What do you think?
Rate this book
Yeah, Shut Up.
In the previous century, young kids deluded themselves into thinking "musician" was a viable career path. Follow two kids from Who Cares, Alabama as they form a band, experience their big break, release an album, and disappear into obscurity. All the fun you'd ever hope to find in a fictitious account of a 1990s alt-rock band almost going mainstream. If you still think you missed the train to Mars, if you miss the lands of green and skies of blue, this could be the novel for you.
343 pages, ebook
Published December 29, 2015
20 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 18 of 18 reviews
February 7, 2017
In the words of the author, this is a book about two kids from Alabama who ‘form a band, experience their first big break, release an album, and then disappear into obscurity.’
I was expecting something like Roddy Doyle’s classic of the genre, ‘The Commitments’, but surprisingly this novel reminded me more of that other, all-round and all-time classic, ‘Sentimental Education’ by Gustave Flaubert. ‘Yeah, Shut up’ is about an education, a coming of age. It’s about being young, having dreams and expectations, passing through ‘the school of life’ and finally growing up.
The story opens in 1980, with three short vignettes showing the main protagonists, David and Aaron, at ages five, nine, and fourteen. It’s a similar technique to that used by film makers like Woody Allen, or the French New Wave directors, each shot being minimalist but significant, getting across a lot of important information about the characters, their family circumstances, and what brings the unlikely pair together. They’re beautifully done by Kendall, and set the tone of the book. The general narrative style, too, often sounds like a voice-over in between sections of dialogue.
So, the band. After a few false starts, it finally gets going in 1994. Which post-1950s teenager has never been dazzled by the dream of becoming a rock star? Which family basement, garage or community hall has never seen them shuffling in, the kid with the guitar, the drummer and his kit, the self-important lead singer? Music, in this case alt-rock, is the strongest bond uniting David and Aaron. They talk about it endlessly, and throughout the novel the author provides knowledgeable expositions on pop culture à la Rolling Stone. A lot of the book’s funniest moments arise from these discussions, sometimes with parodic sketches of self-referential, pompous ‘experts’, like in the video shoot, sometimes with laugh-out-loud scenes such as David’s light-bulb moment in 1998 when he discovers that ‘dumb music is all the rage’ and ‘the IQ of the entire country had dropped’. A lot of the references passed over my (ancient) head–100% Geddy? Grimier than Mudhoney?? David would doubtless have considered me fit only for banishment to a musical Siberia, but there’s plenty here to engage readers more attuned to the music of this period.
David and Aaron get their first real break in 1995, an opportunity to go on tour with ‘The Dickless Fairies’. (Such is my lack of musical knowledge I was obliged to consult Dr Google to check this wasn’t a real band. It isn’t.) But they need a drummer, so Katie, Aaron’s younger sister, the character I liked most, is co-opted as a member, ‘South Lee’ is born, and off they go, out of the garage and down the rocky road to musical fame in their battered van, doing gigs, getting spotted by an agent, cutting an album and inevitably getting screwed by the industry in general. Along with these bracing experiences, the increasing number of personality clashes, in particular between Katie and David, also adds to the steepness of their learning curve. What starts with teenage bickering escalates into acrimonious disagreements, rivalries, betrayals and deepening divisions.
As the inevitable happens and the band’s commercial failure leads to its break up, the book’s focus shifts to the members as individuals, their personal development, their family commitments and the new relationships they form. In the cases of Aaron and Katie this leads to marriage, babies and radical career changes. On the other side of the divide, still clinging to his guitar, stands David, the central character, the first one we met first, aged five, and the one who at some point, most readers would like to throttle. Irritable, sarcastic, prickly, manipulative, sullen, a dirtbag, pitiful, naïve. These are some of the accusations other characters throw at him, even best-friend Aaron. What will become of him now the band has failed? He unsuccessfully tries to persuade Aaron to go on tour again, gets hired as a radio DJ and finally ends up in LA collaborating with the star of a boy band, trying to break into the music scene with a solo album, becoming more and more dependent on hard drugs and, yet again, missing another chance at a meaningful relationship with yet another ‘nice’ girl. This section felt a bit long, maybe because any lurking sympathy we might have felt for him starts to wear extremely thin.
Just as we’re ready to write him off, the story enters its final phase.
May 2000 sees him listening to a song:
‘Time is up, money’s gone.
David, lying on the floor, his stereo turned up loud enough to elicit the predictable response from his neighbor, began to weep. He yearned to write anything that good. Various chemicals had contributed to this melancholy, true, but the sentiment was heartfelt.’
Kendall cleverly and convincingly begins to turn the story around, leading us towards a reconciliation for David, and with David. We’re reminded how it all began, the emotional loss underlying those first three vignettes, and why David wanted to write songs in the first place. We see him lifting his head from its usual angle, contemplating his navel. We see him looking around, his perception of the world changing, becoming less narcissistic, more empathetic:
‘Entering Black Bear Creek, David was reminded of something he’d realized years earlier during their first real tour. These tiny rural towns, regardless of which side of the Mason-Dixon they reside, all felt the same. Abandoned buildings. Kids walking barefoot on the side of the road. Front lawns adorned with broken down cars or just random junk. Faded billboards preaching the virtues of long-dead businesses. He wondered how many of these kids also wanted to escape, and how many had already resigned themselves to an anonymous life of poverty.’
Without giving away the moving details of the final chapters, suffice it to say the story comes full circle, back to his friends, back even to his father, his sole parent, the man with whom he has had such a difficult relationship. In his book description the author also wrote: ‘It’s a story of loyalty and redemption.’ Through a sensitive blend of tones and lack of authorial judgement, Kendall leaves us with a final image of David, back in Alabama, holding his Gibson J 45:
‘Their new neighbors in the duplex, a single mother and her two sons, were arguing on the other side of the thin wall. The dog they brought with them barked with cruel intent at the cars that passed in the street. Fireflies bounced against the front windows. Crickets refused to quiet their evening song.’
It’s an image that, along with the concluding lines, lingers in the mind.
I was expecting something like Roddy Doyle’s classic of the genre, ‘The Commitments’, but surprisingly this novel reminded me more of that other, all-round and all-time classic, ‘Sentimental Education’ by Gustave Flaubert. ‘Yeah, Shut up’ is about an education, a coming of age. It’s about being young, having dreams and expectations, passing through ‘the school of life’ and finally growing up.
The story opens in 1980, with three short vignettes showing the main protagonists, David and Aaron, at ages five, nine, and fourteen. It’s a similar technique to that used by film makers like Woody Allen, or the French New Wave directors, each shot being minimalist but significant, getting across a lot of important information about the characters, their family circumstances, and what brings the unlikely pair together. They’re beautifully done by Kendall, and set the tone of the book. The general narrative style, too, often sounds like a voice-over in between sections of dialogue.
