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Heard about one mans mission to get Weezer to stop making music? James Burns (from Seattle) set up an online campaign to raise $10 million in an attempt to pay off River Cuomo & co and entice them to retire. Having made 1% of the total ($1,838 on Sunday night), Burns has decided to call the prank a day and close the campaign. But it did get Team ATL thinking about those bands we've loved oh so much, but who are slowly but surely ruining their legacy. And in turn, forcing us to accept they aint completely genius.

Who would you pay to stop? Let us know your pick by shouting us here, onÌýthe ´Ç°ùÌý and we will give y'all a shout on the show tonight...

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Rigsy - ATL Presenter

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I feel bad about this, cause I really do love Tim Burgess, but I kind of wish The Charlatans would stop making records. It's not even that their recent releases have been particularly poor, it's just that...well, I wouldn't know what they're like, really. I'm pretty certain they're *okay* and certainly listenable, but I'm also pretty certain they're nowhere near past glories like 'Tellin' Stories' or even 'Wonderland'. They release a new album every couple of years and it just feels like a bit of a chore to have to listen and inevitably be only vaguely interested as you struggle to make it to the end. Seeing a new Charlatans album is akin to the feeling you get when you go to a party and run into an old friend who's got incredibly dull during adulthood (but you still feel kinda obliged to chat to for a while). And yes, I'm aware this is incredibly harsh, so I'm off to apologetically listen to 'Us and Us Only' very loudly indeed.

Paul McClean - ATL Producer

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After a rake of decent 80s synth pop, Martin Gore decided to get dark, wear leather S+M gear and help to produce four stone classics in the shape of Black Celebration, Music for the Masses, Violator and Songs of Faith and Devotion. That they were a band incremementally perfecting their art was obvious, until Ultra, that is. Yes of course there are a few high points every now and again, but the sense that never a duff or lazy note would pass their tape op was gone. They were just as flawed as everyone else and have been laving the musical equiavlent of the butler's revenge for over a decade now. This realisation is crushing. You wouldn’t wish ill harm on anyone but perhaps some kind of non-life-threatening-yet-rendering-vocal-chords-and-keyboard-plonking-hand-inoperable tragedy would have been a good thing?

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Amy McGarrigle - ATL Content Assistant

I honestly was going to avoid SP, but damn it's the most obvious. They brought out some of the 90's best albums, from rock to subtle acoustic lullabies to the stunningly emotional Adore. They really were directly responsible for my obsession with music growing up. Then it all started to go wrong. Machina had plenty of warning signs but they quit shortly after and I thought the damage had at least been limited. However, seven years later Billy Corgan returned with an even further over blown, pompous record called Zeitgeist. No emotion, bland riffs, little dynamics and now Billy Corgan's voice just became unforgivable. Jimmy Chamberlains [the only other original member left at the time] drumming really was the only saving grace. They did say there would be no more albums due to 'Zeitgeist' issues, but Corgan keeps churning them out in download form. Now the only original member of the band left, Corgan seems to be systematically ruining the bands legacy. An intervention may be needed folks.

Steven Rainey - ATL Buddy

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I loved The Smiths with the kind of unquestioning adoration one gives willingly to a parent. Keen eyed readers may note the 'past-tense' in the previous sentence. With his continued solo career, Morrissey forces my love of the Smiths to wither and die, little by little, day by day.

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It started out promisingly with Viva Hate (1988) and the superb singles compilation Bona Drag (1990), but afterwards, the Moz-father started increasingly looking like a grotesque parody of himself. Putting all of his "extra-curricular" activities and interests aside, the music Morrissey has released to the public since 1990 would test the patience of a saint, threatening to pollute that sacred river from whence he came.

Morrissey - for the sake of the Smiths, knock it on the head.