ranked No. 21 for the year in Australia. Other singles from the album included "Boys Will Be Boys" and "Struggle Town" reaching No. 14 and No. 34 respectively. 1990s: Midnight Sun to Yo-Yo The Choirboys recorded Midnight Sun, the follow-up to Big Bad Noise, in Los Angeles with producer Marc Tanner in 1991. While it generated two top 40 hits in "Empire" and "Rendezvous", the album didn't achieve the level of success of its predecessor – it peaked at No. 30. Late in the year they released a live album, Dead Drunk Live Hangovers, recorded at a Melbourne show. Brad Heaney (ex-The Screaming Jets) replaced Tebbutt on drums and Steve Williams (Wa Wa Nee) replaced Brett Williams on guitar by 1993. Their compilation album Decade 1983–1993 (1993) was followed by Dancing on the Grave of Rock n' Roll (1994), with Barton Price (Models) on drums, which was produced by Gable and Hulme. The band recorded its next album Yo-Yo in Germany during 1996, with Blyton and Choirboys producing and Richard Lara (The Screaming Jets) replacing Brett Williams on guitar. The band supported Cheap Trick on their Australian tour in the same year with Tony Le Rhodes on drums. 2000–present The Choirboys recorded the Evolver album in 2002 and 2003 in between going on an extensive tour of Australia and New Zealand. Former Icehouse drummer Paul Wheeler joined the band. The Evolver album was released in 2004 but due to low promotion for the album, it peaked at 174 in the Australian charts. The band returned to the Australian singles charts in Australia in July when dance producer Nick Skitz asked Gable to sing "Run to Paradise" on a dance reworking. The song, billed as "Nick Skitz vs. Choirboys", debuted in the top 20 of the Australian singles charts. In 2006, The Choirboys performed "Run To Paradise" on the Grand Final edition of The AFL Footy Show and released Big Bad and Acoustic with re-recorded versions of their earlier work. In 2007 they resurfaced to bring out their next studio album, So Easy, which contained cover versions of The Easybeats songs. Gable said, "We thought it a worthwhile exercise to explore them in a more modern light. We could redo things with a greater technical capacity [...] we could put in backgrounds that two-track recording wouldn't allow. With Pretty Girl, for example, we spent quite a bit of time, adding about