With a gruelling tour schedule to contend with, the Sunnyboys were expected to make time to write and record material for a new album, with the dust barely even settled on the first release. Mentor/ producer Lobby Loyde guided the quartet (plus keyboardist Steve Harris) through the sessions for their sophomore set ‘Individuals’, which was recorded in New Zealand (something to do with a tax incentive deal). The band had little time to prepare, and arguably insufficient energy to deliver up their best work on the album, due to its rush recording in between live tour commitments. The pressures on songwriter and singer/guitarist Jeremy Oxley, were especially intense during that time. ‘Individuals’ was released in May of ‘82 (against the band‘s wishes - who wanted more time to polish some tracks), and eventually went on to peak at #23 nationally during July. The lead out single ‘You Need A Friend’ edged inside the national top 40 (#38), but the follow up single ‘This Is Real’ missed the cut completely. For mine, ‘You Need A Friend’ remains one of my favourite Sunnyboys’ tracks. The song as a coursing pop-rock energy, which puts me in mind of some of the Stranglers best work, and I never fail to be entranced by the haunting harmonies in the outro.
The touring commitments continued almost unabated for the Sunnyboys over the latter part of ‘82 and into 1983. During this period the band began to encounter problems with singer Jeremy Oxley’s increasingly erratic behaviour, even going so far as to hire a fulltime minder for him, in an attempt to reduce some of the more outlandish elements. The reasons behind Oxley’s difficulties would eventually be defined, but at the time it created an increasing level of tension within the group. Tension had also mounted between the Sunnyboys and their label Mushroom. Both parties felt some grievance over the ‘Individuals’ album, Mushroom due to the relatively poor returns, and the band due to the unreasonable timeframe in which they had to record it.
In June of ‘83, the Sunnyboys released their fifth single ‘Show Me Some Discipline’, which hit a peak of #30 in Sydney, and #44 nationally during July. As the single was climbing the charts, the band hopped a plane to the U.K., which finally broke the relentless cycle of touring, and allowed them sufficient time to prepare for their third album. Now under the management auspices of Michael Chugg (who also managed the Church), the band performed two sell-out shows at London’s exalted Marquee Club (mainly in front of enthusiastic ex-pat Aussies), before beginning work in earnest with producer Nick Garvey (ex-Motors, see Aug 08 post) at Ridgefarm Studios, Surrey and Townhouse Studios, London (originally Sunnyboys had intended to record the album with AC/DC’s ‘Back In Black’ producer Robert ‘Mutt’ Lange). The extended planning and pre-production time paid off, with the resultant album. ‘Get Some Fun’ (OZ#36), offering up a diversity of material, with a confidence and maturity of playing, not realised on earlier efforts. The album hit stores in April ‘84, and was preceded by the single ‘Love In A Box’ (OZ#46). To support the album’s release, the Sunnyboys kicked off their first national tour in almost a year. The follow up single ‘Comes As No Surprise’ (OZ#99) went largely unnoticed, but it came as no surprise that no sooner had the Sunnyboys hit the road, than internal problems once more hit the band, most often centred around Jeremy Oxley’s declining mental health.
By June of ‘84, the Sunnyboys announced that the sun was setting on their time together. They embarked on a farewell tour soon after, which resulted in the live album ‘Real Live Sunnyboys’, recorded over two nights at Sydney gigs, and released in November ‘84, a month before the band’s last farewell gig at the Graphic Arts Club in Sydney. The following year a French based record label, Closer, released the double album ‘Days Are Gone’ for the European market, a compile of the band’s first two albums, satisfying a growing demand for Sunnyboys material on the continent.