So, the band. After a few false starts, it finally gets going in 1994. Which post-1950s teenager has never been dazzled by the dream of becoming a rock star? Which family basement, garage or community hall has never seen them shuffling in, the kid with the guitar, the drummer and his kit, the self-important lead singer? Music, in this case alt-rock, is the strongest bond uniting David and Aaron. They talk about it endlessly, and throughout the novel the author provides knowledgeable expositions on pop culture à la Rolling Stone. A lot of the book’s funniest moments arise from these discussions, sometimes with parodic sketches of self-referential, pompous ‘experts’, like in the video shoot, sometimes with laugh-out-loud scenes such as David’s light-bulb moment in 1998 when he discovers that ‘dumb music is all the rage’ and ‘the IQ of the entire country had dropped’. A lot of the references passed over my (ancient) head–100% Geddy? Grimier than Mudhoney?? David would doubtless have considered me fit only for banishment to a musical Siberia, but there’s plenty here to engage readers more attuned to the music of this period.
David and Aaron get their first real break in 1995, an opportunity to go on tour with ‘The Dickless Fairies’. (Such is my lack of musical knowledge I was obliged to consult Dr Google to check this wasn’t a real band. It isn’t.) But they need a drummer, so Katie, Aaron’s younger sister, the character I liked most, is co-opted as a member, ‘South Lee’ is born, and off they go, out of the garage and down the rocky road to musical fame in their battered van, doing gigs, getting spotted by an agent, cutting an album and inevitably getting screwed by the industry in general. Along with these bracing experiences, the increasing number of personality clashes, in particular between Katie and David, also adds to the steepness of their learning curve. What starts with teenage bickering escalates into acrimonious disagreements, rivalries, betrayals and deepening divisions.
As the inevitable happens and the band’s commercial failure leads to its break up, the book’s focus shifts to the members as individuals, their personal development, their family commitments and the new relationships they form. In the cases of Aaron and Katie this leads to marriage, babies and radical career changes. On the other side of the divide, still clinging to his guitar, stands David, the central character, the first one we met first, aged five, and the one who at some point, most readers would like to throttle. Irritable, sarcastic, prickly, manipulative, sullen, a dirtbag, pitiful, naïve. These are some of the accusations other characters throw at him, even best-friend Aaron. What will become of him now the band has failed? He unsuccessfully tries to persuade Aaron to go on tour again, gets hired as a radio DJ and finally ends up in LA collaborating with the star of a boy band, trying to break into the music scene with a solo album, becoming more and more dependent on hard drugs and, yet again, missing another chance at a meaningful relationship with yet another ‘nice’ girl. This section felt a bit long, maybe because any lurking sympathy we might have felt for him starts to wear extremely thin.
Just as we’re ready to write him off, the story enters its final phase.
May 2000 sees him listening to a song:
‘Time is up, money’s gone.
David, lying on the floor, his stereo turned up loud enough to elicit the predictable response from his neighbor, began to weep. He yearned to write anything that good. Various chemicals had contributed to this melancholy, true, but the sentiment was heartfelt.’
Kendall cleverly and convincingly begins to turn the story around, leading us towards a reconciliation for David, and with David. We’re reminded how it all began, the emotional loss underlying those first three vignettes, and why David wanted to write songs in the first place. We see him lifting his head from its usual angle, contemplating his navel. We see him looking around, his perception of the world changing, becoming less narcissistic, more empathetic:
‘Entering Black Bear Creek, David was reminded of something he’d realized years earlier during their first real tour. These tiny rural towns, regardless of which side of the Mason-Dixon they reside, all felt the same. Abandoned buildings. Kids walking barefoot on the side of the road. Front lawns adorned with broken down cars or just random junk. Faded billboards preaching the virtues of long-dead businesses. He wondered how many of these kids also wanted to escape, and how many had already resigned themselves to an anonymous life of poverty.’
Without giving away the moving details of the final chapters, suffice it to say the story comes full circle, back to his friends, back even to his father, his sole parent, the man with whom he has had such a difficult relationship. In his book description the author also wrote: ‘It’s a story of loyalty and redemption.’ Through a sensitive blend of tones and lack of authorial judgement, Kendall leaves us with a final image of David, back in Alabama, holding his Gibson J 45:
‘Their new neighbors in the duplex, a single mother and her two sons, were arguing on the other side of the thin wall. The dog they brought with them barked with cruel intent at the cars that passed in the street. Fireflies bounced against the front windows. Crickets refused to quiet their evening song.’
It’s an image that, along with the concluding lines, lingers in the mind.
February 6, 2017
This is the story of two friends who form a band, get an agent, land a record deal, have some moderate success, get some critical acclaim, then fade into oblivion. This is not a spoiler. The author is happy to disclose as much in his synopsis. The Devil, as usual, is in the details.
There is a lot of angst along the way. David is acerbic, self-absorbed, angry, and unpleasant. Aaron is sweetness and light. Somehow the two manage to relate well enough to write songs together although how they accomplish this without killing one another is somewhat of a mystery. This was a problem for me because the author's focus seems to be on David, and David is really hard to identify with or even like very much. He seems to be in a race to self-destruct and you find yourself wishing he'd just get it over with.
The first half of this book is full of (to me) arcane references to songs, bands, and musicians, most which I have never heard of. Of those I have heard of, I never listened to their music because (to me again) they had all the melodic charm of a junkyard car crusher at full throttle. Yes, I am too old to appreciate this. It's not really my fault. I didn't choose when to be born. Some readers will no doubt find that they are too young.
The narrative is placed in the nineties, although some of the musical references date back to the seventies—my era actually, but not my music. The narrow frame of reference just made it doubly hard for me to relate. Ultimately this is a character driven story. It's about people, not music. Honestly, I think the references just get in the way. They certainly slowed me down.
References notwithstanding, for a book about musicians there is not much in here about music in the general sense, the emotive strength of it, its beauty, its power, its transformative grace. These are the kinds of things that I would expect to see driving musicians' personalities, but they seem remarkably absent here and the result is characters who are complicated for the usual reasons but are not really believable as musicians.
Nor is there any humor to speak of. David thinks of himself as a cut-up, but his jokes are mostly cruel sarcasm and insensitive jibes that are just not funny. No one else even tries. So the book plods along to a certain and ignoble end. Then, suddenly, there is a surprise of sorts that is almost pleasant and almost redeems the whole sorry mess. I'll leave it to you to find out what that is, if you're interested, but I'm telling you you're going to have to work to get there.
All that said, this is a competently written tale. The grammar and syntax are excellent. I found only one incorrect word usage in the whole text, and one consistently used punctuation error. The plot, such as it is, moves at a respectable pace. While I struggled with it at the beginning, it was a fairly effortless read by the end. The characters are well drawn and consistent once you get past the fact that it makes no sense they are together.
I really want to give this three stars, but I'm not sure that would be fair. I can't fault the writing for my own inability to identify with the themes or the music. I'm not a post-punk/grunge alt-rock kind of person. I don't get it. So, for the generally good writing and the surprise at the end, I'm giving this four stars. Pretty good. Could have been worse. Could have been better. Not for everyone, but certain to be well received by some—perhaps those who came of age in the nineties.
There is a lot of angst along the way. David is acerbic, self-absorbed, angry, and unpleasant. Aaron is sweetness and light. Somehow the two manage to relate well enough to write songs together although how they accomplish this without killing one another is somewhat of a mystery. This was a problem for me because the author's focus seems to be on David, and David is really hard to identify with or even like very much. He seems to be in a race to self-destruct and you find yourself wishing he'd just get it over with.
