BILL: We played the Beatles, the Rolling Stones, the Animals, and the Zombies. Chris Nunley (vocals), There was a different sound and different tracks you wanted to play. Were you pushing for something else? CHRIS: As soon as the guys who were still in school got out for Christmas break we did a West Coast tour. My mother thought I was on drugs! He sang it with all of his heart. I also played this big line of tubular bells with flip flops on! 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. We did the “Summer Shower of Stars” tour following that in the summer of 1967 with Sam the Sham and the Pharaohs and Tommy James and the Shondells. After a while, it got to where we would do the Snoopy songs first just to get them out of the way. I was told that I got the gig but I had to have a Vox Continental organ. BILLY: That was done at Six Gun Territory. That came from Gernhard and his buddy, Johnny McCullough. BILLY: That was done at Six Gun Territory. The Red Baron” or was the idea to get into the studio and record an album as quickly as possible? 3 Times Royal Guards Broke Their Character! CHRIS: We wanted to write serious music. Were you pushing for something else? CHRIS: It was pretty close but it was just the lyrics. I wasn’t about to just let them throw me on the ground so I went to enlist and I cut all my hair off, I wasn’t going to let them do that either. Even though we had a partition behind us it was still odd. 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? We didn’t mind doing whatever they came up with from their writers as long as it was more along the lines of what we wanted to do but they pushed “Return of the Red Baron” on us. We had people come up to us afterwards and say we came to laugh at the Snoopy boys but you guys can play! We played Washington State, Oregon, LA, and San Francisco. BILLY: We did a version of “Charlie Brown” for that album which was my only chance to be a star vocally. He was just a wonderful guy, just warm and personal. They released that as a single and Billy and Barry wrote it. Schulz eventually gave his consent, they got a pretty healthy chunk of money, and we moved right on down the road. BILLY: Absolutely, we did “Sunshine of Your Love”, “Purple Haze” and lots of Procol Harum. BARRY: Return was just one of those typical record company things. Ironically, after I had quit the band in 1969, by 1970 I was playing piano in the honky tonk saloon at Six Gun Territory for two and a half years while I finished up college. I don’t remember if the German intro was Gernhard’s idea or mine but I remember walking around the studio writing it. We both went and got hair cuts but we saved our hair and stuffed it in the school’s mail box! We got together to rehearse on a Thursday or Friday and realized Gernhard is going to be here Saturday, we better do something with this song! John Burdett (drums) It wasn’t that long. BILL: After “Snoopy’s Christmas”, the follow up was “I Say Love” which was an original song. BARRY: We did one show in Seattle at a huge coliseum called The Round. I played the timpani and a cymbal and put in a drum solo. ET: Did you play different tracks live than what was on the albums? How did that photo shoot come about? My mother thought I was on drugs! BILLY: Absolutely, we did “Sunshine of Your Love”, “Purple Haze” and lots of Procol Harum. Gernhard said we needed a professional photo done. I was into the sound effects and finding things to hit that would make neat noises! That was our way of dealing with the whole situation. They were that blown away. BARRY: We did one show in Seattle at a huge coliseum called The Round. 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. We had to chase the mic stands and one of them hit me right in the face! BARRY: Return was just one of those typical record company things. That’s how it started for me! 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. The true image kept asserting itself. I said how about the Royal Guardsmen that sounds like a good name. They wanted to get something out there and keep it going. Gernhard came out to hear it and we figured he won’t like it, he’ll leave us alone! ET: How did “I Needed You” end up on the B-side of “Snoopy vs. It was pure Dick Holler. BARRY: It sounds just about like the demo did except it was embellished in the studio. We played with the Beach Boys in Seattle. ET: So as the hierarchy of local groups went at that time, The Royal Guardsmen were at the top of the list? BILL: There was only one group at that time that was better than us and drew better than us called The Incidentals. You had a choice between French, Latin, or German, ironically no Spanish then, and I chose German. I had fun with that thing! I was into the sound effects and finding things to hit that would make neat noises! ET: Did you do any touring in support of “Snoopy Vs. I think that’s what really kept us going after the Snoopy hit and the record company beating us with the gimmick stuff. I wasn’t about to just let them throw me on the ground so I went to enlist and I cut all my hair off, I wasn’t going to let them do that either. BILLY: Absolutely, we did “Sunshine of Your Love”, “Purple Haze” and lots of Procol Harum. It wasn’t against each other it was just the whole business. BILLY: I think that’s what kept us going. It was done after the record had already taken off. BARRY: It sounds just about like the demo did except it was embellished in the studio. BILL: Yes, they followed up Return with “Airplane Song” which was another novelty! I played the timpani and a cymbal and put in a drum solo. It would turn so far one way and then stop and turn the other way. I was into the sound effects and finding things to hit that would make neat noises! 