A Conversation With Nolan Porterfield

By Clayton Miller

The creator and host of “Old Scratchy Records” (heard exclusively on Western's Public Radio and on the web Sundays, 6:00pm central/ 7:00 pm eastern time) Nolan Porterfield grew up in Texas on a farm and later worked for small daily newspapers in the Southwest.  After he was drafted and served in the army Nolan went back to college because somewhere along the line he discovered that college professors were paid to wear suits, read books, and talk about them.  He was also impressed that they enjoyed every holiday on the calendar, so he kept taking classes and eventually wound up with a Ph.D. and taught American Literature and creative writing.  Nolan now considers himself self-employed.  Of which he claims that, self doesn’t pay him much, but it’s better than “retirement.” 

What were the circumstances that led to the creation of  “Old Scratchy Records?”

“The program first ran on Western’s Public Radio for about three months in 1996.  Our friend Naomi Lewin was then an announcer/producer here—and when she learned that I had this substantial collection of old 78 r.p.m. records, she immediately decided that there ought to be airtime for them (and anyone who knows Naomi knows that she can be quite insistent).  Jane Moore was then manager of the WKYU stations, and she liked the idea.  So it ran for some 14 weeks in the summer of 1996.  Near the end, I had a book coming out, a book tour to do, and various other commitments, so by mutual agreement, we ended the show.  When my schedule settled down a bit, I mentioned “Old Scratchy Records” to Peter Bryant, who had become station manager.  We talked about it over lunch, and when a spot opened, he was generous enough to fill it with what we referred to then as THE NEW “Old Scratchy Records.”

Were there any concerns by you about the “staying power” that the program might have?

“I’m not sure it really has “staying power,” but this series of shows has been on the air since July 2000.  I think that’s largely because of Peter Bryant’s support, but we do get mail from time to time and other indications that the show has a loyal following.  I don’t think I gave much thought to “staying power” in the beginning--- one of the great things about Public Radio is that its stations are willing, even eager, to try different things and keep them on the air indefinitely if there is any interest at all.”

What is it about “Old Scratchy Records” that appeals to listeners?

“Well, of course that assumes that it HAS appeal.  I guess it has some.  From feedback I’ve gotten, I’d guess that my listeners range in age from their thirties into their eighties, with the preponderance at the upper end of the age range.  They enjoy hearing music they heard long ago, and I suspect that younger listeners are drawn by the novelty and the variety of stuff they never knew existed.  And like the older listeners, they may also  catch something now and then that they heard long ago and had forgotten.”

What music appeals to you?

“It’s probably easier to say what I don’t like – rap, most of rock-and-roll, and what passes for “country” music on the radio these days.  I have a modest reputation as a country music scholar – I’ve written quite a bit on the subject, including two books – and while I do have plenty of  “classic country” in my collection, I’ve discovered that what I probably like most is jazz and hot dance bands from the 1920’s and early 1930’s (played and recorded before my time, I hasten to add).  But I have a little of everything in my collection, from an 1896 recording of “In the Baggage Coach Ahead” to the end of the 78 r.p.m. era, which was about 1960.  I like classical music, but didn’t learn much about it growing up, which is why my radio is always set to Western’s Public Radio.”

What is your most memorable “Old Scratchy Records” program?

“I’m never satisfied with any of them, and I’m constantly fretting about coming up with “themes” and categories that will hold the show together.  I doubt if my listeners think much about that – at least, assuming that they don’t is my only consolation.  Sometimes I just give up and play records that I REALLY like, and it’s always a weird conglomeration.  Of course, I like everything in my collection, otherwise I wouldn’t collect it, but naturally I have my favorites.”

Are there any listener comments that come to mind regarding “Old Scratchy Records?”

“Looking through my files, I discovered a lot more mail than I remembered.  All the letters were, of course, flattering – I suppose people who don’t like the show just turn off and don’t bother to write.  One of my faithful listeners – and correspondents – was the late W. A. Masden, up in Lebanon Junction, who had interesting experiences of his own in radio and country music back in the 1950’s.  In telling me all about himself Mr. Masden said, “Forgive me for such a long letter, but I wanted to let you know how your program ties right in to life.”  I treasure that.  Another listener, whose name I’ve forgotten, heard the early version of  “Old Scratchy Records” when he was visiting here from Georgia in 1996.  He wrote to me when he got home and asked if I would make him taped copies of all the shows if he would supply tapes and postage, and of course I did.  By the time the new show went on the air, he had moved back to the Owensboro area and called to tell me how tickled he was now, to be able to hear the program regularly on the air.”