The first half of this book is full of (to me) arcane references to songs, bands, and musicians, most which I have never heard of. Of those I have heard of, I never listened to their music because (to me again) they had all the melodic charm of a junkyard car crusher at full throttle. Yes, I am too old to appreciate this. It's not really my fault. I didn't choose when to be born. Some readers will no doubt find that they are too young.
The narrative is placed in the nineties, although some of the musical references date back to the seventies—my era actually, but not my music. The narrow frame of reference just made it doubly hard for me to relate. Ultimately this is a character driven story. It's about people, not music. Honestly, I think the references just get in the way. They certainly slowed me down.
References notwithstanding, for a book about musicians there is not much in here about music in the general sense, the emotive strength of it, its beauty, its power, its transformative grace. These are the kinds of things that I would expect to see driving musicians' personalities, but they seem remarkably absent here and the result is characters who are complicated for the usual reasons but are not really believable as musicians.
Nor is there any humor to speak of. David thinks of himself as a cut-up, but his jokes are mostly cruel sarcasm and insensitive jibes that are just not funny. No one else even tries. So the book plods along to a certain and ignoble end. Then, suddenly, there is a surprise of sorts that is almost pleasant and almost redeems the whole sorry mess. I'll leave it to you to find out what that is, if you're interested, but I'm telling you you're going to have to work to get there.
All that said, this is a competently written tale. The grammar and syntax are excellent. I found only one incorrect word usage in the whole text, and one consistently used punctuation error. The plot, such as it is, moves at a respectable pace. While I struggled with it at the beginning, it was a fairly effortless read by the end. The characters are well drawn and consistent once you get past the fact that it makes no sense they are together.
I really want to give this three stars, but I'm not sure that would be fair. I can't fault the writing for my own inability to identify with the themes or the music. I'm not a post-punk/grunge alt-rock kind of person. I don't get it. So, for the generally good writing and the surprise at the end, I'm giving this four stars. Pretty good. Could have been worse. Could have been better. Not for everyone, but certain to be well received by some—perhaps those who came of age in the nineties.
October 20, 2019
Possessing a creative gift can sometimes seem more like a curse than an asset. Only a small percentage of such people end up “making it”—as in, making a decent living or even better, getting filthy rich—by giving their creative juices free rein. The large majority end up suppressing their creativity so that they can live a “normal” life.
But many adolescents with creative bents dream about being free of the constraints of childhood—mostly parental restrictions and school—longing to pursue their gifts without any restraints. Many (novelists, artists, some musicians) work solo, but those who dream of being part of the next big rock band have to work as part of a team. And that’s where the fun can begin. Sometimes the only thing band members have in common is the love of the music they are playing and the ability to play it (hopefully). Most, if they’re lucky, see some limited success and find an audience who enjoys the products of their creativity. Very, very few make it to the top of the charts—and stay there.
I enjoyed reading this book. It reminded me of my younger days when I was a rock-band addict. In fact, having worked in the editorial department of one of the top rock rags for a short time, the book conjured up memories of some of the tour travel logs, in-depth exposés that followed real touring bands from city to city.
This novel will appeal to some readers, but not all. The author has comprehensive knowledge and seeming close exposure to the alt-rock culture of the 1990s. Some readers will find many of the scenes longer than they need to be. The dialogue is convincing and genuine, at times very funny. But there’s lots of it—more than some readers will enjoy. The commentaries on life in general in those days are incisive, sometimes satirical. It’s hard to believe that this book qualifies as a historical novel, with some events occurring 30 years in the past.
What are some of the themes that every reader can relate to in the book?
The book opens in 1980 in a small town in Alabama with young David, a five-year-old boy victimized by the weaknesses of his parents. His dad, a failed musician, has turned to various substances for relief and does nothing to hide his addictions from his young son, even taking him on bar tours. He has a habit of acquiring and losing wives, including David’s mother. (Later on, David’s dad does turn his life around through rehabilitation, but David is so embittered, he doesn’t rejoice but literally gives his father the finger.) Something happens to his mother when he is still little more than a toddler, something obviously tragic, but the reader isn’t filled in on exactly what right away, which is frustrating. I assumed suicide, but I had to wait all the way to the end to finally find out what had happened to her.
All of this early tragedy makes for an angry and ornery young man with a quick but nasty wit, who manages to acquire and hold on to one friend from childhood, a compassionate boy brought up in a Christian home. Aaron, “a devout Baptist,” is an all-around nice guy. The unlikely pair become friends in elementary school when Aaron comforts and prays with David. He is caring toward elders. And protective of his younger sister, Katie. His one failing is that he suffers from stage fright, at least at the start. Aaron’s dad was a musician, too, a fun-loving Gospel evangelist, who, before his death, traveled from place to place, preaching the Word through music.
Most of the novel is set in the 1990s and follows the lives of young David and Aaron, who, upon their departure from childhood, venture into the alt-rock scene, following their shared love of the music, hoping to achieve success…and maybe, just maybe, lots and lots of money and stardom! This decision is predicated by David’s unceremonious dropping out of college due to perhaps warranted criticism from his English teacher. Aaron hopes to escape the trap of three low-paying menial jobs that are guaranteed to steal his joy of living from him as well as prevent him from making music. Aaron, with a keen sense of family duty, is working hard to fill his deceased father’s shoes and provide for his family after his father dies suddenly in his early 40s.
The boys’ surviving parents are not really enablers in this venture. David feels his father is intentionally trying to cheat him out of the successful career he didn’t have, and their relationship seems to grow worse, if that’s possible—at least on David’s end. Aaron’s mother does not seem very supportive of the band. Perhaps she feels it will threaten her son’s faith, or maybe she would prefer that he continue to work hard to earn a guaranteed income, even if it’s a lot of work for little pay.
Enter Aaron’s younger sister, Katie, who is characterized by her eccentricities and lack of maturity, but who also just happens to be competent on a set of drums. And Aaron and David, who are in the midst of forming their band, South Lee, need a good drummer. David has a bit of a thing for her, despite her childish ways, and enjoys goading Aaron with lewd suggestions regarding her. Out of desperation, in preparation for a tour, David agrees to allow Katie to join the band as their drummer, replacing the automated drum machine that they had been using. Like most bands starting out, they hit the dingy bar circuit. But, fortunately, after cutting a record deal, they begin to see some real success, acceptance—and money.
The chapters are long in this book, the changing scenes are introduced by dates, like a journal. Often, I forgot I was reading a novel, as it felt as if I was reading a journal describing the progression of a real band from obscurity to semi-success. Some readers may find this novel just too detailed in spots, especially in the middle. The author is obviously well familiar with the music scene. Some of the scenes could be tightened without losing much of value.
The familial relationships to which all readers can relate are interspersed throughout the book, starting with young David at the beginning, and perhaps should have been developed more. For example, the scenes showing Aaron and Katie dealing with their shared grief regarding their father’s premature death are good but brief. Or David basically gloating at his dad’s addictions as a result of his failed music career and marriages, only to become an addict himself. But his father’s love for his son only increases as time goes on, a stark contradiction of his son’s enduring bitterness and stubbornly unforgiving attitude. The finale of their relationship presents a stirring contrast to Aaron and Katie’s faithful love for their deceased father. And David realizes how vapid his life has become, empty of anything meaningful. Being consumed by his own hurts and disappointments, David has missed just how much his father loves him. Unfortunately, it takes his dad’s close brush with death and lingering frailties to finally bring the two together permanently.
