The Guise were made up of members from Bob Kuban & The In-Men.
After Bob Kuban (band leader and drummer for the In-Men) refused to lose the horns and go with a more "British" sound, Musicland USA producer Mel Friedman convinced lead singer Walter Scott, keyboardist Greg Hoeltzel, and base player John Krenski to leave Bob Kuban & The In-Men and form a new group called The Guise. "Long Haired Music" was their first and biggest local success, charting #5 on the KXOK sing-a-long survey. They had a few local hits altogether, but nothing charting nationally.
Walter Scott left the group and returned to Bob Kuban's group for a short time before beginning a solo career.
This information can be found in Bob Kuban's book "My Side Of The Bandstand" by Nancy Wenger.
Greg Hoeltzel /Keys, Vocals
Mike Krenski /Bass, Vocals
Ray Schulte /Guitars, Vocals
John Goodwin /Drums
Walter Scott /Vocals RIP
The Guise (And Their Mod Sound)
Complete Singles (1966-1969)
Ripped from 45's unknows autor
Hailing from St. Louis, the Guise (originally the Guise & Their Mod Sound) were a successor band to Bob Kuban & the In-Men that highlighted not only the excellent songwriting of John Krenski and Greg Hoeltzel, but their solid chops. They recorded six singles between 1966 and 1969, most of them for Mel Friedman's Musicland U.S.A. label, and a couple for ATCO. For somewhat quixotic reasons, my gal and I took it upon ourselves to collect them all, finally tracking down the elusive "Looking Glass"/"Biographical Excerpt File 6319Q" a couple of months ago. (Yeah, that really is the name of the B-side.)
"...Anyway, I think all these singles are pretty darn great, and quite underrated. As far as I know, the Guise has never been on an official comp, and until I saw a few of their tracks surface here at I.P. thanks to Buis and Levittownbob, I wasn't sure if anyone else gave a hoot about them. In terms of musical styles, these run the gamut, from Pac Northwest frat ("Chumpy McGee") to lush bah-bah Turtles harmonies ("Time") to a Kinks-style raver ("Bio Excerpt") to gumdy-chewy bubblegum ("Waitin Round the Corner"), it's all good, with the unifying component being Hoeltzel's perfectly shrill organ. Only band I can really compare them to is the Rascals, just in terms of chops (doo-wop harmony skills, tight drums, killer guitar, wild keys) who were also able to break out of the late-50s/early-60s milieu and as the decade progressed play some long hair music with the best of them. Ripped from 45's ..."