78 RPM: The Record That Revolutionized Music Before Vinyl Even Existed

Reading time: 8 minutes

Before 33s, before 45s, and long before Spotify playlists, music moved at a speed most people today have never experienced: 78 revolutions per minute. These shellac discs weren’t just early records — they were time machines, cultural capsules, and experiments in sound. Place a needle on one, and you’re instantly connected to a world over a century old: jazz spilling out of a New Orleans club, blues echoing from a Mississippi porch, classical orchestras captured in studios that smelled of wood, varnish, and ambition. 

Most music listeners today assume vinyl starts at 33 or 45 RPM. Few realize that for decades, 78s were the format that defined recorded music, shaping how songs were written, performed, and even how we perceive rhythm and melody. Though they were eventually replaced by longer-playing, more convenient formats, 78s left a legacy that still pulses in collectors’ crates, DJs’ loops, and archival vaults. 

The Speed That Defined an Era 

The story of 78 RPM begins with engineering necessity. In the early 20th century, phonographs were mechanical marvels, and shellac discs became their natural companion. Heavier and more brittle than modern vinyl, these discs required a rotational speed that balanced mechanical stability with audio fidelity. 78 revolutions per minute emerged as the practical standard. 

In truth, “78” wasn’t always precise. Early records spun anywhere between 70 and 90 RPM depending on the manufacturer or motor. It took time, industrial consensus, and international standardization to settle on 78 as the global norm. 

The speed shaped more than just playback — it influenced composition. With only three to five minutes per side, musicians had to convey emotion, narrative, and musical complexity within tight temporal confines. Jazz improvisations were sharpened, blues storytelling distilled, and early pop songs meticulously structured. In a sense, the 78 RPM record didn’t merely capture music — it taught music how to exist

Shellac, Sound, and the Magic of Imperfection 

Vinyl enthusiasts often speak of warmth, but 78s possess a different kind of sonic magic. Shellac, the brittle resin used in these discs, produces a crisp, raw sound rich with harmonic textures and subtle distortions. Every pop, click, and crackle is more than noise — it is character, history, and memory embedded in grooves

Under a microscope, a 78’s groove twists like a miniature landscape, encoding vibrations that a needle transforms into audible emotion. Unlike modern vinyl, which strives for uniformity, shellac records bear the fingerprint of the craftsman, the whims of the pressing plant, and even minor environmental changes like temperature and humidity. Playing a 78 is hearing music through the lens of its creation

Digital reproductions often flatten this experience. Even high-quality vinyl reissues cannot replicate the unpredictable textures, the tiny inconsistencies, and the tactile intimacy of a shellac pressing. A 78 is more than a recording — it is a mechanical performance frozen in time, waiting for a needle to breathe it back to life. 

Cultural Pulse: 78s Around the World 

78 RPM records were not only technological achievements — they were vehicles of cultural exchange. Jazz leaped from New Orleans to Paris. Blues traveled from the Mississippi Delta to London parlors. Folk songs crossed oceans and continents. 

The format’s limitations — brevity, fragility, and speed — shaped the music itself. Artists learned to tell stories quickly, to craft hooks that lingered after mere minutes. Many songs we consider timeless were written to fit the mechanical boundaries of a machine. Without 78s, the architecture of modern pop, jazz, and blues might be fundamentally different. 

Collectors and DJs today prize these discs for rarity and texture. Test pressings and private editions, often never reissued, offer glimpses of performances long forgotten. Modern musicians and experimental sound artists sample 78s for loops, textures, and crackles that are impossible to generate digitally. In these grooves, the past meets the present in ways that are both sonically rich and culturally profound

Revival and Preservation 

Despite their decline after the mid-20th century, 78s have experienced a quiet renaissance. Archivists, collectors, and experimental musicians recognize them not as obsolete relics, but as living artifacts

Audiophiles chase the shellac’s signature sound. DJs and sound designers exploit the harmonic richness and crackle for texture. Archivists study stylus sizes, playback speeds, and groove geometries to digitize recordings with scientific precision, preserving sonic history with astonishing accuracy

Playing a 78 today is almost ritualistic. Each disc demands careful handling, meticulous cleaning, and precise playback speed. Minor deviations in pressure or RPM can alter pitch, tone, and timbre. In a digital age of effortless streaming, the 78 reminds us that presence, patience, and touch are part of the musical experience. 