David and Aaron’s weird, longstanding friendship suffers ups and downs but is really tested after David stands Katie and her new husband up at their wedding ceremony. Their success in music is sporadic. David ends up moving to California in the hopes of making it big, taking on jobs such as a radio-show DJ stint to pay the bills, while Aaron stays put and ends back up at the grocery store, until he marries an Israeli activist and moves to Michigan to operate a battered women’s shelter and ends up broke. But throughout their music career, they are boosted by some critical acclaim and receive royalty income, mainly from collaborating with stars with more commercial success than they have. Toward the end, David suffers a near-fatal encounter, but after a three-month coma wakes up as basically the same ogre. Aaron explains his feelings toward his long-standing friend: "I never hated you. I just refused to deal with your caustic attitude and rampaging ego after a certain point.” Katie, meanwhile, finds America’s brand of bliss as a farmer’s wife and doting mother. In the end, Aaron and David reunite, but not to play music—to help battered women in Michigan. David is introduced to some tragic family situations, especially the one involving a victimized mother, violent father and young, innocent son, which may soften his outlook on life.
Aside from the lessons about the elusiveness of rock stardom, the book challenges the reader to deal with the realities of his or her own family relationships, especially if bitterness lingers. Is it worth it to hold onto childhood hurts and let them shape your relationship with a parent who perhaps failed you in his or her parental responsibilities? Or to let these toxic emotions finally go and try to find something brand new in a relationship between two people who are now both adults? It’s a good set of questions to which many readers will relate.
Well written, well researched and entertaining with some important life lessons but could have been edited into a tighter and faster-paced story.
But many adolescents with creative bents dream about being free of the constraints of childhood—mostly parental restrictions and school—longing to pursue their gifts without any restraints. Many (novelists, artists, some musicians) work solo, but those who dream of being part of the next big rock band have to work as part of a team. And that’s where the fun can begin. Sometimes the only thing band members have in common is the love of the music they are playing and the ability to play it (hopefully). Most, if they’re lucky, see some limited success and find an audience who enjoys the products of their creativity. Very, very few make it to the top of the charts—and stay there.
I enjoyed reading this book. It reminded me of my younger days when I was a rock-band addict. In fact, having worked in the editorial department of one of the top rock rags for a short time, the book conjured up memories of some of the tour travel logs, in-depth exposés that followed real touring bands from city to city.
This novel will appeal to some readers, but not all. The author has comprehensive knowledge and seeming close exposure to the alt-rock culture of the 1990s. Some readers will find many of the scenes longer than they need to be. The dialogue is convincing and genuine, at times very funny. But there’s lots of it—more than some readers will enjoy. The commentaries on life in general in those days are incisive, sometimes satirical. It’s hard to believe that this book qualifies as a historical novel, with some events occurring 30 years in the past.
What are some of the themes that every reader can relate to in the book?
The book opens in 1980 in a small town in Alabama with young David, a five-year-old boy victimized by the weaknesses of his parents. His dad, a failed musician, has turned to various substances for relief and does nothing to hide his addictions from his young son, even taking him on bar tours. He has a habit of acquiring and losing wives, including David’s mother. (Later on, David’s dad does turn his life around through rehabilitation, but David is so embittered, he doesn’t rejoice but literally gives his father the finger.) Something happens to his mother when he is still little more than a toddler, something obviously tragic, but the reader isn’t filled in on exactly what right away, which is frustrating. I assumed suicide, but I had to wait all the way to the end to finally find out what had happened to her.
All of this early tragedy makes for an angry and ornery young man with a quick but nasty wit, who manages to acquire and hold on to one friend from childhood, a compassionate boy brought up in a Christian home. Aaron, “a devout Baptist,” is an all-around nice guy. The unlikely pair become friends in elementary school when Aaron comforts and prays with David. He is caring toward elders. And protective of his younger sister, Katie. His one failing is that he suffers from stage fright, at least at the start. Aaron’s dad was a musician, too, a fun-loving Gospel evangelist, who, before his death, traveled from place to place, preaching the Word through music.
Most of the novel is set in the 1990s and follows the lives of young David and Aaron, who, upon their departure from childhood, venture into the alt-rock scene, following their shared love of the music, hoping to achieve success…and maybe, just maybe, lots and lots of money and stardom! This decision is predicated by David’s unceremonious dropping out of college due to perhaps warranted criticism from his English teacher. Aaron hopes to escape the trap of three low-paying menial jobs that are guaranteed to steal his joy of living from him as well as prevent him from making music. Aaron, with a keen sense of family duty, is working hard to fill his deceased father’s shoes and provide for his family after his father dies suddenly in his early 40s.
The boys’ surviving parents are not really enablers in this venture. David feels his father is intentionally trying to cheat him out of the successful career he didn’t have, and their relationship seems to grow worse, if that’s possible—at least on David’s end. Aaron’s mother does not seem very supportive of the band. Perhaps she feels it will threaten her son’s faith, or maybe she would prefer that he continue to work hard to earn a guaranteed income, even if it’s a lot of work for little pay.
Enter Aaron’s younger sister, Katie, who is characterized by her eccentricities and lack of maturity, but who also just happens to be competent on a set of drums. And Aaron and David, who are in the midst of forming their band, South Lee, need a good drummer. David has a bit of a thing for her, despite her childish ways, and enjoys goading Aaron with lewd suggestions regarding her. Out of desperation, in preparation for a tour, David agrees to allow Katie to join the band as their drummer, replacing the automated drum machine that they had been using. Like most bands starting out, they hit the dingy bar circuit. But, fortunately, after cutting a record deal, they begin to see some real success, acceptance—and money.
The chapters are long in this book, the changing scenes are introduced by dates, like a journal. Often, I forgot I was reading a novel, as it felt as if I was reading a journal describing the progression of a real band from obscurity to semi-success. Some readers may find this novel just too detailed in spots, especially in the middle. The author is obviously well familiar with the music scene. Some of the scenes could be tightened without losing much of value.
The familial relationships to which all readers can relate are interspersed throughout the book, starting with young David at the beginning, and perhaps should have been developed more. For example, the scenes showing Aaron and Katie dealing with their shared grief regarding their father’s premature death are good but brief. Or David basically gloating at his dad’s addictions as a result of his failed music career and marriages, only to become an addict himself. But his father’s love for his son only increases as time goes on, a stark contradiction of his son’s enduring bitterness and stubbornly unforgiving attitude. The finale of their relationship presents a stirring contrast to Aaron and Katie’s faithful love for their deceased father. And David realizes how vapid his life has become, empty of anything meaningful. Being consumed by his own hurts and disappointments, David has missed just how much his father loves him. Unfortunately, it takes his dad’s close brush with death and lingering frailties to finally bring the two together permanently.