Immediately following the setting of the Sunnyboys project, Jeremy Oxley launched a new band under the playful moniker of Chinless Elite. The line-up featured Oxley (vocals/guitar), Marcus Phelan (guitar, ex-Numbers - see Nov 08 post), Jon Schofield (bass, ex-Grooveyard), Mark Fuccilli (sax), Sean McEleogue (trumpet), and Andrew Robertson (drums). The band signed on with the Big Time label, and released the single ‘I Got To Get To California’, and an EP in late ‘85, before calling it a day. Oxley then formed a stripped back three piece combo called The Fishermen, alongside Andrew Denison (bass/vocals), and Ian Potterton. The back to basics pop-rock outfit quickly built up a strong following around the Sydney live circuit, but only released a solitary single ‘Can’t You Stop?’, on the Waterfront label, during January ‘87, before splitting.
Sunnyboys guitarist Richard Burgman had joined up with the latest line-up of Chris Bailey’s Saints, and played with them over the course of ‘85 and most of ‘86. He went on to tour with the acclaimed folk-rock stalwarts Weddings, Parties, Anything during 88/89, before eventually emigrating to Canada, where he married and embarked on a career as a computer programmer. Peter Oxley and Bil Bilson had both formed a soul-pop outfit called The Sparklers, alongside Peter and Jeremy’s sister Melanie (vocals), Chris Abrahams (piano, ex-Benders), Gerard Corben (guitar, ex-Lime Spiders), and Ernie Finch (guitar). The Sparklers remained together for several years, undergoing several changes in personnel along the way. Once more Phantom Records stepped in, and released the single ‘Overworking’ in October ‘86, before the band signed with the Mighty Boy label. The Sparklers released a string of singles and one album, ‘Persuasion’ (1988), before splitting in June of ‘89. Peter Oxley and Chris Abrahams continued to work together for a few years, and released two soul/pop style albums together in the early 90s. Oxley eventually left the music business to run a successful pizzeria, whilst Bilson returned to the quiet life in the country.
But that wasn’t all she wrote as far as the Sunnyboys were concerned. In late ‘87 Jeremy Oxley revived the band’s name, albeit with a completely new line-up backing him. Nick Freedman (guitar), Phil Smith (bass), and Peter Hinchenbergs (drums), rounded out the new look Sunnyboys’ roster. The revamped Sunnyboys hit the road, this time with keyboardist Tim Freedman in support (future founder of the Whitlams). RCA signed the band to a newrecording deal, and in early ‘89 released the first Sunnyboys’ single in nearly five years with ‘Too Young To Despair’ (OZ#74). Highly acclaimed producers Graham Bidstrup (ex-Angels) and Garth Porter (ex-Sherbet) were at the helm for the recording of a new album ‘Wildcats’ (OZ#81), released in August of ‘89. Neither of the follow up singles, ‘Sinful Me’ or ‘Sad Girl’, managed to chart, and on the whole the album fell short of reviving the vitality and energy of earlier Sunnyboys’ sets. With Oxley’s health again in decline, the Sunnyboys MkII had folded by 1990.
In July 1991, Mushroom issued a new compilation album titled ‘Play The Best’ (OZ#90), and the original Sunnyboys’ line-up of Jeremy and Peter Oxley, Richard Burgman, and Bil Bilson reunited to play a national tour. The tour was a success, and realised an ‘official bootleg’ album titled ‘Shakin’: Live August 1991’ (released in December 1992). But the reality was that Jeremy Oxley’s health would prevent any long term plans (he had been diagnosed with schizophrenia), and the other group members had also moved on to other life interests, so once more the Sunnyboys’ name evaporated into the ether of Australian rock legend. Jeremy Oxley made an attempt to launch a solo career, as Jeremy ‘Ponytail’ Oxley, and released the EP ‘A Little Bit Of Me In You’ in October 1992. Oxley has continued to write and occasionally record his own music (in addition to taking up painting), occasionally released as collectors items via the official Sunnyboys’ website, but has essentially retired from any high profile involvement in music.
