Almost every successful band has a similar story. They form, play some covers, write some originals and play loads and loads of shows, gradually climbing their way up the fickle rock ’n’ roll totem pole until they get noticed and signed. Then, there are the rare exceptions — like Boston shoegaze quintet Drop Nineteens.
When they formed in 1990, the home-recording band had no industry connections, prior recording credits or experience playing live. Yet almost before they could fumble their way through a full set, Drop Nineteens were shuttled to England, embraced by the British media, put on tour with U.K. groups and signed to a subsidiary of Virgin.
“We went straight from being these totally unknown college students to being considered this big thing,” says frontman/guitarist Greg Ackell. “It was insane. We didn’t have a record deal or anything one minute, and before we know it, the Cranberries and Radiohead are opening for us.”
The origins of Drop Nineteens are almost as remarkable as their highly unexpected comeback after more than 30 years. They formed in 1990 in a dorm room at Boston University, which most of the members attended. Soon after they met, Ackell, co-vocalist Paula Kelley, lead guitarist Motohiro “Moto” Yasue, bassist Steve Zimmerman and drummer Chris Roof recorded a demo heavily inspired by the gauzy, ethereal soundwashes of U.K. shoegazers My Bloody Valentine and Slowdive. While the shoegaze scene was thriving in the U.K. at the time, it was underappreciated in the U.S., where aggressive alt-rock and grunge were moving the masses. So, Drop Nineteens — who couldn’t get a gig in their home town — sent their demo to English magazine Melody Maker and were rewarded with “Single of the Week” accolades before ever stepping onstage.
Word spread and demand for the demo was strong. Soon, the showers of praise turned into a waterfall, and U.K. labels looking for the next wunderkinder of shoegazing, came calling. Drop Nineteens were invited to play shows in England opening for Chapterhouse, and before they could learn the difference between an escalator and a lift, the band was signed to Virgin-owned Hut Records (home of the Verve and Moose) in the U.K., and Caroline (Smashing Pumpkins, Monster Magnet) in the U.S.
As thrilled as they were with the record deal, Drop Nineteens didn’t want to be lost in an ocean of pedal pushers, so they downplayed the heavy effects that swarmed through their demo, and wrote an entirely new set of songs for their debut album, , which they tracked at Downtown Recorders Studios in the Cyclorama Building in Boston,
