Even though we had a partition behind us it was still odd. Eventually our attitude did get sour. Did any other labels express interest? The song had originally been written by Dick Holler as a straight historical ballad, like Johnny Horton’s “Sink the Bismark”, but about the Red Baron. We played with the Beach Boys in Seattle. I had fun with that thing! BILL: Get the album done! BARRY: I had a ball with the Christmas record. We had to chase the mic stands and one of them hit me right in the face! Their ticket to the big time appeared in the unconventional guise of a “funny looking dog with a big black nose”! Were you pushing for something else? CHRIS: We wanted to write serious music. ET: How did “I Needed You” end up on the B-side of “Snoopy vs. ET: That was at Fuller Studios in Tampa? They wanted to get something out there and keep it going. JOHN: That’s because they had just made us get it cut! ET: How close was that version to the one that ended up on Laurie Records? We had a keyboard player before Billy Taylor whose name was Larry Rich and he and I were in the same class together. BILLY: I think that’s what kept us going. Eventually our attitude did get sour. They wanted to get something out there and keep it going. A lot of people were introduced to this single at a young age and when they flipped the record over they were in for a very jarring surprise on the B side. BILL: After “Snoopy’s Christmas”, the follow up was “I Say Love” which was an original song. JOHN: That’s because they had just made us get it cut! ET: So Phil Gernhard shopped the demo around and the song ended up on Laurie. The voice then said “to you, yes, don’t touch the microphone”! A lot of people were introduced to this single at a young age and when they flipped the record over they were in for a very jarring surprise on the B side. I got to put in some instruments that they probably wouldn’t have used if I hadn’t mentioned I would like to do that. BILL: We weren’t too enthusiastic about it in the first place because all Gernhard had told us was to give it three or four chords and a military feel on the drums. It had “Baby Let’s Wait” on the A side and “Leaving Me” on the B side because those were the first two songs we recorded. The stage was backlit so you could barely see a row out, the rest was just noise! We were rehearsing the song and I was stomping my base drum foot even though I was not actually hitting the drum. They released that as a single and Billy and Barry wrote it. I think that’s what really kept us going after the Snoopy hit and the record company beating us with the gimmick stuff. JOHN: When “I Needed You” was recorded, Chris had all the lights turned down and he made us step off to the side so we weren’t in his vision. I think that’s what really kept us going after the Snoopy hit and the record company beating us with the gimmick stuff. We both went and got hair cuts but we saved our hair and stuffed it in the school’s mail box! I said “who is that, God”? Then Christmas of 1967 came around and they wanted us to do “Snoopy’s Christmas” which we weren’t too enthusiastic about but it turned out to be a good move. The place was packed and the stage started to jerk about every tenth round. We figured nobody was ever going to hear it any way! He put everything into it. The audience didn’t accept it though because it wasn’t what they thought of as The Royal Guardsmen. We had to chase the mic stands and one of them hit me right in the face! What was the reaction of the record company? Even though we had a partition behind us it was still odd. BILL: We played the Beatles, the Rolling Stones, the Animals, and the Zombies. Another friend of mine whose name was Jay Mayer was the guitar player and the three of us formed The Posmen. BILL: We had already put out “Baby Let’s Wait” on the label prior to that. It was used for talk shows and to record radio jingles. After a while, it got to where we would do the Snoopy songs first just to get them out of the way. BILLY: I think that’s what kept us going. BILL: We had already put out “Baby Let’s Wait” on the label prior to that. He told us that if we would go to Tampa and cut a demo he would shop it around to a few labels and see what happens. When we got the album done and they listed the songs, Charles Schulz asked us not to include that one. ET: “The Return of the Red Baron” is probably your most personal album but neither it nor the single did as well as the first ones. BARRY: I had a ball with the Christmas record. Billy Taylor (keys), Gernhard said we needed a professional photo done. We had a full orchestra. Even though we had a partition behind us it was still odd. Chris and Barry and I went to Lake Weir High School and played together in the marching band. That was our way of dealing with the whole situation. ET: How much input did you have into the tracks that went on the album? ET: Did you play different tracks live than what was on the albums? Barry was the big push behind that because we were just in to playing cover material and doing gigs. It was done after the record had already taken off. JOHN: Tom and I actually got thrown out of Ocala High School for having long hair. It held forty-five thousand people and the stage revolved. It wasn’t against each other it was just the whole business. JOHN: We did the Mike Douglas Show. Sie trennten sich 1969, nachdem die Erfolge nachgelassen hatten. CHRIS: We got a good response to the shows. How did that photo shoot come about? BARRY: I had a ball with the Christmas record. Then Christmas of 1967 came around and they wanted us to do “Snoopy’s Christmas” which we weren’t too enthusiastic about but it turned out to be a good move. BILLY: He had independently contracted with them to give them first refusal BARRY: Return was just one of those typical record company things. BARRY: It sounds just about like the demo did except it was embellished in the studio. If you listen closely, Chris does a great vocal on it. I said “who is that, God”? I was into the sound effects and finding things to hit that would make neat noises! We will now sing together the story of the beloved Red Baron and that pig-headed dog Snoopy! BILLY: Absolutely, we did “Sunshine of Your Love”, “Purple Haze” and lots of Procol Harum. He was just a wonderful guy, just warm and personal. The crowd loved it, they thought it was part of the show! My mother thought I was on drugs! The Red Baron”? It wasn’t against each other it was just the whole business. BILLY: Absolutely, we did “Sunshine of Your Love”, “Purple Haze” and lots of Procol Harum. BARRY: I had a ball with the Christmas record. ET: After the success of “Snoopy Vs. the Red Baron”, were you given any say