The Sunnyboys have only reformed once since 1991, for the one off Mushroom 25th Anniversary Concert in 1998 (minus Burgman - Tim Oxley played guitar). With the likelihood of any new Sunnyboys’ material now remote, long term fans of the band welcomed the release of the Tim Pittman compiled double CD ‘This Is Real’ in 2004. Released on the Feelpresents label, it contained a stack of B-sides, rarities, and live tracks, that previously hadn’t seen the light of a Sunnyboys’ day.
In the early 80s I was still residing in the southern Australian state of Tasmania, but during the summers of 80/81 and 81/82 I had occasion to spend an extended period of time in the more northern, and much warmer, state of New South Wales. The hot and balmy summer days of that period led me to become a fan of an ice confectionary called Sunnyboys. Anyone familiar with that era more than likely will recall them. Sunnyboys were an orange flavoured ice treat, but what set them apart was the packaging. They came in a triangular shaped tetra-package, which you would pop in the freezer, then cut the tip off to consume - simple right? It probably wasn’t the most consumer (or ecologically) friendly design, but it set Sunnyboys apart from the competition. It’s been a while since I checked, but I’m sure that Sunnyboys are still available, if not the same, then at least in similar guise.
Now, I’m aware that the above paragraph has absolutely no relevance to popular music - at least on the surface. But at time of writing (I pen my first drafts a few weeks in advance) it’s one of those hot and humid summer days, with the mercury pushing 36 degrees Celsius (about 100 on the Fahrenheit scale), so it’s entirely possible that I’m suffering from heat exhaustion, because all I can think about is consuming refreshing ice confectionary, like a Sunnyboy. It just so happens that today I was planning to review the career and works of a great Australian band called Sunnyboys. A ludicrously long bow to draw? Possibly, but after 400 plus posts it’s becoming increasingly difficult to conjure up fresh sounding introductions, hence the apparently flimsy link by word association. To be fair to myself, it’s highly likely my ears began to appreciate the music of Sunnyboys, the band, around the same time as my taste buds fell under the spell of Sunnyboys, the ice confectionary. Aside from that possibility, many more people, including fans who attended Sunnyboys gigs at the height of the band’s popularity , have made the connection between first rate band and iconic ice treat. To those of you who Googled ‘Sunnyboys’ in the hope of learning more about the deliciously refreshing ice confectionary - I apologise for offering you no more than my own hazy and scant reminiscing. For those of you who Googled ‘Sunnyboys’ in the hope of reading about one of Australia’s pre-eminent pop-rock acts from the 1980s - fear not, I’m about to get to the point you’re seeking.
The pre-dawn era for the Sunnyboys began in the northern New South Wales township of Kingscliff. Brothers Jeremy (vocals/guitar) and Peter Oxley (bass), along with school mate Bil Bilson (drums), had played together during high school in various garage bands such as Wooden Horse, Jerry and the Jets, and Golden Syrup. Though the experience didn’t lead them to the City of Troy, it imbued the trio with a passion for all things music, and by 1979 Peter Oxley and Bil Bilson had both made the trek to the big smoke of Sydney to pursue their musical dream. The Sydney music scene at that time was bursting at the seams with talent, with a venue on almost every city block, more than often offering nightly line-ups of up and coming bands/artists, all keen to cut their teeth in front of houses packed with a music hungry public. Another keen to try his luck in the big city, was guitarist Richard Burgman, hailing from Wagga Wagga. Burgman was a few years older and had already played with a rough and ready rock outfit called the Kamikaze Kids. Bil Bilson’s first gig was with The Playboy Lords, whilst both Peter Oxley and Richard Burgman had joined the outfit Shy Impostors, alongside charismatic vocalist Penny Ward and drummer Michael Charles. During the few short months they were together, Shy Impostors recorded a handful of songs on eight track, one of which, ‘At The Barrier’, was released on single by independent label Phantom Records, but only after the band had imploded during June 1980.