David and Aaron’s weird, longstanding friendship suffers ups and downs but is really tested after David stands Katie and her new husband up at their wedding ceremony. Their success in music is sporadic. David ends up moving to California in the hopes of making it big, taking on jobs such as a radio-show DJ stint to pay the bills, while Aaron stays put and ends back up at the grocery store, until he marries an Israeli activist and moves to Michigan to operate a battered women’s shelter and ends up broke. But throughout their music career, they are boosted by some critical acclaim and receive royalty income, mainly from collaborating with stars with more commercial success than they have. Toward the end, David suffers a near-fatal encounter, but after a three-month coma wakes up as basically the same ogre. Aaron explains his feelings toward his long-standing friend: "I never hated you. I just refused to deal with your caustic attitude and rampaging ego after a certain point.” Katie, meanwhile, finds America’s brand of bliss as a farmer’s wife and doting mother. In the end, Aaron and David reunite, but not to play music—to help battered women in Michigan. David is introduced to some tragic family situations, especially the one involving a victimized mother, violent father and young, innocent son, which may soften his outlook on life.
Aside from the lessons about the elusiveness of rock stardom, the book challenges the reader to deal with the realities of his or her own family relationships, especially if bitterness lingers. Is it worth it to hold onto childhood hurts and let them shape your relationship with a parent who perhaps failed you in his or her parental responsibilities? Or to let these toxic emotions finally go and try to find something brand new in a relationship between two people who are now both adults? It’s a good set of questions to which many readers will relate.
Well written, well researched and entertaining with some important life lessons but could have been edited into a tighter and faster-paced story.
January 22, 2021
Not the typical rocker story and that is a good thing. I don't know why exactly, but I love a good underdog rocker story. Now, I prefer an 80s rock band. Since this band was in the grunge era, they took a lot of cheap shots at the music I adore. That didn't take away from a great story. The best part was the characters. They felt like real people and they weren't totally devoted to one thing. David was a jerk. Katie was quirky. Aaron was a vanilla pushover. Their banter carried the story. The rest of my review will contain spoilers.
The Good.
The intro was outstanding. I loved the thought of a five-year-old freaking out at The Empire Strikes Back of all things.
I also enjoyed the casual banter during the Blood Tournament fighting video game. I recently finished the story mode for MK 11, so it made me think of the original.
Katie became the drummer because of hatred of a drum machine. This should have been an obvious declaration. Since Katie was my favorite character, it made it that much better when she could make David squirm.
James was another great character, especially when he put the barely tolerable David in check. The James/David banter was right up there with the Katie/David banter.
Speaking of banter, the Greg and Tony show had another great example of exceptional dialogue. The Greg lesson after also gave a lot of inspiration for the major characters and helped explain why some would choose to live their lives away from music.
David working as a DJ was the best use of his character. Talking with his boss about playing songs that only gave high school nostalgia was probably my favorite scene in the book.
David and Ashley collaborating. Though the connection with Ashley was way too coincidental for me to accept it.
The Bad.
Angelica was treated poorly and there seemed to be barely any concern. I feel Katie would have picked up when Aaron quit.
The constant belittling of 80s music. I'm not gonna lie, it hurt this forty-year-old man.
It was hard to like David. Not even his arc could get me to come around. It was like putting out a fire after he started it and several people died.
David lost instruments in an obvious con. A stroke of luck got the gear back. No police are involved. No other characters learn of it. The incident had so much potential and it felt more like a scene that was never finished and should have been eliminated from the story. ACTUALLY, it should have had many more lasting repercussions and arguments.
I didn't like Yafit, nor how Aaron became around her. The Scott and Katie relationship was much better.
The ending was rather abrupt. In fact, the final 25% or so ignored the whole rocker angle the rest of the book had. I thought an interview with the actual author at the end was part of the book because there wasn't really a break between them.
The Technical.
There is profanity.
It is third person omniscient.
There is a brutal pet death.
The Good.
The intro was outstanding. I loved the thought of a five-year-old freaking out at The Empire Strikes Back of all things.
I also enjoyed the casual banter during the Blood Tournament fighting video game. I recently finished the story mode for MK 11, so it made me think of the original.
Katie became the drummer because of hatred of a drum machine. This should have been an obvious declaration. Since Katie was my favorite character, it made it that much better when she could make David squirm.
James was another great character, especially when he put the barely tolerable David in check. The James/David banter was right up there with the Katie/David banter.
Speaking of banter, the Greg and Tony show had another great example of exceptional dialogue. The Greg lesson after also gave a lot of inspiration for the major characters and helped explain why some would choose to live their lives away from music.
David working as a DJ was the best use of his character. Talking with his boss about playing songs that only gave high school nostalgia was probably my favorite scene in the book.
David and Ashley collaborating. Though the connection with Ashley was way too coincidental for me to accept it.
The Bad.
Angelica was treated poorly and there seemed to be barely any concern. I feel Katie would have picked up when Aaron quit.
The constant belittling of 80s music. I'm not gonna lie, it hurt this forty-year-old man.
It was hard to like David. Not even his arc could get me to come around. It was like putting out a fire after he started it and several people died.
David lost instruments in an obvious con. A stroke of luck got the gear back. No police are involved. No other characters learn of it. The incident had so much potential and it felt more like a scene that was never finished and should have been eliminated from the story. ACTUALLY, it should have had many more lasting repercussions and arguments.
I didn't like Yafit, nor how Aaron became around her. The Scott and Katie relationship was much better.
The ending was rather abrupt. In fact, the final 25% or so ignored the whole rocker angle the rest of the book had. I thought an interview with the actual author at the end was part of the book because there wasn't really a break between them.
The Technical.
There is profanity.
It is third person omniscient.
There is a brutal pet death.
November 24, 2019
"Yeah, Shut Up" wasn't an effortless read for me. It's probably because I realized, early on through the book, that I don't quite fall into the book's target audience -- I'm rather clueless about the alt-rock scene, and just about all the references and innuendos of the time that this book is chock-full of sadly flew over my head. For music lovers of this genre, though, I think it would be a true delight and, probably, a much-savored walk down memory lane.
That said, this book is truly commendable as a piece of literary work. Its style, to me, was sometimes reminiscent of Hemingway, Fitzgerald, and even Kerouac; the narrative shines a light on a reality that's deciphered as bleak, sometimes meaningless, and almost always best faced with a fierce "f**k you" response filled with a bravado that masks the hurts and betrayals felt by one's soul thanks to an ungrateful and unforgiving world.
It's undeniably well-written, with heart-wrenching dialogue and a masterful portrayal of human character. Even the rather unlikeable protagonist--an anti-hero of sorts, really--is crafted meticulously, from his very first scene as a five-year-old attending a scary movie with an unsympathetic father, in a way that explains and almost justifies his adult personality as we're swept away on a chronological journey through the highs and lows of his personal and professional life. Kendall's descriptions of relationships--familial, romantic--are often compact, concise, and terrifically insightful (and melancholy, of course), and those are what captivated me most as I glazed over the musical subject matter.
