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Ivor Darreg was the last "super original" composer I was exposed to (someone along the lines of people like Harry Partch et al, who really made up a new system and had to make custom instruments to be able to make their compositions a reality), and even he seemed mostly obsessed with the concept of microtones. Great stuff, but I still listen to "unoriginal" rock and folk music a great deal more often. I'm really more concerned about sincerity and tasteful execution than anything. A nice amalgamation of disparate influences can be cool too, but not being "totally original" is a far cry from being blatantly and transparently derivative.
Hell, occasionally even derivative can hold my interest if it's pulled off with enough chutzpah. Case in point: The Brian Jonestown Massacre.
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