Bil Bilson had already started playing with Peter Oxley and Burgman around that time, and post-Shy Impostors, the trio hooked up with ex-Radio Birdman vocalist Rob Younger, with a view to starting a new band. The quartet rehearsed for a few short weeks in that form, before Younger took the decision to leave. Enter eighteen year old Jeremy Oxley. After a short stint with a Gold Coast band called the Strand, Oxley junior had followed his older brother Peter to Sydney, and was the logical choice to fill the void following Younger’s departure. The enigmatic singer/guitarist had already written a slew of songs, and shared the same pop-rock sensibilities as the other three. The quartet chose the name Sunnyboys (at the suggestion of Peter Oxley’s girlfriend), because it represented something bright, happy and fun, though later on when testing out new material at Sydney gigs, the quartet occasionally adopted the pseudonym of ‘Kids In The Dust’. On August 15th 1980, the Sunnyboys made their live debut at the Chequers night club in Sydney, on a double bill with Lipstick Killers. Offering a melodic brand of post-punk power pop, with roots tapping deep into 60s pop (think the Kinks, Beatles, Flamin’ Groovies), the Sunnyboys were a runaway hit with audiences, right from the get go. Within a few weeks the quartet were playing to packed houses on an almost nightly basis at venues across Sydney’s pub and club circuit, often inundated with dozens of those very same Sunnyboys ice treats, brought to gigs by fans.
The quartet struck up a tight chemistry on stage, feeding off one another’s high energy playing, and delivering audiences an infectious brand of power packed pop-rock. But it was Jeremy Oxley’s songs that were also a strong factor in setting the Sunnyboys apart from the competition. His 60s influenced, power-pop melodies were married to poignant and insightful lyrics, with melancholic themes of loneliness, alienation and male angst, juxtaposed brilliantly against the light and breezy feel of the music. Among the band’s early fans was Phantom Records’ label owner Jules Normington, who already knew some of the band from their tenure with Shy Impostors. Normington arranged for the Sunnyboys to record an EP of four tracks. During October 1980 they recorded their eponymous EP under the production expertise of Lobby Loyde (ex-Aztecs, Coloured Balls), who was one of the most respected producers on the Australian music scene. The EP ‘Sunnyboys’ featured among its tracks an early version of ‘Alone With You’, a song destined to become an Australian pop-rock classic. An initial pressing of 1000 copies sold out within two weeks of release during December 1980, prompting the big labels to sit up and take notice. Sell out gigs on a nightly basis, and a debut EP that sells like hot cakes…hmmm, these Sunnyboys just might have something going for them.
In early ‘81 Melbourne based label Mushroom took the, until then, unprecedented step of signing a Sydney based band. Sunnyboys released the catchy single ‘Happy Man’ on the Mushroom label during July 1981. The single made an immediate impact on the national charts, and eventually peaked at a very respectable #26. Written by Jeremy Oxley, and once again produced by Lobby Loyde, it gave the public (beyond the band’s Sydney fan base) a taste of the finely crafted, melodic pop-rock, laden with exuberant hooks, that would arise from the Sunnyboys with future releases. Mushroom also released ‘Happy Man’ as Australia’s first ‘cassingle’, featuring two bonus live tracks, and during August the Sunnyboys organised their own independently produced EP ‘Happy Birthday’. Pressed on red vinyl, the EP was given away to fans attending the Sunnyboys first anniversary show.
During May and June of ‘81, the Sunnyboys had laid down the tracks for their debut album, alongside producer Lobby Loyde at the acclaimed Albert Studios. In September ‘81, ‘Sunnyboys’ the album hit the stores and soon after hit the Australian charts. The album was a showcase for the Sunnyboys infectious brand of pop-rock, infused with R&B tones, driving dance beats, and a surging rock and roll energy. The album effectively captured the very essence of the Sunnyboys at that time, a young, exuberant, and dynamic musical unit. The aforementioned ‘Alone With You’ was released as the next single, and by November ‘81 had peaked at #28 nationally (#15 Sydney). Featuring smooth vocal harmonies, and a seamless interlacing of crisp guitar licks, ‘Alone With You’ had a feel good disposition that belied the melancholic lyricism within. A second appearance on ‘Countdown’ helped raise the band’s national profile further, and sales of the ‘Sunnyboys’ album eventually pushed it to #13 on the Australian charts (going on to sell over 50,000 copies). The album was actually offered for sale in two versions. The standard issue included the first hit single ‘Happy Man, but for fans who had already purchased that single, a limited edition release of 2000 copies were pressed on sunshine yellow coloured vinyl, with a slightly altered track listing, which replaced ‘Happy Man’ with the otherwise unavailable track ‘Tell Me What You Say’ (needless to say the ‘yellow vinyl’ version is much sought after by collectors today).