Hidden Stories in Dead Wax 

Beyond the music, 78s carry secrets in the dead wax — the area near the label. Engineers and pressing plants etched matrix numbers, signatures, or cryptic messages, often unnoticed by casual listeners. These micro-details transform each disc into a narrative object, a conversation across decades

Listening to a 78 becomes a multi-layered experience: the music itself, the physical artifact, the hidden inscriptions, and the echo of human hands that shaped it all. It is auditory archaeology, where every crackle and pop carries historical context. 

Why 78s Still Matter 

78 RPM records are more than nostalgia — they are lessons in creativity under constraint, artifacts of global culture, and experiments in the interplay of technology and artistry. They challenge modern musicians and listeners to remember that limitations can foster genius, that fragility can convey intimacy, and that the tactile, mechanical world still has a place in the age of digital perfection. 

Holding a 78 is an encounter with history, science, and art all at once. The grooves spin stories of a world that is gone but echoes in every note. In that fragile, spinning disc, music is alive in a way that no stream, download, or even modern vinyl pressing can replicate

Conclusion: Spinning Time 

So, the next time you see a 78, slow down. Place the needle carefully. Listen not just to the notes, but to the echoes of time: the hum of early engineering, the resonance of human hands, the fleeting perfection of a performance captured in a fragile shellac disc. 78 RPM may have been replaced by more convenient formats, but its spirit endures — crackling, raw, and utterly alive

To play a 78 is not just to hear music. It is to spin history, touch culture, and feel the heartbeat of an era that still pulses beneath the grooves. 

Sources: This article was written based on the author’s personal knowledge and passion for vinyl records, drawing from years of independent learning and experience, rather than specific external sources.

Teresa Catita

Editor and Writer

Are Industry Plants that bad? 

The term Industry Plant is not new, and more and more artists are getting accused of being one, examples include Jack Harlow, Adele, Ice-Spice, Lorde, Lil Nas X, Cardi B, Bobbi Althoff from the overly awkward interviews with various celebrities, Chance the Rapper, and even Billie Eilish. However, what is this concept? In this article, I will delve into the ambiguous definition of Industry Plants, analyze some questions that arise when we try to define this notion, and briefly explore the dynamics of the music industry and why these phenomena appear. 

Is it a definable concept? 

The sources for the definition are far from scientific or academically reviewed, however since it is a term not commonly used by sociologists or scholars of the matter, I’ll have to rely on these ‘underground’ sources. According to Urban Dictionary, an Industry Plant is ‘an artist who has major/indie label backing their movement but presents themselves as a “home-grown start-up” label to create a pseudo-organic following. They act as if things miraculously happened for them based on their talent. The reality is a low-risk/high-reward situation for labels looking to build the next “new star”’. We need to break this definition down into two parts: Why does the consumer feel so strongly that they have been deceived? And how is this strategy beneficial for big labels? 

Firstly, why do consumers immediately categorize some artists as industry plants when they, the artists, gain overnight success? Is virality not a thing anymore? In show business, especially in music, we gravitate to personalities that feel authentic, and we want to support them due to factual situations that they have been through. We feel some type of comfort when we see that an artist’s setback or struggle has, however small it may be, a connection with yourself, if you think about it, most likely, this relationship is present in your favorite artists. Since this connection with an artist takes time when people cannot pinpoint the moment when they saw the artist finally getting some recognition from other people or the industry, the notion of an Industry Plant appears. 

By following this logic, an artist that has gone viral overnight is not credible and not even worth consuming? Noah Callahan-Bever, founder of Idea Generation, and a music industry icon, states that ‘Before you had the internet, it almost felt like artists came out of nowhere (…) All of a sudden they’re in The Source every month for three months in a row (…) unless you were super plugged into the industry, it was always like, “Who is this new person?”’.  

The concept of virality is much more difficult to achieve nowadays, in part because of the high exposure to content we have through various platforms but also due to the high amounts of content being created and uploaded daily to those platforms. Therefore, it seems fair for suspicion to be raised when out of a sudden Bobbi Althoff, the previously mentioned podcaster, has Drake on her fourth episode. People believe this only happens with backing from large corporations, these being management agencies or music labels. A clear example of this is Coi Leray, who was featured on big playlists, which always brings a lot of exposure, performed at big, televised award shows but only managed to sell 10k copies of her sophomore album in the first week.  

