Sean O'Brien and His Dirty Hands

San Fran rocker Sean O’Brien has been on the scene long enough to perfect his craft, having cut his teeth with the so-called “paisley underground” (notably as a member of the Davis, Calif., legends True West) and collaborated with a host of likeminded vets. His current touring band includes Camper Van Beethoven’s Greg Lisher, while the new Risk Profile album features Matt Boudreau on drums, Tom Hofer on bass and such guests as Lisher and musicians from Four Non Blondes, Engine 88 and Penelope Houston’s band. This spells a recipe in confidence and finesse, with O’Brien stepping decisively up to the songwriting plate.

He swings for the fences right away with “Rehabilitated (I Want You),” all angular guitars and edgy rhythms. Then in rapid succession he essays woozy psychedelia (“Final Say”), jangly pop (“How I Hate That Hand”), and choogling rock (“I Can’t Say No”). There are also moments of expansive, atmospheric cinema, such as the brooding “Torn Down & Hauled Away,” which is complemented by the smokey, piano-based lounge-jazz of “The Addict Demands.” And with an unexpected foray into electronica called, teasingly “The Sugar Will Do You In” near the end the album ultimately comes across as one of the most delightfully diverse — schizoid, even — releases to date this year. It’s almost as if O’Brien had so much he wanted to say in the relatively short space of a lone album, he decided to make the most of his forum and get a little bit of everything on the table.

That may mean that some newcomers to O’Brien’s music will be confused, but patience and repeated listens will pay off, in spades. And for those of us who have followed him over the years, the musical buffet is the kind of sonic nourishment we can cherish. More, please. - Fred Mills - Blurt Magazine - Blurt Online

'Risk Profile' is the latest long player from Sean O'Brien and His Dirty Hands, and follows on from 2012's 'Future Harvest' which I reviewed for W&H back then. However, this album is different, as it marks the first without Dirty Hands' guitarist and co-producer Jeff Kane, who sadly passed away, and to whom this album is dedicated. Sean says “There wasn't a day I didn't think of Jeff in writing and recording the new album” and it shows. Jeff casts a long shadow over this album, which features some excellent post-punk style tracks, along with tracks that broadly fall within the Americana bracket. For those of you who prefer to take your music digitally (I don't) there is the added bonus of an extended version of this album; a 'Deluxe Edition', which as well as the album itself, features studio out-takes, the 'Tribute to Jeffrey Kane' E.P. which was released last year and four live tracks from a KDVS broadcast in Davis, California: the station being of special significance as it was the site of Sean's first recording session over thirty years ago. The CD version of 'Risk Profile' contains twelve tracks, with Sean on vocals and guitars; Tom Hofer on bass and vocals, and Matt Boudreau on drums, percussion and vocals, and opens with the thunderous 'Rehabilitated (I Want You)', with pounding drums and jerky guitar lines. This is a track that could easily have stepped straight right out of 1978, and if it had been slipped into a vintage new wave compilation, I'm sure most people would not have found it out of place. The atmosphere is heightened by the disaffected, isolated lyrics: - “You better stop or it will be over, you better stop or it will be done/ Are we friends or former lovers? I guess I just don't know anymore”.

Whilst the music on this track is classic post-punk, the vocal delivery is more along the lines of David Byrne in classic Talking Heads mode. Although most of the tracks fall roughly between two genres, with 'The Addict Demands', Sean creates a track that will leave people with jaws dropping in surprise. This is a slow jazzy number which is piano based (courtesy of Rob Reich), and comes across as tender and understanding of a difficult position: - “Baby you know my discovery, is to be held in your hands/ On my knees in recovery, the poor addict demands/ And the craving is just awful, and I'm too weak for a fight/ But you're no fool my baby, at least not tonight/ You must take care of yourself”. Once again, Sean has produced a strong album, coming through and triumphing, despite adversity and loss. Jeff Kane would certainly have been proud of this. It is the perfect tribute. - Nick Browne - Whisperin' and Hollerin' - Ireland - Whisperin' and Hollerin' - Ireland