Within eighteen months of their formation, the Sunnyboys had risen to become a headlining attraction on the Australian music scene. By late ‘81, they were in the midst of a seemingly relentless tour schedule, criss-crossing the nation (sometimes playing ten shows a week). But the gruelling nature of life on the road, and the increased expectations upon the band, particularly front man and songwriter Jeremy Oxley, would soon lead to the first clouds appearing on the Sunnyboys’ horizon.
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With a gruelling tour schedule to contend with, the Sunnyboys were expected to make time to write and record material for a new album, with the dust barely even settled on the first release. Mentor/ producer Lobby Loyde guided the quartet (plus keyboardist Steve Harris) through the sessions for their sophomore set ‘Individuals’, which was recorded in New Zealand (something to do with a tax incentive deal). The band had little time to prepare, and arguably insufficient energy to deliver up their best work on the album, due to its rush recording in between live tour commitments. The pressures on songwriter and singer/guitarist Jeremy Oxley, were especially intense during that time. ‘Individuals’ was released in May of ‘82 (against the band‘s wishes - who wanted more time to polish some tracks), and eventually went on to peak at #23 nationally during July. The lead out single ‘You Need A 
Friend’ edged inside the national top 40 (#38), but the follow up single ‘This Is Real’ missed the cut completely. For mine, ‘You Need A Friend’ remains one of my favourite Sunnyboys’ tracks. The song as a coursing pop-rock energy, which puts me in mind of some of the Stranglers best work, and I never fail to be entranced by the haunting harmonies in the outro.
within the group. Tension had also mounted between the Sunnyboys and their label Mushroom. Both parties felt some grievance over the ‘Individuals’ album, Mushroom due to the relatively poor returns, and the band due to the unreasonable timeframe in which they had to record it.
them sufficient time to prepare for their third album. Now under the management auspices of Michael Chugg (who also managed the Church), the band performed two sell-out shows at London’s exalted Marquee Club (mainly in front of enthusiastic ex-pat Aussies), before beginning work in earnest with producer Nick Garvey (ex-Motors, see Aug 08 post) at Ridgefarm Studios, Surrey and Townhouse Studios, London (originally Sunnyboys had intended to record the album with AC/DC’s ‘Back In Black’ producer Robert ‘Mutt’ Lange). The extended planning and pre-production time paid off, with the resultant album. ‘Get Some Fun’ (OZ#36), offering up a diversity of material, with a confidence and maturity of playing, not realised on earlier efforts. The album hit stores in April ‘84, and was preceded by the single ‘Love In A Box’ (OZ#46). To 
support the album’s release, the Sunnyboys kicked off their first national tour in almost a year. The follow up single ‘Comes As No Surprise’ (OZ#99) went largely unnoticed, but it came as no surprise that no sooner had the Sunnyboys hit the road, than internal problems once more hit the band, most often centred around Jeremy Oxley’s declining mental health.
