artists you just can't stand....

markus71markus71 937 Posts
edited March 2007 in Strut Central
Name that one artists or band that you just can't stand. I will kick off with one in both categories...Moby and Faithless
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  • cascas 1,484 Posts
    talib kweli
    camron

  • ReynaldoReynaldo 6,054 Posts
    mac dre

  • DjArcadianDjArcadian 3,632 Posts
    mac dre

    Do you at least like Dredio? I mean, come on. That's a sick ass song.

  • TabaskoTabasko 1,357 Posts
    first thing popped into my mind was Tori Amos.

  • moby is right. that guy irratates the shit out of me.

  • damagedamage 118 Posts
    bono

  • JimsterJimster Cruffiton.etsy.com 6,952 Posts
    Yin Yang Twins
    Radiohead
    REM

  • MTKMTK 45 Posts
    I'm gonna have to go with...

    T-Pain
    Akon
    Mims
    Baby
    40 Glocc
    Fake Jay-z mixtape rappers
    St. Laz
    James Blunt
    James Blunt

    and

    James Blunt

  • waxjunkywaxjunky 1,849 Posts

    Rush

  • spelunkspelunk 3,400 Posts
    The Rolling Stones



  • Rush

  • Strider79itStrider79it 1,176 Posts
    I can't stand this guy........



    and any glam-rock band that goes from early 70's ( kiss ) to late 80's ("guns & roses" ) ... and everything in betweem (except "Van Halen" that was my favourite band when I was 13 )

  • markus71markus71 937 Posts
    Maroon 5....

  • kalakala 3,361 Posts
    its too easy to hate kenny g
    ask pat metheney.............

    Question:
    Pat, could you tell us your opinion about Kenny G - it appears you were quoted as being less than enthusiastic about him and his music. I would say that most of the serious music listeners in the world would not find your opinion surprising or unlikely - but you were vocal about it for the first time. You are generally supportive of other musicians it seems.
    Pat's Answer:

    Kenny G is not a musician I really had much of an opinion about at all until recently. There was not much about the way he played that interested me one way or the other either live or on records.

    I first heard him a number of years ago playing as a sideman with Jeff Lorber when they opened a concert for my band. My impression was that he was someone who had spent a fair amount of time listening to the more pop oriented sax players of that time, like Grover Washington or David Sanborn, but was not really an advanced player, even in that style. He had major rhythmic problems and his harmonic and melodic vocabulary was extremely limited, mostly to pentatonic based and blues-lick derived patterns, and he basically exhibited only a rudimentary understanding of how to function as a professional soloist in an ensemble - Lorber was basically playing him off the bandstand in terms of actual music.

    But he did show a knack for connecting to the basest impulses of the large crowd by deploying his two or three most effective licks (holding long notes and playing fast runs - never mind that there were lots of harmonic clams in them) at the key moments to elicit a powerful crowd reaction (over and over again). The other main thing I noticed was that he also, as he does to this day, played horribly out of tune - consistently sharp.

    Of course, I am aware of what he has played since, the success it has had, and the controversy that has surrounded him among musicians and serious listeners. This controversy seems to be largely fueled by the fact that he sells an enormous amount of records while not being anywhere near a really great player in relation to the standards that have been set on his instrument over the past sixty or seventy years. And honestly, there is no small amount of envy involved from musicians who see one of their fellow players doing so well financially, especially when so many of them who are far superior as improvisors and musicians in general have trouble just making a living. There must be hundreds, if not thousands of sax players around the world who are simply better improvising musicians than Kenny G on his chosen instruments. It would really surprise me if even he disagreed with that statement.

    Having said that, it has gotten me to thinking lately why so many jazz musicians (myself included, given the right "bait" of a question, as I will explain later) and audiences have gone so far as to say that what he is playing is not even jazz at all. Stepping back for a minute, if we examine the way he plays, especially if one can remove the actual improvising from the often mundane background environment that it is delivered in, we see that his saxophone style is in fact clearly in the tradition of the kind of playing that most reasonably objective listeners WOULD normally quantify as being jazz. It's just that as jazz or even as music in a general sense, with these standards in mind, it is simply not up to the level of playing that we historically associate with professional improvising musicians. So, lately I have been advocating that we go ahead and just include it under the word jazz - since pretty much of the rest of the world OUTSIDE of the jazz community does anyway - and let the chips fall where they may.