It’s getting to be a habit for the Paisley Underground veteran Sean O’Brien – Future Harvest being another diverse collection, well up to the mark of the previous Goodbye Game and Seed Of Mayhem. Joined by earlier collaborators along with the maverick popster Chris Von Sneidern, he confidently explores and expands his horizons. If there’s a concept here, it’s to do with the world he ponders bequeathing to his children. The title track addresses artificial and GM farming, while throughout run strong undercurrents of disquiet and regret. Not that he’s going meekly: opener “Shadow Sharks”, a view from age, is raucous, rocking power pop, raging against any dying of the light, while “River of Greed” harnesses an impressive Gun Club vibe and keeps it real. Increasingly clear, however, is that what he does best is gravitas. Cale-like baritone combined with Cohenesque phrasing makes songs like “A Thorny Path”, with Magik*Magik Orchestra string quartet, “Privatized’, and “Sister, I Have Fallen’ replete with girl singers, among the standouts. “Leaves”, a long, country-tinged ballad about parting and upheaval, with keening steel from Max Butler, and O-Lan Jones and Von Sneidern providing vocal support, is a genuine classic. – Nick West – R2 (Rock ‘n Reel) – UK – July 2012. - R2 (Rock ‘n Reel) – UK

Though his voice sounds unnaturally high in the opener, Sean O'Brien is a capable rock singer and an excellent cobbler of lyrics. The subject in "River of Greed" wears a seersucker suit and sings about a crisis of faith; an article of clothing is besmirched in "The Dress of Tara Jane." While O'Brien's music seldom strays from a conventional rock template, it does have its moments — namely, "A Thorny Path," which features strings by Magik*Magik Orchestra. (First Cold Press) - East Bay Express

Four years ago I reviewed "Goodbye Game" by Sean O'Brien And His Dirty Hands, which, if memory serves, I described as an album of solid entertainment, referencing Dave Edmunds, Dodgy and Shakin' Stevens. Sean's new one "Future Harvest" is essentially in the same ballpark; a full band, rock-pop songs, crashing drums and riffing guitars. 'Shadow Sharks' is big and beaty, 'Advice Coming In' adds Hammond organ to the mix, while the title track is retro 'fifties style - a return to Edmunds. 'A Thorny Path' is an acoustic delight and the album highlight, not least in its gorgeous string quartet backing. 'Leaves' goes into country'n'western territory, 'Your First Clue' returns to rock, 'The Dress Of Tara Jane' is out-and-out US country, while 'Not Always So' returns to riffing rock. Album closer 'Sister, I Have Fallen' appears to be a confession of some kind. An album of solid entertainment, albeit rather more US-leaning than last time, and so, perhaps to its detriment, falling between two stools.

- Terrascope Rumbles - August 2012

Sean O'Brien has had a career as a lead singer in several Californian bands stretching over the last quarter of a century. "Goodbye Game" is the first album featuring his backing band 'The Dirty Hands' Jeff Kane - Guitar, Bill Davis - Bass and Matt Shelley - Drums. The majority of this album was recorded live in the studio which is beneficial as it gives a raw, fresh feel which is really appealing.

Sean O'Brien is at his best when at his rockiest and there are plenty of up tempo tracks to keep both old and new fans happy. "Warm and Sane" is a tribute to Sleater-Kinney while "Bones Snap" is an unusually upbeat song about celebrating your birthday alone and is reminiscent of mid 80's era REM. The themes explored by O'Brien are quite diverse and range from antidepressants ("Take Your Pills") to Middle Eastern war ("Aftermath Fears") and Greco/Roman mythology ("Home to Penelope") with plenty in between. When the tempo drops as it does for "All That I Don't Know" the results are equally impressive.

If you are a fan of some of the great American 'Indie' bands of the 80's such as The Replacements and REM, and enjoy some of the grittier moments of Nick Cave and the Bad Seeds, then there is plenty to love on "Goodbye Game". Highly recommended.
- Americana UK - Rating 8/10

‘Future harvest’ is the latest CD from SEAN O'BRIEN, a long time veteran of the Californian music scene. There are twelve tracks and the album tends to be split fairly equally between two distinct camps, those which fall into the new wave/guitar rock category, and those which would broadly be classed as country/Americana. Sean’s voice suits both those genres equally, and his guitar playing is spot on. He is more than ably backed by a range of musicians throughout the album, with a notable mention due to Jeff Kane on slide guitar.

Opening with the fast, springy upbeat guitar pop of ‘Shadow Sharks’, this is an album that grips the listener. It's the sort of muscular new wave that bands these days would kill to be able to do effectively. The lyrics are interesting and evocative, all about the rat race, how it grinds you down and how you virtually have to become a part of it to survive: - “Now I am an old man, live on a gated street/ Drive around in a golf cart for my security/ The kids don’t come around much, I can’t blame them/ I guess they’re soaked in bloody water, and they’re swimming with all the rest.”

‘Advice Coming In’, which follows is pure country pop, and allows Sean to show how well his voice is suited to this type of music. The song appears to be told from the perspective of a parent trying to reason with their offspring and comes across as quite touching: - “You can’t read a book, or enroll in a class, and graduate and still not know the task/ I can’t give you dreams to dream. Only a bed to dream them in/ But don’t you listen to anyone, is the best advice coming in.” Absolutely.