in what was recorded next or was it just a given it would be another Snoopy song? I was only seventeen and I didn’t know what was going to happen if I told them I was the one making that noise! JOHN: Of all the songs we did I think that one had the nicest production. We were tired, our eyes were puffy and we were just worn out. That was our way of dealing with the whole situation. Were you pushing for something else? ET: After the success of “Snoopy Vs. the Red Baron”, were you given any say in what was recorded next or was it just a given it would be another Snoopy song? CHRIS: We got a good response to the shows. It was booming through the riser I was on. We had a keyboard player before Billy Taylor whose name was Larry Rich and he and I were in the same class together. I had fun with that thing! Eventually we told him to leave and finished up with the orchestra without him. We had record companies calling, Gernhard was all excited and of course, we were too. JOHN: Of all the songs we did I think that one had the nicest production. They test marketed that but it didn’t get a really big response. After a while, it got to where we would do the Snoopy songs first just to get them out of the way. He said hi, my name is Phil Gernhard and I’m a record producer. BILLY: We did do a four or five week tour right around Christmas time though but it was in between recording the album. He only released it regionally in Florida and it only sold like 2000 copies. We had record companies calling, Gernhard was all excited and of course, we were too. I got to put in some instruments that they probably wouldn’t have used if I hadn’t mentioned I would like to do that. BILL: After “Snoopy’s Christmas”, the follow up was “I Say Love” which was an original song. We were a cover band back in the days before the term caught on. JOHN: We did the Mike Douglas Show. Probably too much heart, you can hear him literally crying in that song! BARRY: It was within a month’s time frame, literally, from the time we recorded this thing to the time it started to kick. He was just a wonderful guy, just warm and personal. Schulz eventually gave his consent, they got a pretty healthy chunk of money, and we moved right on down the road. BARRY: I had a ball with the Christmas record. I played the timpani and a cymbal and put in a drum solo. We were tired, our eyes were puffy and we were just worn out. BILL: He was upset but he got over it quickly. The true image kept asserting itself. I think that’s what really kept us going after the Snoopy hit and the record company beating us with the gimmick stuff. The song had originally been written by Dick Holler as a straight historical ballad, like Johnny Horton’s “Sink the Bismark”, but about the Red Baron. He sang it with all of his heart. Gernhard said we needed a professional photo done. BILLY: We played a community center in Chicago during our 1968 tour for a bunch of hip kids. ET: Did Phil Gernhard have permission from Charles Schulz to use Snoopy? ET: So Phil Gernhard shopped the demo around and the song ended up on Laurie. We both went and got hair cuts but we saved our hair and stuffed it in the school’s mail box! The others, except for Barry, were all in college at that time. We used to practice at Tom Richards’ house and we put the Snoopy song together in the garage. Then Christmas of 1967 came around and they wanted us to do “Snoopy’s Christmas” which we weren’t too enthusiastic about but it turned out to be a good move. Were you pushing for something else? It was pure Dick Holler. BARRY: Phil sent a copy of the record and a letter to Charles Schulz. I suspect Charles Schulz didn’t want his Charlie Brown to be associated with that one. They test marketed that but it didn’t get a really big response. I remember them saying they were getting the sound of my flip flops in the recording as I ran down the bells but I didn’t think anyone would be able to hear it. We had a keyboard player before Billy Taylor whose name was Larry Rich and he and I were in the same class together. Barry Winslow: I auditioned for Bill and John when they were still The Posmen and I thought I was going to like these guys right off the bat because they spell like I do! We figured nobody was ever going to hear it any way! ET: Well at least that one didn’t have the word Snoopy in it! He only released it regionally in Florida and it only sold like 2000 copies. Barry Winslow (vocals/guitar), We were tired, our eyes were puffy and we were just worn out. Even though we had a partition behind us it was still odd. The A and B sides of that single were clearly intended for two different audiences. We played Washington State, Oregon, LA, and San Francisco. That was our demo record. JOHN: When we did the Joey Bishop Show I went to move the boom mic because I didn’t sing at that time and I heard a huge voice come out of the sky and say “don’t touch that”! We were a cover band back in the days before the term caught on. We had already released “Baby Let’s Wait” and “Leaving Me” so the only thing we had left that we recorded was that. It was booming through the riser I was on. He was just a wonderful guy, just warm and personal. We were rehearsing the song and I was stomping my base drum foot even though I was not actually hitting the drum. We both went and got hair cuts but we saved our hair and stuffed it in the school’s mail box! I also played this big line of tubular bells with flip flops on! He sang it with all of his heart. Tom was the only one in the whole school who had red hair so eventually they figured it was him. I was told that I got the gig but I had to have a Vox Continental organ. BARRY: I had a ball with the Christmas record. ET: How did “I Needed You” end up on the B-side of “Snoopy vs. From what I understand, they stamped up a new title of “Squeaky vs. the Black Knight” in Canada. We played with the Beach Boys in Seattle. That came from Gernhard and his buddy, Johnny McCullough. Ricardo Montalban was the co-host. They just made another label and stuck it on there but it kept alive the momentum while they were sorting things out. He put everything into it. BILLY: That was done at Six Gun Territory. The true image kept asserting itself. He was in Ocala checking out the local talent to bring to Tampa and Jay told him about us. BARRY: Phil sent a copy of the record and a letter to Charles Schulz. The song had originally been written by Dick Holler as a straight historical ballad, like Johnny Horton’s “Sink the Bismark”, but about the Red Baron. ET: That’s funny because on the cover of “The Return of the Red Baron” album, you and Tom have the shortest hair in the group. 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