Gaylord Carter, un-credited scores

[luciano]

I've been watching these versions for a while, and had always assumed it was Gaylord Carter until now. It's certainly his style but I'd ike to know for sure. Take a listen and tell me what you think.

(I'm asking since he's not credited on the DVD.)

[Scoundrel]

The BIG BUSINESS score sounds like Carter to me.

[DShepFilm]

I agree that BIG BUSINESS is Gaylord. It sounds to have been recorded at the former Simonton Wurlitzer, which was originally the Paramount Studios screening room 4/21.

There is another uncredited Gaylord Carter score on the DVD of THE WINNING OF BARBARA WORTH.

David Shepard

[Gloria Rampage]

Did Gaylord Carter perform the organ score on Blackhawk Films sound versions for the Larry Semon shorts THE BELL HOP and THE SHOW?

[DShepFilm]

Gaylord recorded many scores for Blackhawk, but not those.

DS

[silentfilm]

Gaylord's score for One Week is the best -- I can't really watch it without his score, since I've heard it so many times.

I know that he also did the scores for the Blackhawk versions of The Mark of Zorro (1920), Cops (1922) and His Royal Slyness (1920). I'm sure that there are others.

[telical]

[DShepFilm]

Gee I miss Gaylord; a wonderful man, and of course a great theatre organist who retained his chops into his mid 80s.

Most of the scores he did for Blackhawk are now o.o.p., but he can be heard (in stereo) on the Blu-Ray of PHANTOM OF THE OPERA, on the old Image DVD of THE MARK OF ZORRO, and especially on the Image DVD of THE THIEF OF BAGDAD, that I dedicated to him and which I think represents a high water mark of theatre organ performance. He's also on the Image DVD of INTOLERANCE although it was recorded when he was past his prime.

I think some of Gaylord's recordings are also on some Pickford and Lloyd DVDs.

Gaylord had one disciple who is as skilled (and as nice) as he was, and that is Christian Elliott. Chris recorded one score for us, JOAN THE WOMAN, he has made some CDs, and he occasionally plays live shows, although his professional life is no longer primarily in music. I'd love to work with him again.

David Shepard

[Gagman 66]

Wow, what a spectacular video piece! Where did this originate from? I never saw if before. Quite a find.

[telical]

Using Chrome, which searches google instantly when you highlight terms and select that from
the menu that comes up when you right click, I searched YouTube after the google page
came up. There was at least one other video with him:

[telical]

There are many there if you search on his name. I even found this much younger
clip of him:

[Gagman 66]

Everyone,

I have a record album that has him playing that same theme for SON OF THE SHEIK and I loved it. Also a couple of other themes that are even better. But I have never seen the film with that score anyplace. Also have another record that has "The Race Back" that Chase theme he was playing. Part of the score to Harold Lloyd's FOR HEAVENS SAKE. The lovely lady melody seems to be Clara Bow's theme to Gaylord's score for WINGS. Always loved that tune too. Does anyone know the name of the piece so I can look for vintage recordings? Also where can I find that still shown from LILAC TIME? I love that image, and had never seen it anyplace before. Thanks.

[Little Caesar]

I recently came across this 1980s theatre organ retrospective/documentary that was hosted by Gaylord Carter. For those specifically interested in Mr. Carter, watch the first few and the last few minutes of the video.

[Donald Binks]

I had the pleasure of seeing Gaylord Carter when he was in Melbourne (Oz) back in the 1970's. He played to "The Mask of Zorro" with Douglas Fairbanks and whenever I now hear Albaniz "Tango in D" I think of him - (he used this as a main theme in the picture.) I also saw him in a late night concert at the Dendy, Brighton 3/15 Wurlitzer where he showed the finesse of his playing, conjuring up the many moods available on these wonderful instruments. He was an affable man always willing to lend an ear to a young, budding musician also interested in old pictures.

To sum up, he was a true accompaniment to pictures as one never knew that he was playing - he managed to blend the music to the picture so well.