‘River of Greed’ is the first truly outstanding track on the album, sitting head and shoulders above the rest. It's a fascinating heavy country blues hybrid, with a Bo Diddley style beat that really shines. The lyrics are self explanatory, and evince a fear of the systems under which the character in the song lives, works, and has struggled to maintain. There is also a degree of vulnerability, as the character realizes that even they are no longer safe: - “I live at the river of greed, and the water is rising high/ In my seersucker suit I wish, I had invested in something to keep me dry...Someone must be coming, to take me by the hand/ I’d trade all of my money for a piece of dry land/ Please don’t let me drown, please don’t let me drown.
I used to be a king, in this town.”

‘The Dress of Tara Jane’ is another excellent track which comes across as a country/rockabilly track, with some supernatural subject matter: “After a night of love I woke up with the sun, only to find that she was gone/ I guess I loved a girl who did not exist. It’s been my failing so long...In the shadows, on the hillside she is waiting for me/ Tara Jane or her ghost twin, for my company.”

For me, the album's finest track of all was ‘Privatized’, the sort of rock track that even Nick Cave and The Bad Seeds would be proud of. Like a lot of their work, the music on this track has a timeless quality and stretches beyond genres, however the lyrics are very much in the here and now, outlining the problems of capitalist society: - “Think of your jailer as father, in the cold, cold absence of light/ Naked in a stressed position, what is the prayer tonight?/ He’s not with the army, but a private company/ He wants to let you out, but he just doesn’t own the key...Let us help you with your fear. We’ve learned so much from the war/ We have a system at the border. The checkpoint is now secure.”

Although one or two tracks didn't quite get there, the accomplished musicianship, intelligent, heartfelt lyrics and all-round tunesmithery all conspire to ensure 'Future Harvest' reaps rich rewards for the listener. - Whisperin' and Hollerin' - Ireland

The real shame of Seed of Mayhem is that it's creator is one of the band of musicians that you're unlikely to discover unless you're either lucky or look very hard. A veteran of numerous Californian bands, including one described as "psychedelic cowboys", he has enjoyed a 25 year career making the very good, very solid rock that underpins Seed of Mayhem. He is a talented, insightful writer and a skilled and honest performer, best of all Seed of Mayhem is completely without pretension. There is a relentlessness about Sean O'Brien, he hits you with the power pop of This Could Hurt and then proceeds to hit you again and again. If nothing else, Seed of Mayhem will keep you on your toes. But within the framework of energy O'Brien throws up some very interesting shadows, Cleaner That Way is a dark and dank look at the world while Torn Sweater appears, at first, to be little more than whimsy, but in truth is a soulful hymn to growing older. As for Possum Ate The Cat Food (another meal) nothing else needs to be said. It would be easy to bracket Sean O'Brien as one of those musicians just too 'honest' to ever really court major success, but the way Seed of Mayhem develops beyond first listen, makes him an artist worth investigating further. Undoubtedly, Seed of Mayhem could have been nothing more than a fond nod to the past, that it is much more is testament to Sean O'Brien's talent. - Berwickshire New (UK)

Sean O'Brien has a long history stretching back to the early 80s days of Davis, CA. He was the original singer in True West but was gone before they started recording. Since then he's been in a fair number of bands: Denim TV, The Mariettas - before settling down in the Bay Area in 2001 and making solo records. Seed of Mayhem is the second such, though it calls on the talents of a handful of excellent West Coast luminaries. The raucous opener "This Could Hurt", featuring the guitars of Russ Tolman (True West) and Manfred Hofer (Leaving Trains), sets a benchmark of fine playing, but this is truly varied record both instrumentally and stylistically. O'Brien takes all the guitars himself on the wicked, early-Sonic Youth-like "Stumblebum." "Dough See Dough" is a jaunty ska tune with horns and accordions, "The Bottom of The Toy Box" a gentler song with Cale-like vocals and cello embellishments from merlin Coleman. 'Damned Either Way" with pedal steel and the voice of Kim Martini is country-hued, while "Possum Ate The Cat Food", with tabla and tampoura, gives a nod to "Tomorrow Never Knows." O'Brien's a committed songwriter too. The strong, precise, neo-con-damning "Cleaner That Way" and the final "A Bee's Tale" show an exploring intelligence that's been waiting for a wider audience. - Rock 'N Reel Magazine (UK)

Sean O’Brien’s ‘Seed of Mayhem’ features 14 gritty tunes from the land of late-night losers wrapped in a rough-and-tumble package of hard-edged music.