    And after all, why he should be judged by any other standard, why he should be exempt from that that all other serious musicians on his instrument are judged by if they attempt to use their abilities in an improvisational context playing with a rhythm section as he does? He SHOULD be compared to John Coltrane or Wayne Shorter, for instance, on his abilities (or lack thereof) to play the soprano saxophone and his success (or lack thereof) at finding a way to deploy that instrument in an ensemble in order to accurately gauge his abilities and put them in the context of his instrument's legacy and potential.

    As a composer of even eighth note based music, he SHOULD be compared to Herbie Hancock, Horace Silver or even Grover Washington. Suffice it to say, on all above counts, at this point in his development, he wouldn't fare well.

    But, like I said at the top, this relatively benign view was all "until recently".

    Not long ago, Kenny G put out a recording where he overdubbed himself on top of a 30+ year old Louis Armstrong record, the track "What a Wonderful World". With this single move, Kenny G became one of the few people on earth I can say that I really can't use at all - as a man, for his incredible arrogance to even consider such a thing, and as a musician, for presuming to share the stage with the single most important figure in our music.

    This type of musical necrophilia - the technique of overdubbing on the preexisting tracks of already dead performers - was weird when Natalie Cole did it with her dad on "Unforgettable" a few years ago, but it was her dad. When Tony Bennett did it with Billie Holiday it was bizarre, but we are talking about two of the greatest singers of the 20th century who were on roughly the same level of artistic accomplishment. When Larry Coryell presumed to overdub himself on top of a Wes Montgomery track, I lost a lot of the respect that I ever had for him - and I have to seriously question the fact that I did have respect for someone who could turn out to have such unbelievably bad taste and be that disrespectful to one of my personal heroes.

    But when Kenny G decided that it was appropriate for him to defile the music of the man who is probably the greatest jazz musician that has ever lived by spewing his lame-ass, jive, pseudo bluesy, out-of-tune, noodling, wimped out, fucked up playing all over one of the great Louis's tracks (even one of his lesser ones), he did something that I would not have imagined possible. He, in one move, through his unbelievably pretentious and calloused musical decision to embark on this most cynical of musical paths, shit all over the graves of all the musicians past and present who have risked their lives by going out there on the road for years and years developing their own music inspired by the standards of grace that Louis Armstrong brought to every single note he played over an amazing lifetime as a musician. By disrespecting Louis, his legacy and by default, everyone who has ever tried to do something positive with improvised music and what it can be, Kenny G has created a new low point in modern culture - something that we all should be totally embarrassed about - and afraid of. We ignore this, "let it slide", at our own peril.

    His callous disregard for the larger issues of what this crass gesture implies is exacerbated by the fact that the only reason he possibly have for doing something this inherently wrong (on both human and musical terms) was for the record sales and the money it would bring.

    Since that record came out - in protest, as insignificant as it may be, I encourage everyone to boycott Kenny G recordings, concerts and anything he is associated with. If asked about Kenny G, I will diss him and his music with the same passion that is in evidence in this little essay.

    Normally, I feel that musicians all have a hard enough time, regardless of their level, just trying to play good and don't really benefit from public criticism, particularly from their fellow players. but, this is different.

    There ARE some things that are sacred - and amongst any musician that has ever attempted to address jazz at even the most basic of levels, Louis Armstrong and his music is hallowed ground. To ignore this trespass i s to agree that NOTHING any musician has attempted to do with their life in music has any intrinsic value - and I refuse to do that. (I am also amazed that there HASN'T already been an outcry against this among music critics - where ARE they on this?????!?!?!?!, magazines, etc.). Everything I said here is exactly the same as what I would say to Gorelick if I ever saw him in person. and if I ever DO see him anywhere, at any function - he WILL get a piece of my mind and (maybe a guitar wrapped around his head.)