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. We played it for him and he said play it again, I kind of like that. It was pure Dick Holler. ET: Pardon my lack of fluency in German, but what exactly does the intro translate to? The crowd loved it, they thought it was part of the show! They were that blown away. They didn’t take me because I had a bad elbow and back at the time so I had to wear a wig! ET: How close was this to the final version? He sang it with all of his heart. Were you pushing for something else? BILLY: He had independently contracted with them to give them first refusal We were tired, our eyes were puffy and we were just worn out. It was done after the record had already taken off. They were that blown away. Charles looked at it but never sent a response on whether we could do this or not. I said “who is that, God”? BILL: After “Snoopy’s Christmas”, the follow up was “I Say Love” which was an original song. The A and B sides of that single were clearly intended for two different audiences. ET: Did Phil Gernhard have permission from Charles Schulz to use Snoopy? I also played this big line of tubular bells with flip flops on! ET: Well at least that one didn’t have the word Snoopy in it! We were tired, our eyes were puffy and we were just worn out. Schulz eventually gave his consent, they got a pretty healthy chunk of money, and we moved right on down the road. BARRY: Return was just one of those typical record company things. 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? We had a full orchestra. Eventually we told him to leave and finished up with the orchestra without him. BILL: For our first session, we did “Baby Let’s Wait”, we did the blues song “I Needed You”, a song Tom wrote called “He Isn’t Here”, and “Leaving Me”. Did any other labels express interest? The audience didn’t accept it though because it wasn’t what they thought of as The Royal Guardsmen. What was the reaction of the record company? There was a different sound and different tracks you wanted to play. BARRY: Phil sent a copy of the record and a letter to Charles Schulz. When Charles Schulz started drawing Snoopy on his doghouse yelling “Curse you, Red Baron”, Phil went to Dick and said why don’t you put that in the song you wrote about the Red Baron and make it a novelty thing? ET: There could not have been much time between when you recorded the song and when they released it because it was on top of the charts already in November of 1966. Here’s a bunch of garage band kids with an amazing record on their hands and thrust into the world of big rock and roll! We were doing the English stuff and hoping to write songs in that genre, then here comes Snoopy! BILL: We played the Beatles, the Rolling Stones, the Animals, and the Zombies. Gernhard said we needed a professional photo done. The Red Baron” on it. ET: Did Phil Gernhard have permission from Charles Schulz to use Snoopy? We had a full orchestra. JOHN: Of all the songs we did I think that one had the nicest production. It was booming through the riser I was on. Bill Balogh (bass), and a ET: Well at least that one didn’t have the word Snoopy in it! Chris Nunley, Barry Winslow, Bill Balogh, Billy Taylor, John Burdett, the late Tom Richards. They released that as a single and Billy and Barry wrote it. They list a few songs on the front but it’s basically a big drawing of the Red baron on the cover and a tiny picture of The Royal Guardsmen on the back. The guys in the booth kept going “what’s that noise”? Ironically, after I had quit the band in 1969, by 1970 I was playing piano in the honky tonk saloon at Six Gun Territory for two and a half years while I finished up college. He ratted me out and we got suspended. There was a different sound and different tracks you wanted to play. Scenes from the "Snoopy vs The Red Baron" video filmed at the St. Petersburg Executive Airport and included in the 1968 television special, "The Fabulous Funnies". We had record companies calling, Gernhard was all excited and of course, we were too. We did the “Summer Shower of Stars” tour following that in the summer of 1967 with Sam the Sham and the Pharaohs and Tommy James and the Shondells. The voice then said “to you, yes, don’t touch the microphone”! CHRIS: We came up with a list of tracks we wanted to do that had a cartoon theme to them. When Charles Schulz started drawing Snoopy on his doghouse yelling “Curse you, Red Baron”, Phil went to Dick and said why don’t you put that in the song you wrote about the Red Baron and make it a novelty thing? It would turn so far one way and then stop and turn the other way. BILLY: We had started to get some royalty checks by this point and we knew they were going to want a single so we went along with it. I knew what it was but I was afraid to tell them! We came on stage and started doing all this Procol Harum stuff and they just sat down and didn’t move for two hours! It was pure Dick Holler. 