That said, this book is truly commendable as a piece of literary work. Its style, to me, was sometimes reminiscent of Hemingway, Fitzgerald, and even Kerouac; the narrative shines a light on a reality that's deciphered as bleak, sometimes meaningless, and almost always best faced with a fierce "f**k you" response filled with a bravado that masks the hurts and betrayals felt by one's soul thanks to an ungrateful and unforgiving world.
It's undeniably well-written, with heart-wrenching dialogue and a masterful portrayal of human character. Even the rather unlikeable protagonist--an anti-hero of sorts, really--is crafted meticulously, from his very first scene as a five-year-old attending a scary movie with an unsympathetic father, in a way that explains and almost justifies his adult personality as we're swept away on a chronological journey through the highs and lows of his personal and professional life. Kendall's descriptions of relationships--familial, romantic--are often compact, concise, and terrifically insightful (and melancholy, of course), and those are what captivated me most as I glazed over the musical subject matter.
August 9, 2019
The story follows a trio of small town dreamers who try to use music as their way out. Clearly the author knows A LOT about the music industry, everything from touring to making records. If not familiar with this territory first hand, then he did a heck of a job with his research.
The characters are fully realized and one is a jerk. Not an irredeemable jerk, but close. Not many authors are brave enough to build a story around an unlikable character, but this story pulls the trick off. I kept rooting for the jerk clear to the end.
I found the story a bit long, but perhaps my attention span is too short. Readers who are into the music scene, especially alternative rock, will be fascinated. People who are interested in the development of character over time will also like this book. I loved it for the language, wit, and the black humor
The characters are fully realized and one is a jerk. Not an irredeemable jerk, but close. Not many authors are brave enough to build a story around an unlikable character, but this story pulls the trick off. I kept rooting for the jerk clear to the end.
I found the story a bit long, but perhaps my attention span is too short. Readers who are into the music scene, especially alternative rock, will be fascinated. People who are interested in the development of character over time will also like this book. I loved it for the language, wit, and the black humor
February 20, 2021
This is the third Gene Kendall book I've read and, so far, my favorite. The characters are well described and their dialog and behavior aptly fit their role in this tragic story.
The story of the rise and fall of a garaage band is peppered with authentic protrayals of drug and alcohol abuse, spousal abuse, and rock band dynamics and risks. The author artfully takes the reader on this roller coaster ride.
I sensed the pain that made David, one of the band members, such an obstinate, uncaring person and the patience shown by the other members despite his meanness. I sensed the tensions of all throughout this story. There is an unexpected ending.
I recommend it to anyone.
The story of the rise and fall of a garaage band is peppered with authentic protrayals of drug and alcohol abuse, spousal abuse, and rock band dynamics and risks. The author artfully takes the reader on this roller coaster ride.
I sensed the pain that made David, one of the band members, such an obstinate, uncaring person and the patience shown by the other members despite his meanness. I sensed the tensions of all throughout this story. There is an unexpected ending.
I recommend it to anyone.
January 26, 2020
David, Aaron and Katie are chasing their dreams to make it in the competitive music industry of 80's playing alternative rock. All three are young. David, the protagonist, is self-absorbed, conceited and acts like a jerk most of the time, lacking compassion for anyone other than himself. Aaron is his best friend, who writes most of their songs. He's easy-going and puts up with Aaron's antics. Katie is the tag-along—Aaron's younger sister and their drummer. The three hope to make it big and escape their smalltown existence. When a promoter hears them perform and offers to tape a demo for them, it looks like they're on their way. Or are they?
The backdrop for the story was interesting—the ins-and-outs of the music industry. The characters are well- drawn. The dialogue is realistic. Some of the black humor is downright funny. It's well written. My problem is that I did not like spending time with the main character. He is exactly the kind of person I try to avoid and for me this made the book seem overlong. I'm sure fans of nostalgic alternative rock will enjoy Yeah, Shut up. For that reason, I give this 4 stars.
The backdrop for the story was interesting—the ins-and-outs of the music industry. The characters are well- drawn. The dialogue is realistic. Some of the black humor is downright funny. It's well written. My problem is that I did not like spending time with the main character. He is exactly the kind of person I try to avoid and for me this made the book seem overlong. I'm sure fans of nostalgic alternative rock will enjoy Yeah, Shut up. For that reason, I give this 4 stars.
March 2, 2017
Bleak.
This novel follows David and Aaron as they start a band, make some noise, lose their way and drift apart.
If you like to go down memory lane of jamming in a generic garage, or waking up from the suburban American Dream with a hollow hangover, this is the book for you. The writing is smooth, the characters next-door believable and the dialogue poignantly acerbic.
The story rambles on though, from one seedy scene to another, superficially scratching the surface of deeper issues like domestic violence, parental neglect, misogyny, substance abuse, the value of friendship, the dark side of the entertainment industry, the fickleness of fame, the meaninglessness of meaninglessness....
All along, David doggedly remains a self-centered jerk, and it’s a wonder even spineless selfless Aaron puts up with him at all. The only character that didn’t grate on my nerves like a dissonant distorted guitar was barely there flaky Katie, until she unfortunately grew up to have babies.
Like the music of the protagonists, this book may be good or even great, it’s just not my scene.
This novel follows David and Aaron as they start a band, make some noise, lose their way and drift apart.
If you like to go down memory lane of jamming in a generic garage, or waking up from the suburban American Dream with a hollow hangover, this is the book for you. The writing is smooth, the characters next-door believable and the dialogue poignantly acerbic.
The story rambles on though, from one seedy scene to another, superficially scratching the surface of deeper issues like domestic violence, parental neglect, misogyny, substance abuse, the value of friendship, the dark side of the entertainment industry, the fickleness of fame, the meaninglessness of meaninglessness....
All along, David doggedly remains a self-centered jerk, and it’s a wonder even spineless selfless Aaron puts up with him at all. The only character that didn’t grate on my nerves like a dissonant distorted guitar was barely there flaky Katie, until she unfortunately grew up to have babies.
Like the music of the protagonists, this book may be good or even great, it’s just not my scene.
September 10, 2019
Yeah, Shut Up.
A small young band is eager to become well known and famous by selling records for a living. David, a gobby young lad who mainly had to drag himself up as his dad is unreliable and irresponsible with failed relationships and doesn't appear to take his son's dreams seriously, forms a band with Aaron his best mate, and Melody his sister. The story reflects how hard it is to break into the record industry
as an indie and how well connected you need to be sometimes as well as the fraught relationships between music fellows trying to make it and the competition they face in the music world.
The characters leap off the page and if you've been involved in music yourself you feel you are connecting to the characters on a personal level and not just running with these people on a narrative
level. It's deeper than that; it's emotional, it's tough, sometimes sad, but very real. If you are a musician or a hopeful you are bound to empathise with the characters. A great read.
A small young band is eager to become well known and famous by selling records for a living. David, a gobby young lad who mainly had to drag himself up as his dad is unreliable and irresponsible with failed relationships and doesn't appear to take his son's dreams seriously, forms a band with Aaron his best mate, and Melody his sister. The story reflects how hard it is to break into the record industry
as an indie and how well connected you need to be sometimes as well as the fraught relationships between music fellows trying to make it and the competition they face in the music world.
