Although the Kingston Trio had quickly risen in three short years from smokey gigs in the San Francisco peninsula's college town fraternity houses, bistros and bars to San Francisco's prestigious hungry i and Purple Onion, and then on to become nationally and internationally well known, accepted, and successful, Guard felt that by 1961 the Trio's musical style had become fixed and predictable, and its performances increasingly commercial. The Trio, Guard reportedly felt, had lost touch with the folk music roots that brought him to form "The Calypsonians" the group that he had formed with Reynolds and group which he and Reynolds morphed into "The Kingston Quartet" and then finally, the group which he and Reynolds, after bringing Schoën in from Hawaii, morphed into the Quartet's successor, "The Kingston Trio". Guard also had concerns and conflicts with the way the Trio's publishing earnings were being handled . Those issues, combined with underlying, long simmering resentments and ego clashes between himself and his Trio colleague, former Punahou School classmate Schoën over control and leadership of the now successful group that Guard had formed, led Guard to finally turn his back on Schoën and leave  the group. Shortly thereafter Guard formed the Whiskeyhill Singers with another Punahou high school friend, Cyrus Faryar, and the Trio's bassist and musicologist David "Buck" Wheat.
In line with Guard's intention to return to folk music, with its frequently uninhibited enthusiasm and vocal harmonies, Faryar suggested the group bring in an acquaintance of his, Judy Henske, to provide a female balance to the male harmonies, and in so doing, move definitively away from the Kingston Trio's male-only vocal format. Dave agreed, and the "Whiskeyhill Singers", with Judy as female lead developed their own, often innovative, folk music mood, style, and sound.
Despite the group's intent to return to folk music along the lines of Pete Seeger's "The Weavers", Guard's and Wheat's long association with the Trio and its musical style inevitably had an influence on the Singers' own musical style and arrangements. Complicating matters was the fact that the Trio's rollicking and successful performing style of uninhibited enthusiasm was also taken directly from Weavers-style folk music, leading to criticism that the musical style of the Singers was more "Trio-like" than being an original style of their own.
Guard is considered to be a very important figure of the folk music scene of both the 1950s and 1960s. The Kingston Trio is credited with creating and popularizing eclectic folk and neo-folk music, a form that is now being called "world music".
David "Buck" Wheat was born in San Antonio Texas in 1922. Lived for many years in Sausalito California, part of the "Beat" generation. Was a well known jazz guitarist and bass player with the big dance bands and in 1957 recorded with the Chet Baker Trio on "My Funny Valentine" and "Embraceable You". He is best known as the bass accompanist for the Kingston Trio.
Like Dave Guard, Faryar attended Punahou School, graduating in 1953.
By 1957 Faryar's avant garde interests led him to establish a "beat" style coffee house in Honolulu. Popularized first in San Francisco's Broadway section, Faryar's Greensleeves coffee house was, like the those popularized first by San Francisco's beat generation in the Broadway section of the city, a gathering place for local musicians, poets, and writers.
Faryar was contacted by Guard about joining the Whiskeyhill Singers not long after Guard's break with the Trio. By then Faryar had closed Greensleeves, left Honolulu, and established himself in San Diego, California. Faryar agreed, having known Guard from their Punahou days together, and having appeared with him in various school drama and musical productions.
While Guard and Schoën were teenagers in Hawaii there was only one record large hole 45's, and 33 1/3 rpm vinyl shop in Honolulu where new pop tunes — carried in cargo holds of Matson Lines freighters sailing from California, usually four to six weeks after their release on the mainland could be listened to in listening booths and purchased.
It was in this relatively austere pop music environment, with its one pop music DJ "Aku" heard during the morning hours and the commute to school, and the ever present Hawaiian music, with its harmonies and falsettos, strumming guitars and ukuleles and their country riffs and slack key finger-picking, clearly influenced both Guard's and Schoën's instrumental development and were embedded in the Trio's and latter the Singers arrangements. A high school drama presentation of "Oklahoma" in 1951 brought Guard and Schoën, along with similarly guitar-competent classmates Bob Murphy and [?] together as a group. Previously a solo artist, it's very possible that this high school presentation influenced Guard and Schoën's getting together and forming what was later to become the Kingston Trio.
While at Punahou, Guard and his '52 classmate Bob Schoën were frequently and regularly exposed to the words and a capella harmonies of the classical Hawaiian music of Hawai'i's revered Queen Liliuokalani. Ukulele's and Martin guitars tuned to either standard tuning or to one of the many Hawaiian slack key tunings, were the standard – if not expected – accompaniment to virtually all local music. In the 7th and 8th grades in the Junior Academy  at Punahou, "ukulele" was a required music class for all students; thereafter Schoën became quite accomplished with the ukulele, graduating from standard to tenor ukulele and then to baritone uke, with one or the other almost always in or near his hand.
Guard and Schoën were also regularly exposed to Japanese language and music broadcasts, as well as broadcasts of Chinese, Filipino, and Portuguese languages and music. Popular Japanese tunes of the 1949-1953 era, like Kankan musumae (koku no Hawaii) were popular among haole and non-haole's alike. Rarely understanding the meaning of the words, but being able to remember and sing a medley of popular and traditional Hawaiian "folk music" was virtually a requisite at house parties, beach parties, moonlight gatherings, and other events. Being able to sing along and play a ukulele or guitar was a recognized and envied accomplishment at which Guard and Schoën gradually to excel during their high school years at Punahou.