O’Brien’s roots lie in the California rock scene. He got his start in Davis, Calif. combos, including True West and its precursor Meantime – a moodier step brother to Paisley Underground bands like the Dream Syndicate.

Indeed, ‘Seed of Mayhem’ is as good as anything Steve Wynn has done lately – which is to say it’s very, very good.

O’Brien’s worked with ex-Angry Samoan Greg Turner, and served alongside members of Baby Lemonade, the Leaving Trains and in The Mariettas and Denim TV. A few of them appear on the album, providing ace (and deceptively diverse) instrumental and vocal support.

O’Brien’s tense vocals set the mood for ‘This Could Hurt’ a sharp tune distinguished by the guitar work of O’Brien, True West’s Russ Tolman and Leaving Trains axeman Manfred Hofer (Trains alum and Hofer brother Tom plays bass). The grumbling lyrics of ‘This Could Hurt’ can keep company with the Hold Steady’s and the Flaming Stars.

After a trio of coiled and gritty tunes, O’Brien changes the pace with a series of detours, starting with the acoustic number ‘The Bottom of the Toybox’ featuring nicely fingerpicked guitar and cello. ‘Damned Either Way’ adds some country flourishes, including pedal steel courtesy of Red Meat’s Max Butler.

The choogling scree of ‘Tranny Ignored’ gets points alone for the timeless couplet "I don’t care how you piss/ As long as you do". ‘Dough See Dough’ takes a playful twist with its accordion and trumpet.

‘Possum Ate The Cat Food’ unleashes some more of Tolman’s distinctive leadwork, backed by flavourful Indian percussion and strings.

A winner from start to finish, ‘Seed of Mayhem’ is recommended to anyone who likes the tougher side of powerpop, or the solo work of artists like Steve Wynn and Kim Salmon.

- pennyblackmusic - UK

A solid collection of songs (with great cover art!)from a seasoned likable Californian

Sean O’Brien has been knocking around in bands in California for the best part of a couple of decades. He has released solo efforts before, as well as been part of records by The Mistaken and The Mariettas. His style is rooted in early 80s alternative, so think ‘Murmur’ REM, but, oddly enough, with a hint of prog thrown in, so there’s rather more noodly guitar than you might expect from an REM comparison. Though the performances and the writing are not exactly ground breaking, there is something likable about Sean. He’s got a groove that he’s good at, as proved on ‘Stumblebum’, or the poppy ‘The Good Fight’, but he’s not afraid to venture a long way from it to explore different ideas, not that they always come off, but the willingness to try is an admirable quality.

Oddest venture is ‘Dough See Dough’ which sounds like a German omm-pah band playing ska, not one that’s scoring heavily on repeat plays so far! Other songs, according to Sean, are variously influenced by Nick Drake, Charlie Mingus, the Beatles and Television (as in ‘Marquee Moon’), that’s a fairly large pool to be fishing in! This is a decent record of solid if slightly retro songs. He is currently working on a new record with his band, the Dirty Hands.

(While this is a music review, as an aside to the main topic, the painting used as coverart for this CD is by Sean’s brother Liam, and it is really something. It’s a picture of the O’Brien’s grandparents painted with nods to Edward Hopper, and Grant Wood’s iconic ‘American Gothic’, but with very much its own life, and a haunting, slightly Hitchcockian, atmosphere. Even though this is a portrait of sorts, as happens with Hopper, it’s the sort of picture to which you start to add your own narrative, as if it’s a film still. Extraordinarily impressive.) - Americana UK

Sean O'Brien, The Drug of Memory. This 23-track retrospective spans nearly thirty years of mostly unreleased material from Kensington musician Sean O'Brien through his work with the Meantime, True West, Denim TV, Cottonmouth, and the Mariettas. His songwriting and production improved markedly over the years, but rarely strayed from a distinctive blend of New Wave and American underground. (First Cold Press). - East Bay Express - 11/17/09

sean o’brien & his dirty hands
goodbye game
(First Cold Press)
Having dug (in issue 59) O’Brien’s last LP, 2006’s Seed of Mayhem, it’s good to see he’s back for more full-band flavor (his debut solo LP, Too Personal, was acoustic), now with strong, permanent players. The 25-year vet and former member of Paisley Underground stalwarts True West again has ex-original Leaving Trains bassist Tom Hofer guest, along with cameos from that group’s original keyboardist Sylvia Juncosa, The Sneetches’ Chris von Sneidern, and others. But it’s the Bay-area singer/songwriter calling the tune again, and he and his Hands recall everything I liked about the above and albums such as the immortal Warfrat Tales compilation. It’s a spot where jangle-pop, ‘60s garage-pop, and soft-psych collide, a la Gun Club, X, Pontiac Brothers, and The Black Watch, with a few country-ish ballads and other curveballs tossed in. Nicely done, again. (myspace.com/seanobrienandhisdirtyhands)
- The Big Takeover - #64

