I love Prog but enough from the Neal Morse pulpit.
U2 = 
Question: Is there anyone alive or throughout human history with a bigger ego than Bozo oops I mean Bono?
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Thatâs not an opinion, thatâs a fact! 
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Iâm loving this thread!!
To the naysayersâŚrecent forensic evidence points to otherworldy DNA being found on Robert Johsonâs iconic acoustic guitar, substantiating the legend that he met with the Devil.
The Devil most likely tuned his guitar, played some tunes with extraordinary skill & handed it back to him. The untrained Robert traded his soul, there at the crossroads, in exchange for the Blues.
Ozzy Osbourne has further entered into the fray maintaining he had an apparition vividly seeing Robert with the Devil living on a Mississippi plantation belting out Crossroad Blues.
Thank you Ozzy for coming forward to provide further insight into this âsolvedâ mystery.
And no Ozzy - Paul did not die in the 60âs and replaced by a Paul lookalike. Playing Revolution #9 backward does not let you hear âI buried Paul dead manâŚâ
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Nobody would love to stick their size 12 Doc Martenâs into bono more than me, however, in the interests of debate and pursuit of the truth, Iâd like to highlight that U2 werenât always scrapings from the kitty litter tray.
Boy, October and War were pretty good in isolation. The trouble is, around the time of Joshua Tree, they started to believe their own hype and the egos started to grow to the point where they would develop their own weather systems. Bonoâs went way beyond and is now so huge it can be found on galactic navigation charts marked âHere be Idiotsâ in the same way early maritime charts marked unknown areas with âHere be Dragonsâ.
U2 are not alone in this phenomena of showing promise by being reasonably decent to begin with and then getting lost on the way:
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Rod Stewart - fantastic in The Faces and his early solo career. James Brown called him the worldâs finest white soul singer. It was going so well. But then Rod decided to try performing for the satisfaction of oestrogen-depleted women instead.
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Michael Jackson - everything building so well after going solo. Off The Wall - great work. Thriller, probably the greatest piece of studio production ever (thanks Quincy Jones)⌠Accolades, deification, adoration⌠And then Bad. Youâre goddam right there, MJ.
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Metallica - Kill 'Em All, Ride The Lightning, Master of Puppets and as And Justice For All arrived, we all thought it couldnât possibly get any better. We were right. It didnât, and they started circling the drain.
Tel
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Mid-late 80âs, middle of the winter in Winnipeg. Rod Stewart is at the same hotel, across the hallway, warming up for his concert. What was he singing? Reason to Believe? No. Da Ya Think Iâm Sexy? Yes. Not kidding.
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This can be said for about 99% of pop music. On the other hand, classical is a self-indulgent parade of dusty, obsessional narcissists, with all of its geniuses dead for a few centuries. Jazz is the same, but without the benefit of foundational dead geniuses, and the electronica avant-guarde is trying too hard for itâs own good. So if weâre going to be honest with ourselves, the truth of the matter is that all thatâs left is compromises of varying levels of mediocrity.
The overwhelming majority of EVERY genre is mediocre / also ran / crap. Thereâs a small amount of good, and a tiny amount of truly great, in every genre. Many genres are given Emperorâs New Clothes treatment, for self-serving purposes.
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Iâm not sure this is an unpopular musical opinion, more along the lines of discovery & the motivation behind this thread.
To the OP
@ElTel
I get this thread nowâŚ
As you are an original member of Captain Matchbox Whoopee Band itâs clear why you have so many unpopular musical opinions. I see you there Terry. 
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Stick to the U2 theme:
Why isnât U2 recognized for not only producing terrible music but also for being at least partly responsible for helping to create emo? Yes I know that Morrisey gets most of the blame (and rightly so) but U2 also bears some blame. With emo one of the main requirements is a hyper inflated ego which enables one to think that anyone would actually care how much that girl broke your heart and there is no one living or dead (or yet to be born) with a bigger than Sir Bono.
But enough about U2, letâs trash Kendrick Lamar for a while. First question: is there anyone other than guilt laden white music critics who actually listens to Lamar? Just sayinâ
Iâm surprised that the opinions I have shared to date have not caused much of a stir. Itâs always good to get alternative viewpoints especially when Iâm open to being corrected if it means I get a new found appreciation of an artist that I may have overlooked or been stubborn in not appreciating them first time around.
I am going to put the proverbial cat amongst the pigeons now and throw shade on an entire genreâŚ
Country. No. Just no. Itâs just farm emo. I do not want to hear about how your cow just upped and left you to the backdrop of torturous steel geetar (sic).
Tel
Lyrics are pointless to anyone but the artist and reviewers. All that matters is the music, groove, vibe, and production. 
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As Maurice White once said: ânever let a lyric get in the way of a grooveâ.
So for country a slightly different version of the Maurice White quote would be:
Never let a groove get in the way of a lyric.
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Most popular music sucksâŚ
Iâm a bit of an old punk. The message means more than the music in a lot of cases.
Judging by the way of the world at the moment it could do with a bit more message!
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Here goes:
- country is a scourge on mankind
- having to listen to James Brown is cruel and unusual punishment
- ditto for Bob Dylan and Neil Young
- all that monotonous thumping tecno stuff makes me want to strangle what is laughingly termed a deejay these days
- autotune drives me up the wall
- as do most of todayâs pop songs
- because theyâre all the same tune repeated over and over
- by different nobodies using an autotune
- schlager should be outlawed by the Geneva convention
PhewâŚ
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Canât argue with that.
This.
I wonât be there for it (or maybe even humanity given global warming), but it would be interesting to see what is classical music in 100-150 years. So weâve had lots of people playing covers of the same stuff for a couple hundred years, and some number (hundreds?) of classical music lovers still blissfully wave their imaginary batons as the music plays.
So, will there be a similar number of covers of Dylan, Rolling Stones, Taylor Swift (?!), many generations out? Sort of doubt that, but what makes music last? Will the fleeting attention span of our generations and the huge breadth of other diversions put the boot on the throat of classical music?