Within this background of Hawaiian/Polynesian harmonies and instrumental accompaniments for venerable staples like Genoa Keawe's Kaimana Hila came the folk music of Burl Ives and Pete Seeger, with party songs like Burl Ives' rendition of On Top Of Old Smokey, Pete Seeger and The Weavers' ever popular Goodnight, Irene, and Roy Cuff's Wabash Cannonball. Obviously, the calypso rhythms and vocals of Harry Belafonte, and the hand-clapping, sing-along style of Mitch Miller's group in Tzena, Tzena, Tzena, both groups very popular during the high school years of Guard and Schoën, were a significant influence on Guard's and Schoën's, and eventually the Trio's, musical style.
Then a bit later in the early 1950s, came Fijiian tunes, like Isa Lei, the perennial slack key favorite, the comic Samoan Salomila, the classic Pupu o Ewa, taught as one of Schoën's Punahou graduating class of 1952's Hawaiian songs sung en chorale during their graduation (and which Don Ho's performed with English lyrics to become his signature, tourist favorite Pearly Shells), and the catchy, toe-tapping Molokai Nui Ahina, all of which were beach and house party favorites that clearly influenced and contributed to Guard and Schoën's music style and rhythms.
In the pop music realm, both Guard and Schoën were clearly influenced by the harmonies and often lusty style of Mitch Miller's group [1}, and the distinctive voices of Vaugn Monroe , and (early on) young Dean Martin. Fast guitar strumming rhythms and rippling banjo riffs characteristic in Pete Seeger and The Weavers's renditions became the basic, and ultimately expected, bedrock sound in Guard's and Schoën's Kingston Trio, a sound which Guard, in his Whiskeyhill Singers group, and for whatever reason, found it necessary to repeat. A quick, shadowy glimpse of the early-on influence on Guard of Miller's group, Mitch Miller and the Gang seep out in the title of his group's one album, Dave Guard and the Whiskeyhill Singers.
Guard and Schoën's relative isolation from the varieties of mainland pop music and their continual exposure to Polynesian sing-along harmonies with their strummed guitar accompaniments are clearly heard in both the Trio's and the Singers renditions. For example, Hawaiian slack key guitar riffs can be heard throughout the Singer's rendition of Salomila 
Guard's and Buck Wheat's departure from the Trio, and the forming of the Whiskeyhill Singers allowed Guard to have the freedom and total control over the reptoire and style of a more 'folk-like' folk music group. Whether he accomplished his goal or not is hard to say. The addition of Judy Henske to the group, with her often harsh, contemporary, but out of place Joplin-esque vocals, may have done more harm to the group than good. If Guard objective was to meld traditional folk with contemporary '60's activist intensity and Trio-style renditions, he may well have succeeded in accomplishing his goal. Whether Guard's idea of a 'new' folk music style was viable and acceptable to the public is hard to tell, since once again, differences with group members quickly led the Singers down the road to a short group life.
After disbanding of the Singers, Faryar and Henske went their separate ways, but still maintained contact and friendship. The two returned to the San Diego area where they performed for a few years, with Faryar eventually returning to Hawai'i and taking up a relatively reclusive residence on the state's Big Island. 
Guard spent a few years vacillating between wanting to return to the Trio, and wanting not to return to the Trio. In his absence, the other two members of the Trio, Bob Shane and Nick Reynolds, recruited John Stewart to take Guard's place. The new configuration continued the Trio's success until they disbanded in 1967. Shortly after the Trio breakup, Bob Shane formed a group called in the New Kingston Trio, which he led. Shane, understandably, was not much interested in having Guard back in his new group. After a few reunion performances, Guard, petulant, agreed with Buck Wheat to sell their interest in the old Kingston Trio, allowing Shane to once again use the Kingston Trio name for his group.
Guard moved his family to Australia, and kept active in his musical interests, developing a guitar teaching tool he called "Colour Guitar". A cardboard, color-coded chording device, the tool met with little financial success.
Guard died of lymphatic cancer in 1991.
David "Buck" Wheat went on to arrange and record with Bud & Travis duo. David died in Los Angeles in 1985 at the age of 63.
Cyrus Faryar went on establish himself as a singer and songwriter, first with the Modern Folk Quartet, and then as a solo performer recording two albums with Elektra, Islands and Cyrus and then as a solo performer and accompanist with a number of other well known (and lesser known) groups.
At the end of his recording and performing career, Cyrus returned home to Hawaii.
Henske's singing career continued as a soloist and performer with other groups, cutting several records.
- Dave Guard and the Whiskeyhill Singers 1962 (Capitol)
- Whiskeyhill Singers 2nd Album (unreleased) (1962)
- Ride on Railroad Bill (single)1962 (Capitol)
- Plane Wreck at Los Gatos (single)1962 (Capitol)
- Dave Guard and the Whiskeyhill Singers (2001) (EMI-Capitol)
- How the West Was Won: Original Motion Picture Soundtrack (MGM) Academy Award:Best Soundtrack 1963
1. The unique sounds of Hawaiian slack key tuned guitars and finger picking come from a wide variety of alternate guitar tunings, many of them family secrets passed down from generation to generation. These alternate tunings present chording and fingering difficulties which are very difficult for haoles to master. However, it's possible to some extent to mimic slack key by using some common slack key riffs and doing some 'creative' fingering picking.
2. KGU was owned by the Honolulu Advertiser, and KGMB was owned, in part, by the Honolulu Star-Bulletin.
3. Mitch Miller and the Gang.
4. Guard's break with the Trio wasn't on friendly terms.