There is a good chance that I am a music elitist. I think music sounds better on vinyl. I actively seek out foreign music and rare albums, and I may secretly judge you if you tell me your favorite artist is Nickelback. However, I can unironically appreciate a great pop song when I hear one. There are certain songs, whether it be “I Want You Back” by the Jackson Five or “Ignition (Remix)” by R. Kelly, that are so infectious that they are impossible not to love. In recent years, it has become increasingly hard to appreciate potentially great pop songs, and I largely attribute this to the rise of auto-tuned vocals. This trend is symptomatic of what has been called the “American Idol-ization” of pop music.
Next time you are listening to the radio and T-Pain or Maroon 5 comes on, pay attention to the vocals (hint: they do not sound natural). When a normal person sings, you can hear them transition from one note to another. On the other hand, in the songs with auto-tuned vocals, the changing of notes sounds artificial, like how a keyboard sounds when two different notes are played consecutively. The keyboard is capable of playing two notes at once; it does not have the same transitioning process a human has to the next note.
Artists have always played around with vocals: they have added reverb, double-tracked, put through filters, equalized, etc. However, the current abuse of auto-tuning has destroyed the soulful human quality that has forever made vocals great. The most recent offense that comes to mind is Kanye West’s new single “Love Lockdown.” Kanye should probably stick to rapping rather than foray into R&B, but that is besides the point. “Love Lockdown” is a catchy track, but that is about it. It is devoid of the soul that once characterized R&B. Nothing pulls me back to listen to it. It sounds like a man singing through a computer.
This is not to say that auto-tuning should never be used. There are some cases where auto-tuned vocals can improve a song. However, the ubiquity of auto-tuned vocals and their overuse and abuse have stripped them of value. They are not being used in an experimental way or as an artistic metaphor for the superficial times we live in. They have led to dull songs that sound plastic and manufactured, like a feigned smile from that person who seems too perfect.
Songs can have blemishes. Songs should have blemishes. Blemishes give songs character and originality. Blemishes give songs soul and energy. Perhaps the singer does not exactly hit the note or struggles to get there, or maybe the production sounds a little dirty.
Some of the recent pop singles are very catchy, but most of them have no long-term repeat value. If I had to make a wager, I would say very few people are going to be listening to these songs five or 10 years from now. Please end this annoying digitize-auto-tune-pitch-correct-everything-to-death trend in music production as soon as possible.