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 also played this big line of tubular bells with flip flops on! We played Washington State, Oregon, LA, and San Francisco. ET: Prior to the first album being released, what types of songs did you play in your live shows? We came on stage and started doing all this Procol Harum stuff and they just sat down and didn’t move for two hours! CHRIS: We came up with a list of tracks we wanted to do that had a cartoon theme to them. We had people come up to us afterwards and say we came to laugh at the Snoopy boys but you guys can play! They test marketed that but it didn’t get a really big response. My mother thought I was on drugs! CHRIS: We wanted to write serious music. BARRY: We were a rock and roll band doing vocals and harmonies. BILLY: We did do a four or five week tour right around Christmas time though but it was in between recording the album. Charles looked at it but never sent a response on whether we could do this or not. BILLY: We did do a four or five week tour right around Christmas time though but it was in between recording the album. I suspect Charles Schulz didn’t want his Charlie Brown to be associated with that one. 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 had the vocals for the Jagger and Burdon styles and Barry had the vocals for the Beatles. CHRIS: We put together this kind of country, hokey-sounding thing and ran through it a couple of times. Billy Taylor: Ironically, Chris’s dad was my family doctor so I knew the Nunley family. JOHN: We did the Mike Douglas Show. BILL: I think Laurie was Gernhard’s first option. People were blown away with what we were playing. John Burdett (drums) BILL: Yes, they followed up Return with “Airplane Song” which was another novelty! I have to tell you, there are those that consider “I Needed You” to be one of the worst records of all time! He was in Ocala checking out the local talent to bring to Tampa and Jay told him about us. BILLY: I think it was around September. We didn’t get his blessings. Even though we had a partition behind us it was still odd. It would turn so far one way and then stop and turn the other way. After a while, it got to where we would do the Snoopy songs first just to get them out of the way. JOHN: That’s because they had just made us get it cut! BILL: We didn’t want to do any more novelty type tunes. His lawyers smelled money and, whether Charles cared or not, the lawyers put a ding in us! He sang it with all of his heart. By ED Tucker I played the timpani and a cymbal and put in a drum solo. BARRY: They went long in Ricardo Montalban’s segment and they just threw us in there. BILL: We played the Beatles, the Rolling Stones, the Animals, and the Zombies. BARRY: We did one show in Seattle at a huge coliseum called The Round. He ratted me out and we got suspended. The guys in the booth kept going “what’s that noise”? 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. Chris Nunley Barry Winslow Bill Balough John Burdette Tom Richards . We didn’t mind doing whatever they came up with from their writers as long as it was more along the lines of what we wanted to do but they pushed “Return of the Red Baron” on us. JOHN: Phil Gernhard had promised us he would put a regular song out, which he did with “Baby Let’s Wait”. They released that as a single and Billy and Barry wrote it. Were you pushing for something else? The true image kept asserting itself. We were doing the English stuff and hoping to write songs in that genre, then here comes Snoopy! BILL: Yes, they followed up Return with “Airplane Song” which was another novelty! His lawyers smelled money and, whether Charles cared or not, the lawyers put a ding in us! Chris had the vocals for the Jagger and Burdon styles and Barry had the vocals for the Beatles. It was pure Dick Holler. My parents had just bought me a Farfisa organ which was an Italian combo that was more of a tank than the Vox Continental, it wasn’t as cool. We both went and got hair cuts but we saved our hair and stuffed it in the school’s mail box! What was the reaction of the record company? BILL: We played the Beatles, the Rolling Stones, the Animals, and the Zombies. JOHN: Tom and I actually got thrown out of Ocala High School for having long hair. BILL: We had already put out “Baby Let’s Wait” on the label prior to that. When you went to the University of Florida at that time, you had to take a foreign language. The Royal Guardsmen waren eine Rockband aus Ocala in Florida. I also played this big line of tubular bells with flip flops on! We were aware of Billy Taylor from playing out at Johnson’s Beach and we knew what he was capable of. JOHN: Tom and I actually got thrown out of Ocala High School for having long hair. 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”! BARRY: It was within a month’s time frame, literally, from the time we recorded this thing to the time it started to kick. BILLY: We did do a four or five week tour right around Christmas time though but it was in between recording the album. I think that’s what really kept us going after the Snoopy hit and the record company beating us with the gimmick stuff. Ricardo Montalban was the co-host. They wanted to get something out there and keep it going. They didn’t take me because I had a bad elbow and back at the time so I had to wear a wig! From 1969, back row standing, left to right: Billy Taylor, Bill Balogh, Tom Richards, Barry Winslow. 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 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. Front, seated on drums, Chris Nunley. We got called into the Principal’s office one day and were told you can’t stay here like that, you have to get a hair cut or we’ll throw you out. We both went and got hair cuts but we saved our hair and stuffed it in the school’s mail box! Chris was actually mentoring all of us who were trying to put together another band called The Griffins in the spring of 1966. BILL: We had already put out “Baby Let’s Wait” on the label prior to that. We’re trying to get this song cut and we’re showing it to a lot of local bands to see who comes up with the best treatment. JOHN: Of all the songs we did I think that one had the nicest production. CHRIS: We wanted to write serious music. We did the “Summer Shower of Stars” tour following that in the summer of 1967 with Sam the Sham and the Pharaohs and Tommy James and the Shondells. BILLY: That was done at Six Gun Territory. How did that photo shoot come about? ET: There could not have been much time between when you recorded the song and when they released it because it was on top of the charts already in November of 1966. BILL: I think Laurie was Gernhard’s first option. JOHN: Phil Gernhard had promised us he would put a regular song out, which he did with “Baby Let’s Wait”. You had a choice between French, Latin, or German, ironically no Spanish then, and I chose German. 