what horrible songs. What were we thinking? Oh yeah, it was fun to be Ace for halloween.

Elvis too. America loved his as the image of 50's rock and roll. I have friends who grew up in his heyday and they love him for this or that reason, but me? Today? Eh, I'll pass. Nothing of his does anything for me. Roy Orbison had that sad and beautiful falsetto. Frank Sinatra had Nelson Riddle's timeless arrangements and orchestrations. Billie Holliday had a unique and emotional voice. Hank Williams was hardcore and real and never pretended he wasn't.

Elvis had hips and a facial tick. 

Maybe if I was thirty years older, I'd feel differently.

Oh, and here's something I was thinking of this week. I could always take or leave Perry Farell/Jane's Addiction, and I'd usually leave them. I think that he is completely overrated as well. The thing is, I heard their new single on Howard Stern last week and I loved it. Peter Hook of New Order on bass? Nice one. I really liked the song. Now if only they would play this instead of "Jane Says" all the time, I'd be in better shape.  

I'll throw these out for discussion because I'm on the fence about some of them:

New Order

Joy Division

Bauhaus

Roger

Kiss sucks...a few good dittys here and there but it's the nostagia that sells that band.

Elvis was a bad ass dude...VERY early on. The self titled album with "That's all Right Mama" is great, captures the era so well. He really had one or possibly two good years...after that he was all "Viva Las Vegas" "Girl Crazy" crap...a spoof.

That can also be said for the other Elvis...Mr. Costello. Aim Is True, This Year's Model, Armed Forces, most of Get Happy...and then BOMBS away. 3 Great years.

I love those records, but sorry I can't get into Spike if my depended on it.

Dark Side of the Moon ( Not that great when you are not high)

The White Album (Should have been one record)

Motorbike Fire Love Song (Give me "I'm a Tree" anyday)

Achtung Baby (If for no other reason then for "One")

The Lamb lies Down On Broadway(By no means their best work yet sighted by many as such)

Born In The USA (If it wasn't Bruce it would be considered another 80's throwaway album)

And, Sorry but I just don't get Velvet Underground at all. 

It's interesting how some people are hot and cold on Dark Side of the Moon. I was never a Pink Floyd fan, and I would attribute that to The Wall being so overplayed on radio when I was in my formative years. Also, I've never been stoned, so I never got that angle of them (probably why I don't like Sublime too?)

Anyway, one day I heard "Us and Them" on the radio and all of a sudden it struck me. What a gorgeous song. So a few years later, I bought Dark Side of the Moon for "research" and now it's one of my favorite albums period. To me, it's timeless and doesn't sound at all like it was released in 1973 (I can't say that about The Wall or anything post-Roger Waters, which sound very dated to me). The only song that doesn't do much for me is "Money", and that's probably because it was overplayed as well. I picked up Meddle around the same time, and there are a few favorites on that as well. I should probably get Wish You Were Here at some point too.

There are always bands that you cast off at first for one reason or another, which later redeem themselves to you. That could be a whole new thread. Off the top of my head, that happened to me with Nada Surf, Guster, Radiohead, The Verve, Led Zeppelin and Stone Temple Pilots. I thought Nirvana was totally overrated and was so sick of them at the time, and then saw the Mtv New Year's Eve concert with them and my impression changed and I gained a new respect for them as a live band. I still don't listen to them, but I don't dislike them.

People mention the Velvets too. That list of critic's favorites that everyone likes to cite as influences is ripe with stuff that is either totally overrated or just too difficult to get into. The Velvets, Mission of Burma, Pixies, Captain Beefheart, Frank Zappa etc. You can see why a band like the Velvet Underground was so important at the time if you put them in the context of what was going on in music in the late 60's. Without that condition, though, I don't think I need to sit through "Heroin" more than once every blue moon. "Rock and Roll," though is a favorite of mine, just as a fun pop song, not some sort of counter-culture statement, which is probably what most people love about VU.

This is a great thread. Keep it going!

Roger
Who likes (the London) Suede more than Ron does. ;)

Banners whippin' and frayin' in the wind... I see them.

What's odd is that every now and then, I listen to Revolution #9 and can appreciate it and sort of enjoy it as a soundscape.

PS - One of my pet pop bands, The Shazam actually covered Revolution #9. Really.

BATEMAN

Do you like Phil Collins? I've been a big Genesis 
fan ever since the release of their 1980 album, Duke. Before 
that I really didn't understand any of their work. It was too 
artsy, too intellectual. It was on Duke where Phil Collins' 
presence became more apparent. 

BATEMAN

I think "Invisible Touch" is the group's undisputed
masterpiece.



BATEMAN 
It's an epic meditation on intangibility, at the 
same time it deepens and enriches the meaning of the preceding 
three albums. Christie, take off the robe.

Bateman puts out a lace teddy. He motions to Christie to 
put it on.

BATEMAN 
Listen to the brilliant ensemble playing of Banks, 
Collins and Rutherford. You can practically hear every nuance 
of every instrument. Sabrina, remove your dress.



BATEMAN 
In terms of lyrical craftsmanship and sheer 
songwriting, this album hits a new peak of professionalism. 
Sabrina, why don't you dance a little?

Sabrina dances awkwardly. Christie sits on the bed.

BATEMAN 
Take the lyrics to "Land of Confusion." In this 
song, Phil Collins addresses the problem of abusive political 
authority.

Bateman knots a silk scarf around Christie's neck - rather 
menacingly - then helps her into some suede gloves. 

BATEMAN 
"In Too Deep" is the most moving pop song of the 1980s about 
monogamy and commitment. The song is extremely uplifting. 
Their lyrics are as positive and affirmative as anything 
I've heard in rock.

He turns on the video camera. 

BATEMAN 
Christie, get down on your knees, so Sabrina can see your 
asshole.

Bateman looks through the viewfinder.

BATEMAN 
Phill Collins solo efforts seem to be more commercial and 
therefore more satisfying in a narrower way, especially 
songs like "In the Air Tonight" and "Against 
All Odds." Sabrina, don't just stare at it. Eat it. 

He walks over to the sound system in his bedroom and slides in 
the CD.

BATEMAN 
But I also think that Phill Collins works better 
within the confines of the group than as a solo artist-and 
I stress the word artist. This is "Sussudio," a great, 
great song, a personal favorite.

SEX MONTAGE CUT TO "Sussudio."