This Bay area singer/songwriter apparently spent time with now-reunited Paisley Underground favorites True West; in fact, their guitarist Russ Tolman stopped by to contribute some backing vocals and guitar. But what drew my attention was the presence of the Hofer brothers from the first-two-albums Leaving Trains. Tom basses on roughly half of Seed, and guitarist Manfred appears twice and cowrote another. But this is really O'Brien's show, and unlike last year's acoustic Too Personal, Seed is full-band, fully arranged pop and rock. The rock stuff is what I prefer; it's like the aforementioned mixed with Rolling Stones and Green on Red. The light pop stuff is less edgy. But whatever the style, O'Brien has a tangy voice not far from John Doe's, and the guitars of the better songs, such as ³Tranny Ignored,² do the business. (firstcoldpressbiz.org) - The Big Takeover - Issue #59 - The Big Takeover

SEAN O'BRIEN is the very epitome of the seasoned campaigner. His 30-year CV includes stints with bands such as Meantime (who would later mutate into Paisley Underground contenders True West), Denim TV and The Mariettas. This latter also featuring ex-Leaving Trains and Baby Lemonade/ Arthur Lee & Love personnel.

So it's undeniable the Californian-based O'Brien has been around the block a few times, but his experiences have rubbed off favourably in artistic terms. His current buncha honchos, His Dirty Hands – bassist Bill Davis, drummer Matt Shelley and fellow guitarist Jeff Kane – do a consistently good job in bringing his tough'n'tender, garage-tinged power pop to fruition and while 'Goodbye Game' would certainly sit easily on a shelf with the likes of Steve Wynn and Paul Westerberg, O'Brien has a distinctive delivery of his own and a desire to experiment which provides some unexpected successes along the way.

The opening brace of tunes, including the anti-depressant, self-help pop of 'Take Your Pills' and 'Warm & Sane' give you some idea of the ballpark we're in here. The former has tinges of 'Pleased To Meet Me'-era Replacements, while the zig-zagging guitars of 'Warm & Sane' brings Steve Wynn's 'Melting In The Dark' favourably to mind. The sound on songs like these and the barely-suppressed angst in 'Bones Snap' (“split me open...pull out my black intentions”) is finished and well-rounded, but never too polished, and there's plenty of room for windmilling power chords to detonate.

Add songs like the cranked'n'fractious 'Walk There Too' and the sharp, Television-influenced 'Home To Penelope' to the stew and you've got a respectably nourishing power-pop dish to savour, yet Sean & His Dirty Hands are equally keen to lob in some less-easily recognisable spices to the pot too.

The first of these comes courtesy of 'Aftermath Fears'. Opening with a snatch of what sounds like a Middle Eastern radio broadcast, it initially sounds like a clunking, Bad Seeds-style sea shanty, but gradually weaves a glorious web of widescreen drama all its' own. It's only the first head-checking moment, too, for 'Goodbye Game' also finds room for country-flecked beauties like 'All That I Don't Know' and the Brinsley Schwarz-ish 'New Home Tonight',where the superficial jauntiness and killer, Albert Lee-meets-Billy Bremner guitar solo only barely mask the sadness felt by a man looking to answer his relationship problems online.

The one place they arguably bite off more than they can chew is the bizarre 'Get Over Tunis', which seems to think an ill-advised blunder down Jamaica's Maxfield Avenue to the dub heart of Studio One is a good idea. It's oddly endearing, but stands out the proverbial sore thumb here. Thankfully, the no-nonsense 'Home To Penelope' steams through in its' wake and the final strait is populated by the sinister, psychedelic-tinted 'Bad Faith' and the showstopping title track, which is as anthemic as they come and throws in a little 'White Album'-era Beatles and Costello-style bile for good measure.

Honest, intelligent and unafraid to get a little egg on its' face, this is a decent album with enough mystery and allure to tempt the discerning. Sean O'Brien could very easily be categorised as a veteran, but there's plenty of life in him yet and, as such, 'Goodbye Game' is merely a fond adieu until the next quality-stuffed instalment.



(http://www.myspace.com/seanobrienandhisdirtyhands) - Whisperin' and Hollerin' - Ireland