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. Gernhard came out to hear it and we figured he won’t like it, he’ll leave us alone! JOHN: Phil Gernhard had promised us he would put a regular song out, which he did with “Baby Let’s Wait”. They released that as a single and Billy and Barry wrote it. That was our demo record. ET: I noticed that the track listing is left off the album cover. Chris Nunley, Barry Winslow, Bill Balogh, Billy Taylor, John Burdett, the late Tom Richards. 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. BILLY: We did do a four or five week tour right around Christmas time though but it was in between recording the album. ET: Well the Charlie Brown in that song is a different one from the Peanut’s Charlie Brown and not painted in the most upstanding of lights. BILL: We played the Beatles, the Rolling Stones, the Animals, and the Zombies. We went back into the studio in Tampa almost immediately. Most of us were still in high school and couldn’t have long hair so they had us wear wigs. I would call the gunfights on Saturdays and then play the piano for the can can shows. BARRY: I had a ball with the Christmas record. BARRY: Return was just one of those typical record company things. Scenes from the "Snoopy vs The Red Baron" video filmed at the St. Petersburg Executive Airport and included in the 1968 television special, "The Fabulous Funnies". BILL: After “Snoopy’s Christmas”, the follow up was “I Say Love” which was an original song. 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. CHRIS: We put together this kind of country, hokey-sounding thing and ran through it a couple of times. Probably too much heart, you can hear him literally crying in that song! BILLY: We did a version of “Charlie Brown” for that album which was my only chance to be a star vocally. ET: Did you make any television appearances in support of the single? CHRIS: We wanted to write serious music. What was the reaction of the record company? JOHN: That’s because they had just made us get it cut! They were going to have a “Shower of Stars” at the Curtis Hixson Hall made up of mostly Tampa groups with Monte Rock the Third as the headliner and we were asked to play. BARRY: It sounds just about like the demo did except it was embellished in the studio. Through the contacts with John Veciana and WALT radio, which was a radio station in Tampa that was a low power alternative to WLCY, they got us into playing local clubs in the Tampa Bay area. I would call the gunfights on Saturdays and then play the piano for the can can shows. If you listen closely, Chris does a great vocal on it. BILLY: We played a community center in Chicago during our 1968 tour for a bunch of hip kids. Ricardo Montalban was the co-host. After a while, it got to where we would do the Snoopy songs first just to get them out of the way. They released that as a single and Billy and Barry wrote it. We did the “Summer Shower of Stars” tour following that in the summer of 1967 with Sam the Sham and the Pharaohs and Tommy James and the Shondells. The place was packed and the stage started to jerk about every tenth round. The Red Baron”? It was booming through the riser I was on. Ironically, after I had quit the band in 1969, by 1970 I was playing piano in the honky tonk saloon at Six Gun Territory for two and a half years while I finished up college. Chris and Barry and I went to Lake Weir High School and played together in the marching band. We had record companies calling, Gernhard was all excited and of course, we were too. How long was it before you started recording? BARRY: We did one show in Seattle at a huge coliseum called The Round. Barry was the big push behind that because we were just in to playing cover material and doing gigs. Even though we had a partition behind us it was still odd. It would turn so far one way and then stop and turn the other way. I think that’s what really kept us going after the Snoopy hit and the record company beating us with the gimmick stuff. The A and B sides of that single were clearly intended for two different audiences. BILL: It was the only thing we had left in the can! Did they still want to continue with the novelty records? CHRIS: As soon as the guys who were still in school got out for Christmas break we did a West Coast tour. BARRY: I had turned eighteen already and I was in the draft. It wasn’t against each other it was just the whole business. BILL: We had already put out “Baby Let’s Wait” on the label prior to that. JOHN: Of all the songs we did I think that one had the nicest production. It would turn so far one way and then stop and turn the other way. Eventually we told him to leave and finished up with the orchestra without him. BILLY: Absolutely, we did “Sunshine of Your Love”, “Purple Haze” and lots of Procol Harum. These were mega hits and took the group all over the country. 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