Immediately following the setting of the Sunnyboys project, Jeremy Oxley launched a new band under the playful moniker of Chinless Elite. The line-up featured Oxley (vocals/guitar), Marcus Phelan (guitar, ex-Numbers - see Nov 08 post), Jon Schofield (bass, ex-Grooveyard), Mark Fuccilli (sax), Sean McEleogue (trumpet), and Andrew Robertson (drums). The band signed on with the Big Time label, and released the single ‘I Got To Get To California’, and an EP in late ‘85, before calling it a day. Oxley then formed a stripped back three piece combo called The Fishermen, alongside Andrew Denison (bass/vocals), and Ian Potterton. The back to basics pop-rock outfit quickly built up a strong following around the Sydney live circuit, but only released a solitary single ‘Can’t You Stop?’, on the Waterfront label, during January ‘87, before splitting.
acclaimed folk-rock stalwarts Weddings, Parties, Anything during 88/89, before eventually emigrating to Canada, where he married and embarked on a career as a computer programmer. Peter Oxley and Bil Bilson had both formed a soul-pop outfit called The Sparklers, alongside Peter and Jeremy’s sister Melanie (vocals), Chris Abrahams (piano, ex-Benders), Gerard Corben (guitar, ex-Lime Spiders), and Ernie Finch (guitar). The Sparklers remained together for several years, undergoing several changes in personnel along the way. Once more Phantom Records stepped in, and released the single ‘Overworking’ in October ‘86, before the band signed with the Mighty Boy label. The Sparklers released a string of singles and one album, ‘Persuasion’ (1988), before splitting in June of ‘89. Peter Oxley and Chris Abrahams continued to work together for a few years, and released two soul/pop style albums together in the early 90s. Oxley eventually left the music business to run a successful pizzeria, whilst Bilson returned to the quiet life in the country.
But that wasn’t all she wrote as far as the Sunnyboys were concerned. In late ‘87 Jeremy Oxley revived the band’s name, albeit with a completely new line-up backing him. Nick Freedman (guitar), Phil Smith (bass), and Peter Hinchenbergs (drums), rounded out the new look Sunnyboys’ roster. The revamped Sunnyboys hit the road, this time with keyboardist Tim Freedman in support (future founder of the Whitlams). RCA signed the band to a new recording deal, and in early ‘89 released the first Sunnyboys’ single in nearly five years with ‘Too Young To Despair’ (OZ#74). Highly acclaimed producers Graham Bidstrup (ex-Angels) and Garth Porter (ex-Sherbet) were at the helm for the recording of a new album ‘Wildcats’ (OZ#81), released in August of ‘89. Neither of the follow up singles, ‘Sinful Me’ or ‘Sad Girl’, managed to chart, and on the whole the album fell short of reviving the vitality and energy of earlier Sunnyboys’ sets. With Oxley’s health again in decline, the Sunnyboys MkII had folded by 1990.
In July 1991, Mushroom issued a new compilation album titled ‘Play The Best’ (OZ#90), and the original Sunnyboys’ line-up of Jeremy and Peter Oxley, Richard Burgman, and Bil Bilson reunited to play a national tour. The tour was a success, and realised an ‘official bootleg’ album titled ‘Shakin’: Live August 1991’ (released in December 1992). But the reality was that Jeremy Oxley’s health would prevent any long term plans (he had been diagnosed with schizophrenia), and the other group members had also moved on to other life interests, so once more the Sunnyboys’ name evaporated into the ether of Australian rock legend. Jeremy Oxley made an attempt to launch a solo career, as Jeremy ‘Ponytail’ Oxley, and released the EP ‘A Little Bit Of Me In You’ in October 1992. Oxley has continued to write and occasionally record his own music (in addition to taking up painting), occasionally released as collectors items via the official Sunnyboys’ website, but has essentially retired from any high profile involvement in music.
The Sunnyboys have only reformed once since 1991, for the one off Mushroom 25th Anniversary Concert in 1998 (minus Burgman - Tim Oxley played guitar). With the likelihood of any new Sunnyboys’ material now remote, long term fans of the band welcomed the release of the Tim Pittman compiled double CD ‘This Is Real’ in 2004. Released on the Feelpresents label, it contained a stack of B-sides, rarities, and live tracks, that previously hadn’t seen the light of a Sunnyboys’ day.
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