  • Big_ChanBig_Chan 5,088 Posts
    WOW! Damn Pat, why don't you tell us how you REALLY feel about Kenny G?

  • The_NonThe_Non 5,691 Posts

    and any glam-rock band that goes from early 70's to late 80's ("guns & roses" )

    What? Guns N Roses, glam?
    I don't think so, but hey, I'm not the commissioner of categorization.

  • jinx74jinx74 2,287 Posts
    el-p
    anticon
    living legends
    miles davis
    freestyle fellowship
    master p/crew
    2pac
    maxwell
    meaty
    om
    day
    danny/'preme
    hiero/crew
    britney spears
    christina aguilera
    fantasia
    jewell (or however you spell her name, she shoulda stayed in canada)
    mick jagger (solo)


    etc. etc. etc.

    ...really most of the artists that came out post-01 is really hard for me to like musically or vocally.

  • The_NonThe_Non 5,691 Posts
    meaty
    om
    day

    I needed a good laugh this morning, thanks.

  • batmonbatmon 27,574 Posts

    and any glam-rock band that goes from early 70's to late 80's ("guns & roses" )
    What? Guns N Roses, glam?

    I don't think so, but hey, I'm not the commissioner of categorization.





  • The_NonThe_Non 5,691 Posts

    and any glam-rock band that goes from early 70's to late 80's ("guns & roses" )
    What? Guns N Roses, glam?

    I don't think so, but hey, I'm not the commissioner of categorization.





    Fluffy hair doth not a glam band make.

  • batmonbatmon 27,574 Posts

    and any glam-rock band that goes from early 70's to late 80's ("guns & roses" )
    What? Guns N Roses, glam?

    I don't think so, but hey, I'm not the commissioner of categorization.





    Fluffy hair doth not a glam band make.

    Lipstick?

  • The_NonThe_Non 5,691 Posts

    and any glam-rock band that goes from early 70's to late 80's ("guns & roses" )
    What? Guns N Roses, glam?

    I don't think so, but hey, I'm not the commissioner of categorization.





    Fluffy hair doth not a glam band make.

    Lipstick?

    Alright, you got me there. I was thinking glam when I posted that response like Bowie, Jobriath, etc. of the 70s, not Poison, Motley Crue, and GNR of the 80s.

  • Strider79itStrider79it 1,176 Posts

    and any glam-rock band that goes from early 70's to late 80's ("guns & roses" )
    What? Guns N Roses, glam?

    I don't think so, but hey, I'm not the commissioner of categorization.





    Fluffy hair doth not a glam band make.

    Lipstick?

    Alright, you got me there. I was thinking glam when I posted that response like Bowie, Jobriath, etc. of the 70s, not Poison, Motley Crue, and GNR of the 80s.

    there is a thin red line that unites all fluffy hairdos and lipstick users in the music biz

  • Ian_DIan_D 120 Posts
    any guitar based band at the moment as they all sound the same....

    50 cent
    the game
    coldplay
    moby cue ball headed twat
    classical artists pretending that they are pop stars eg female violin based combo bond or grease laiden El Divo

  • SyminSymin 999 Posts
    I know the hate mail is gonna roll in and the BAN but,
    stevie
    prince

    neither of them hit me the right way, i can tolerate prince more than stevie though. not horrible music just not good to my ears

  • DJ_EnkiDJ_Enki 6,473 Posts
    Pretty much all '80s pop.

  • oripsorips 238 Posts
    jewell (or however you spell her name, she shoulda stayed in canada)

    According to the facts, Jewel was born in Payson, Utah, to German-speaking immigrants from Switzerland, Atz Kilcher and Lenedra Carroll. She spent most of her young life in Homer, Alaska, living with her father.

  • ReynaldoReynaldo 6,054 Posts
    ... all rappers.

  • Ian_DIan_D 120 Posts
    i forgot curtis stigers
    Last CD i put before i finished work...he is totally face achingly shit on so many levels...

  • kalakala 3,361 Posts
    guns & roses = scum and posers
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