A very recent example of an artist being accused of an Industry Plant is R&B singer 4Batz. With only 3 released songs, the 22-year-old artist from Dallas, Texas, has quickly amassed a considerable amount of streams on DSPs (Digital Streaming Platforms) and a remix with Toronto’s very own, Drake. Its rough public image deceives consumers into thinking the sound of the artist will resemble something like a NLE Choppa, who raps about violence and firearms, however, the presence of a high-pitched voice creates a certain “wow” factor and seems to attract people, at least for now. What seems to be bothering some music fans is the fact that affiliations with big labels are present, with its manager being the lead creative director of RCA Records (owned by Sony Music), Amber Baker. Although all of its music is independently distributed, 4Batz’s affiliation with Amber supports the argument that there is an involvement of big labels in this, allegedly, fully independent artist.  

Coming back to the idea of authenticity, modern audiences are captivated, more than ever, by personalities who present to them an idea of a spectacular journey that started from an ordinary beginning, in Hip-Hop especially. However, what big music labels seem to fail to understand is a fundamental aspect of Hip-Hop as a cultural movement, the artist’s growth not only in their art but as an individual and the duality of their past and present living conditions is more important than rapping or singing about “cool stuff” in trendy instrumentals. When Notorious B.I.G, Future, Kanye, Drake, and others, ‘flex’ on their, sometimes considered, shallow lifestyle is not to show that they have all these possessions per se but to demonstrate how they went from living in the Southside of Chicago to designing couture with head designers of famous French fashion houses, in the case of Kanye West. More specifically, it’s the journey of flipping the odds and overcoming the hardships of life that attracts people, and when commercial interests, generally of big labels overpower the need for authenticity, a discontentment among Hip-Hop fans arises.  

Is the development of Industry Plants a good business opportunity for big labels? 

On superficial analysis, we quickly realize that it is much cheaper for labels to develop an artist from the ground up since signing them has less demand from competitors, and bidding wars between labels are less likely to happen. Not to mention, the investment that happens when labels sign an already established artist. During the Soundcloud era, labels would say an artist gained a following on the platform, but they were signed to a label before that. In theory, this is a great way of labels making a buck, but in reality, it is not that simple. The public normally realizes when they are being ‘fed’ a manufactured act. According to an article by Billboard Pro, outside of Olivia Rodrigo and Ice Spice, there are no artists to break through the industry. However, this is not because they developed artists in the past, the causes are much more worrying, as previously explored. 

Conclusion 

From all the examples given and the nuances analyzed, I can conclude that, regarding the accusations of artists being Industry Plants, if the success of the artist is documented, people do not seem to care as much about authenticity, however, if it appears out of nowhere, the relevancy of the artist itself is put into question. That is one of the reasons why labels do not just manufacture artists to cater to the market needs, as we have seen in the case of Hip-Hop with its growth as a genre in the 2000s, but a recent decline, in part, because of a ‘dumping effect’ of music, but also a lack of authenticity in the artists being pushed and backed by labels.  

Francisco Agostinho

Music: An Unconventional Weapon of Social Transformation 

 

What do the songs “Imagine”, “Blowin’ In The Wind” and “We Shall Overcome” all have in common? Indeed, they gained significant popularity, topping music charts at the time, but more importantly, they all had a profound impact on society. With powerful messages of justice, equality, and peace, they have become, arguably, the strongest symbols of the causes they advocated, across continents and generations. 

Throughout history, music has consistently embodied the spirit of revolution, unity, and resilience. From the jazzy melodies of the Civil Rights Movement in the United States to the rhythmic rap of the 2021 Senegalese Protests, artists and musicians have often transformed their creations into anthems of discontent and hope. On behalf of wounded societies and particularly their youth, the lyrics call for justice and challenge the status quo

In this article, several historical examples are explored to better understand the role music has played in societies in bridging the gaps opened by social unrest and in fostering empathy on a broader scale. 

A universal language of harmonies 

Historical evidence has confirmed the role of music in conveying messages and preserving narratives due to its unique ability of transcending barriers of time and geography. Characterized by melodic and repetitive patterns, songs are easily understood and memorized, disseminating in informal contexts and creating cycles of transmission. Furthermore, music surpasses barriers of language and culture. When displaying simple harmonies and a catchy chorus, they manage to captivate even those who are unfamiliar with their lyrics, fostering unity among diverse audiences. 