Where do you find all the old recordings and how many do you have?

“I have about 3,500 to 4,000 78s, another thousand or so LP’s and a smattering of 45’s.  The numbers are always changing, as I add some and dispose of others.  This is really a modest collection compared to some I know of.  The core of the collection was probably about 150 records which I bought new when I was just a kid.  The rest have filtered in over the years from junk stores, household auctions, Salvation Army stores, flea markets, and the like.  Some came from record dealers, who run mail auctions.  Storing them IS a problem.  I have shelves built especially for the 78s – they’re stored upright, in acid-free jackets, and each is given a shelf number as it’s added to the collection, so that I can more or less keep up with them.  But of course there are always dozens laying around that haven’t been catalogued.  When I began the show, there was very little old stuff on CD, but more and more is being reissued now, so if I have both the original and copy on CD, I play the CD version to avoid wear and tear on the originals.”

What is the rarest old scratchy record you know of?

“Last January it was reliably reported that King Oliver’s “Zulu’s Ball”/”Working Man’s Blues” on the Gennett label (5275) sold for $32,000.  But that’s extremely unusual. 

It’s the only known copy, and Oliver is very “collectable.”  Obviously, I don’t have it, but I do have Oliver’s second rarest record, “Alligator Hop”/”Krooked Blues” (Gennett 5274).  It’s listed at about $500 in mint condition.  Mine is considerably less than mint.  A Vogue Picture record sold on eBay in 1999 for $11,154.54 – but that’s a fluke.  Two guys with more money than brains got into a bidding duel.  A reasonable price for the record would be in the neighborhood of $250 – but of course there’s the collector’s axiom:  “Any record is worth exactly what someone is willing to pay for it.”

Listeners know you as the voice of  “Old Scratchy Records.”  What other radio experience do you have? 

“Growing up in the 1950’s, I wanted more than anything to be a radio “DJ,” or “announcer.”  In high school, I fronted a string band, known as The Caprock Playboys, which had a 30-minute sustaining show over the local 250-watt station, KPET, Lamesa, Texas.  I was in hog-heaven – until I found out that DJ’s at that level earned about fifty dollars a week.  So after high school and a year of college, I moved laterally into the newspaper business.  At about fifty dollars a week.”

Have you had any mentors that influenced you?

“Like most of us, I was lucky enough to have three or four teachers, from grade school through graduate school, who inspired me, shored me up, and showed me the way.  But the one individual who probably did more for me than anyone else – and this has a direct connection to “Old Scratchy Records” – was a wonderful man named Al Lindbergh, now deceased.” 

“When I was still in high school, home tape recorders came on the market, and there were several  “tape-respondence” clubs, which were essentially pen pal operations conducted via tape.  I belonged to Tape Respondents International and through TRI I met Al.  I was then about fifteen, living with my grandparents on a lonely farm in West Texas.  Al was in his forties and was West Coast sales manager for a tobacco company.  He had grown up in the Midwest, went to Chicago in the 1920’s and worked in various show-biz-related jobs –musician, radio announcer, touring actor with tent repertory shows.  By the time I came in contact with him he knew many, many people in show business, had a large record collection and a vast knowledge of all sorts of music -- jazz, pop, country, and on and on.  We traded tapes on a pretty regular basis for some 35 years until his death in 1988.  Al really opened up the world for a fuzzy-headed Texas country boy.  We probably met fewer than ten times over the years but he became something of a surrogate father to me.  He was an immense influence and source of all sorts of knowledge.  I certainly wouldn’t be doing “Old Scratchy Records” had it not been for Al.”

In addition to rare records, you also are aware of other rare things such as Whirley Surkel, Kentucky.  Where is that? 

“Whurley Surkel, Kentucky is where the music goes ‘round and ‘round and is about six miles south of the Theater of the Mind where Riders in the Sky operate.  Its most distinguished citizen is The Puzzler from “Car Talk,” who often vacations there, unbeknownst to his employers, Click and Clack.” 

Thank you Nolan for sharing some of your time, humor, and insight with listeners.

Back To Top             Return To Program Schedule