The characters leap off the page and if you've been involved in music yourself you feel you are connecting to the characters on a personal level and not just running with these people on a narrative
level. It's deeper than that; it's emotional, it's tough, sometimes sad, but very real. If you are a musician or a hopeful you are bound to empathise with the characters. A great read.
February 10, 2020
If your musical tastes, like mine, were shaped by the indie rock of the early '90s, you're going to love this book. Sharp, witty and incisive, Kendall's writing is reminiscent of Nick Hornby.
Music brings David and Aaron together and it drives them apart. It's the shared vocabulary that defines their lives. Kendall really brings the characters to life and his dialogue crackles.
"Yeah, Shut Up" takes you on a tour of three decades of the music industry but, at every step, it remains always rooted in the reality of its characters, their connections and their shortcomings.
Music brings David and Aaron together and it drives them apart. It's the shared vocabulary that defines their lives. Kendall really brings the characters to life and his dialogue crackles.
"Yeah, Shut Up" takes you on a tour of three decades of the music industry but, at every step, it remains always rooted in the reality of its characters, their connections and their shortcomings.
August 7, 2019
Beautifully written. The book is easy to follow and flows nicely. It shows development of characters through their lives and takes on a very challenging task of giving making them three dimensional characters .
The characters and their interrelationships are believable. The book can be a joyful experience for music lovers.
The characters and their interrelationships are believable. The book can be a joyful experience for music lovers.
March 6, 2017
An interesting retro look at two guys with a band trying to make it in the music business. The book starts in the seventies and continues up through the 2000's. I'm not really old enough to appreciate all of the music nostalgia from the 70's and 80's but I did remember some of the 90's boy band craze stuff.
David and Aaron are friends who start a band somewhere around the late 80's/early 90's, bringing in Aaron's geeky sister Katie as the drummer. They continue along this road for some time, releasing an album, touring, and eventually pursuing solo careers, all without much commercial success. (The moral of the story: There is no money to be made in the band business for the vast majority of people, talented or not.)
Being a geek myself, I found Katie the most relatable character, but sadly, she had the worst storyline, getting married and moving to a farm and having a bunch of kids. So boring.
David is kind of a jerk but you understand why he is how he is, and in some ways he's more likable than Aaron, who is sometimes annoying because he's just too nice.
There were some great scenes, including one where a drunken David gets all the band equipment stolen, then hitches a ride with the band's only super fan, then finds the people who jacked the equipment, then winds up in a drunken brawl when the cops show up. However, my main problem with this story is the plot was thin and didn't really go anywhere for much of the book. I would have preferred a little more tension in the story, something to really make me want to turn the page. This isn't that book. The ending was also a little disappointing and anticlimactic.
However, if you don't mind the lack of a strong plot, and you just want to read a book with interesting characters and a lot of music nostalgia from the past and some fun scenes, you will probably enjoy this book.
David and Aaron are friends who start a band somewhere around the late 80's/early 90's, bringing in Aaron's geeky sister Katie as the drummer. They continue along this road for some time, releasing an album, touring, and eventually pursuing solo careers, all without much commercial success. (The moral of the story: There is no money to be made in the band business for the vast majority of people, talented or not.)
Being a geek myself, I found Katie the most relatable character, but sadly, she had the worst storyline, getting married and moving to a farm and having a bunch of kids. So boring.
David is kind of a jerk but you understand why he is how he is, and in some ways he's more likable than Aaron, who is sometimes annoying because he's just too nice.
There were some great scenes, including one where a drunken David gets all the band equipment stolen, then hitches a ride with the band's only super fan, then finds the people who jacked the equipment, then winds up in a drunken brawl when the cops show up. However, my main problem with this story is the plot was thin and didn't really go anywhere for much of the book. I would have preferred a little more tension in the story, something to really make me want to turn the page. This isn't that book. The ending was also a little disappointing and anticlimactic.
However, if you don't mind the lack of a strong plot, and you just want to read a book with interesting characters and a lot of music nostalgia from the past and some fun scenes, you will probably enjoy this book.
This entire review has been hidden because of spoilers.
January 20, 2017
A couple of kids want to start a rock band as they are going nowhere. Aaron laments the recent death of his father and the fact that his friend and band mate, David, is lusting after a presumably younger sister. Okay, so the first couple of chapters are all about music, how to play music, stealing CDs containing music, bands that rock and those that don’t and I’m quickly bored. If something doesn’t change soon, this is going to be tedious. After a while, I come up with an idea to pass the time, I’ll record each page that does not mention music, instruments or bands. Around page 35, I thought I had a winner, but the author writes the word guitar about the second to the last word on the page. Okay, I get it, the author is into music and probably plays in a band, and he thinks everybody is like-minded. So, the band comes together, and of course, the little sister is the drummer. I’m betting they get famous next. And just like that, they find bookings in half-filled clubs, at first as the Dickless Fairies, hoping some rednecks will punch them on tape and they’ll become famous. When that doesn’t work, they meet a record producer who just happens to be thinking about starting his own label...Hey, guess what? Stan calls them and loves their stuff. Okay, so far this book is about a cliché as you can get for rags to riches rock and roll story. Think Rock Star without the stand in for old lead singer angle. But I read on as I’m obligated to do. Somehow the name of the band gets changed to South Lee, which makes less sense that the old name, which was at least provocative. So they cut an album, and I’m betting it’s a breakout hit, (points for me if the author uses that term). It turns out David’s father is in rehab, and he visits him there to gloat because of the album—so there’s some additional drama there. At this point, take on the mission of charting the trajectory of this story to see if it covers all the cliché bases and will annotate when it does or does not do so. It will help pass the time. Stan has them signed a contract that his lawyer reviewed. I can see where this is going and will check back in when they’re screwed by the contract. Oh, wait, they make a music video, and David sends his dad a CD of their new album—this could be the scene in the movie when they do a sequence of shots to annotate their rags to riches rise. I guess I wouldn’t be letting the cat out of the bag to say that this book is not my cup of tea or my bailiwick, it’s not something I would ever read by choice, and I’m definitely not a fan, but if you’re into bands and rags to riches rock and roll stories, though you may be and if you are, please give it a read.
January 14, 2017
Oh, boy, what a relief! - it's funny, crack up and laugh out loud funny.
Wonderfully present. The interplay of 'Blood Tournament' and an alert discussion of which music the guys should consider more seriously is an effortless and amazing scene of parallel action, topped off: “Sorry, Aaron, I’d love to debate music with ya, but your little sister just sodomized me and I have to go home now.”
Another huge laugh when Katie is solicited to join the band as a drummer. This guy writes wonderful dialogue, and his exposition is quick, cuts deeply and brightly. Anything can happen now and I'd believe it.
"On a gray, sticky June morning..." Yowsuh! Kendall can write like Fitzgerald, a natural gift for exactly the right tone poem, tossed off as a matter of no particular consequence. Dude gets 5 stars with no courtesy or regret, first and only time someone actually deserves it. Referencing Raymond Chandler made me consider 6 stars. Use your imagination to see six, okay?
Deep into the second act of this excellent drama, I had to acknowledge that Mr. Kendall's command of characterization is a marvel of popular fiction, richly deserving to be far more popular, preferably in hardcover on YA library shelves from coast to coast.