It is often the simplest compositions that become the best sources of conflict transformation. In fact, “Bella Ciao” a well-known Italian song, with a refrain that is nowadays almost universally recognized, despite having its roots in the late 19th century, is a prime example of this. The song’s first adaptation to the context of social unrest was conducted by Italian partisans, who used it as an anti-fascist opposition anthem during the Italian civil war. It has since become a hymn of freedom and resistance, translated into many different languages and adapted to fit different contexts, always reflecting social discontent. As Money Heist’s creator, Alex Pina, puts it simply, “a song of struggle, which evokes a dream of freedom”. 

The power of lyrics 

Emotive lyrics and melodies allow individuals to passionately express their convictions with others. It is because of the sense of social well-being that one gets from sharing emotional states that music so frequently accompanies movements that build, and depend upon, solidarity. 

“No music alone can organize one’s ability to invest affectively in the world, [but] one can note powerful contributions of music to temporary emotional states” (Rhythm and Resistance, 1990). 

One example would be the best-selling single “Imagine”, a joint composition by John Lennon and Yoko Ono, written during the tumultuous period of the Vietnam War. Despite not containing an overt political message, as Lennon described it, “an ad campaign for peace”, it embodies the vision of those who long for global harmony. Decades after its original release, this popular masterpiece, continues to inspire people and has since become a permanent peace protest song and a lasting emblem of hope

A powerful tool for social justice and freedom 

Although social justice is typically thought of as a political agenda, many movements have used music as a way of inviting and maintaining broad-based participation in their initiatives. The paradigm of musical expression’s commitment to social justice was the political protest culture in the 60s of the Civil Rights Movement in the United States. “We Shall Overcome” by Pete Seeger is the classical example. It started as an old hymn sung by striking members of a union, when folk singer Pete Seeger learned the song and changed the “will” to “shall”. It became the unofficial anthem of the Civil Rights movement, becoming one of the most striking examples of music transcending mere entertainment and becoming the voice of the oppressed and the catalyst for societal transformation. The song has since appeared in diverse protests around the world. 

In the context of Portuguese history, the song “Grândola, Vila Morena”, performed by Zeca Afonso, represents yet another proof of the power music holds to inspire societal and political transformation. The song became an iconic anthem of the Portuguese democratic establishment. It held a crucial role in the events that unfolded on April 25, 1974, a peaceful military coup that overthrew Portugal’s authoritarian regime. The song was broadcasted on a radio station that day, setting the official start of the nonviolent uprising. The choice of this song was symbolic, as it conveys a message of hope, unity, and freedom. 

Throughout history, music has often also replaced speeches of hate, efficiently breaking cycles of indifference and oppression brought about by lack of social change. As an example, comes the song “Same Love” by Macklemore & Ryan Lewis, promoting marriage equality, which became the first Top 40 song in the United States to explicitly support same-sex marriage. 

The impact nowadays 

Music has been a peaceful vehicle for voicing public opinion and each era has had its unique features, players, and tools. We can observe a new era of protest music emerging, where rappers serve as not just artists but also as political voices. On March 6th, 2021, rapper Dip Doundou Guiss, a Senegalese hip-hop musician, posted a music video entitled #FreeSenegal, the slogan of a wave of demonstrations that had shaken the country during previous days. Explicitly supporting the protests and revolt, the video clip was played one million times just in the first day after being released. 

Artists are increasingly embracing their role as activists, using social media platforms to amplify their messages. This fusion of music and the internet has led to the development of a unique framework that transcends physical borders, enabling artists to inspire change and confront oppressive systems in a more lasting widespread way. 

In conclusion, as the world grapples with conflicts and social injustices, music stands tall as a universal language of resistance, resilience, and hope. Its melodies echo the cries for social change, reminding us of the power of the human connection. Through the harmonies of music, societies find the strength to resist, the courage to fight, and the inspiration to dream of a more just and equitable world. 

Sources 

  • History 
  • The Times of Israel 
  • IDEES 
  • Center for Strategic & International Studies (CSIS) 
  • Financial Times 
  • U Discover Music 

Catarina Ribeiro