A while ago Timothy Taylor re-opened the old issue of reification. In an attempt to avoid the "polemical" tendencies of e.g. Theodor Adorno in favor of "theoretical exploration", Taylor focuses on how the player piano was marketed in the USA in the early decades of the 20th century. Taylor's sources are drawn mainly from advertising discourse and his analysis shows how music is commodified together with the material product of the player piano. While highly interesting, Taylor's study invites further questions, especially when regarded from a European perspective (in general) and a Swedish perspective (in particular). Thus, the present paper deals with how and to what extent the gramophone and its records were involved in a process of reification in Sweden during the interwar years (1919–1939). Source material is expanded from advertising discourse to include 1) copyright discourse (especially the attempts of both the musicians' union's and the record industry's attempts to acquire an "author's" right), and 2) discourse directed to an increasingly individualized listener through the new genre of the record review. The findings are set in relation to the recent theoretical discussion by Axel Honneth on the issue of reification as "forgetfulness of recognition". Although Honneth's issue is not music, it facilitates a more substantial answer than Taylor's to the question of if, and if so, how and to what extent reification is a problem of music today.