The ending hurt. That's an author's prerogative, no quarrel.
Wonderfully present. The interplay of 'Blood Tournament' and an alert discussion of which music the guys should consider more seriously is an effortless and amazing scene of parallel action, topped off: “Sorry, Aaron, I’d love to debate music with ya, but your little sister just sodomized me and I have to go home now.”
Another huge laugh when Katie is solicited to join the band as a drummer. This guy writes wonderful dialogue, and his exposition is quick, cuts deeply and brightly. Anything can happen now and I'd believe it.
"On a gray, sticky June morning..." Yowsuh! Kendall can write like Fitzgerald, a natural gift for exactly the right tone poem, tossed off as a matter of no particular consequence. Dude gets 5 stars with no courtesy or regret, first and only time someone actually deserves it. Referencing Raymond Chandler made me consider 6 stars. Use your imagination to see six, okay?
Deep into the second act of this excellent drama, I had to acknowledge that Mr. Kendall's command of characterization is a marvel of popular fiction, richly deserving to be far more popular, preferably in hardcover on YA library shelves from coast to coast.
The ending hurt. That's an author's prerogative, no quarrel.
November 29, 2016
Why do some struggling bands make it big, while others are swallowed up by circumstances? Yeah, shut up., by Gene Kendall starts you with the young lives of Aaron (a Southern Baptist preacher’s kid) and David (a kid from a dysfunctional home) as they grow and build a band together.
There is a lot of work and middle men that goes into making an album and Aaron and David find out that once the band disperses it is hard to get it back together since life takes them in different directions.
I found this book slow at times, but realistic. Life has ups and downs, with major, life changing events thrown into the mix. My favorite part of the book would be when David stepped up to responsibility after making fun of Aaron all these years. Being an adult isn’t as glamorous as a rock star.
There is a lot of work and middle men that goes into making an album and Aaron and David find out that once the band disperses it is hard to get it back together since life takes them in different directions.
I found this book slow at times, but realistic. Life has ups and downs, with major, life changing events thrown into the mix. My favorite part of the book would be when David stepped up to responsibility after making fun of Aaron all these years. Being an adult isn’t as glamorous as a rock star.
April 2, 2017
A Melody of Lost Dreams.
This book is, in all, a sad story about Life getting in the way of a lust for stardom. Two musically minded friends hardly out of school yearn to start a career in the 1990s alt-rock scene. Later, the sister of one of them joins to make it a trio. From then on the author takes the reader through their rough and tumble beginnings, their playing second rate gigs, their step by step climb, their waiting and believing, their getting more proficient as far as techniques are concerned, until the moment when a manager takes an interest in them and success seems within reach. But from then on their dreams are tested to the full.
The three main characters are developed over long sequences and rambling episodes which might be interesting for rock fans but which provide only a passing interest for the general reader. Neither the fate of the leading figures nor the interplay of their roles creates any real tension. And they are only mildly interesting. Also, the situations they find themselves in are rarely suspenseful. As soon as part of the story begins to get interesting, the author inexplicably jumps to something else. And the story plods on. Oddly, the author appears to be avoiding suspense and drama. And in the second half the author treats us to long descriptions of the alt-rock and background filler stuff.
Unfortunately, much of the storyline is cliched and predictable. The author gives a blow-by-blow version of why the music business is hard to break into. But his main characters, David and Aaron, did get a sniff at going mainstream - but blew it. As David is an unpleasant, cynical creation and irresponsible, his sinking into anonymity left me indifferent. In the book's blurb, the author describes his book as containing, "All the fun you'd ever hope to find in a fictitious account of a 1990s alt-rock band almost going mainstream." I didn't find this book fun at all; if anything it is a sad story without any real laughs – which is a shame. It has so much potential to be a satire or a comedy-drama - and an outstanding read.
The book, however, is decently written, easy to read and the topography top-notch. Technically, the author has done his homework well and his love for alt-rock is obvious by the knowledge of artists, background and his prose when comparing it to other forms of rock. So if alt-rock and the 1990s music scene are your thing, or if you are just curious, you will certainly get your money's worth reading this book.
This book is, in all, a sad story about Life getting in the way of a lust for stardom. Two musically minded friends hardly out of school yearn to start a career in the 1990s alt-rock scene. Later, the sister of one of them joins to make it a trio. From then on the author takes the reader through their rough and tumble beginnings, their playing second rate gigs, their step by step climb, their waiting and believing, their getting more proficient as far as techniques are concerned, until the moment when a manager takes an interest in them and success seems within reach. But from then on their dreams are tested to the full.
The three main characters are developed over long sequences and rambling episodes which might be interesting for rock fans but which provide only a passing interest for the general reader. Neither the fate of the leading figures nor the interplay of their roles creates any real tension. And they are only mildly interesting. Also, the situations they find themselves in are rarely suspenseful. As soon as part of the story begins to get interesting, the author inexplicably jumps to something else. And the story plods on. Oddly, the author appears to be avoiding suspense and drama. And in the second half the author treats us to long descriptions of the alt-rock and background filler stuff.
Unfortunately, much of the storyline is cliched and predictable. The author gives a blow-by-blow version of why the music business is hard to break into. But his main characters, David and Aaron, did get a sniff at going mainstream - but blew it. As David is an unpleasant, cynical creation and irresponsible, his sinking into anonymity left me indifferent. In the book's blurb, the author describes his book as containing, "All the fun you'd ever hope to find in a fictitious account of a 1990s alt-rock band almost going mainstream." I didn't find this book fun at all; if anything it is a sad story without any real laughs – which is a shame. It has so much potential to be a satire or a comedy-drama - and an outstanding read.
The book, however, is decently written, easy to read and the topography top-notch. Technically, the author has done his homework well and his love for alt-rock is obvious by the knowledge of artists, background and his prose when comparing it to other forms of rock. So if alt-rock and the 1990s music scene are your thing, or if you are just curious, you will certainly get your money's worth reading this book.
April 6, 2017
"Yeah, Shut Up" is a funny, fast-paced and sometimes poignant study of the 1990's alt-rock scene. I got pretty heavily into indie/rock music myself as a young teenager in the (mid-late) 90s, and so the subject matter appealed instantly. I found the book somewhat parodic but also quite warm and affectionate, with myriad references to contemporary bands as well as the broader pop culture scene during the period. The late 90s are particularly interesting as they mark the transitional point at which local music scenes and traditional record deals gave way to the broadband internet/social media et al which so thoroughly fragmented the marketplace. Deliberate or not, the somewhat melancholic tone of the final few chapters seemed representative of a passing era.
The book is anchored effectively by its central characters. I found the dialogue funny, convincing and consistent throughout, and had really warmed to the central pair by the end. The author conjures up a number of poignant, arresting images, particularly during the climax.
This is a thoroughly entertaining book, and I would recommend it to anyone with even a passing interest in the subject matter.
The book is anchored effectively by its central characters. I found the dialogue funny, convincing and consistent throughout, and had really warmed to the central pair by the end. The author conjures up a number of poignant, arresting images, particularly during the climax.
This is a thoroughly entertaining book, and I would recommend it to anyone with even a passing interest in the subject matter.
Displaying 1 - 18 of 18 reviews