Rob Kutner and the Levinson Brothers - It's OK To...Do Stuff (2012)

"Be Yourself...Unless" by Rob Kutner and the Levinson Brothers featuring Steven Page

When Conan O'Brien shifted to Tonight, he hired veteran Daily Show writer Rob Kutner. As a writer, Kutner extended his output beyond just monologues. He's written books, web series, panel comics, graphic novels and...comedy albums. Teaming up with frequent collaborators the Levinson Brothers (Stephen and Joel Moss) and recruiting a cast of famous friends, he released It's OK To...Do Stuff in 2012 through Rooftop Comedy Productions.

The short album was recorded and released to coincide with the 40th Anniversary of Marlo Thomas (and Friends') Free to Be...You and Me. A seminal children's album, TV Special and book, Thomas brought together musicians, actors and comedians to record a series of songs, sketches, poems and stories that challenged typical gender norms in both an earnest and subversively comic fashion. Kutner and the Levinsons couldn't just write a "comedy" version of Free to Be because it was already funny, and they didn't want to simply lampoon Thomas's feminist efforts. Instead, they landed on a formula to poke fun at the beloved classic by writing songs that were a bit too adult to have made the original's cut.

Joel Moss Levinson handles the music and the comedy is a team effort. Their songs speak to those who grew up on Thomas's lessons but then, like on "Divorce Makes a Family Twice as Big," got a dose of reality and a bit of cynicism from a world still trying to live up to her ideals. "Divorce" is the comic stand-out on a listenable Side A, but despite base material ripe for satire, Kutner and the Levinsons run out of steam quickly and close out the album with some comic clunkers, especially the closing "Everyone's Equally" that hasn't faith in the people of the world nor any sense of comic rhythm.

The wrangled stars that bring the album to life include musicians Steven Page of The Barenaked Ladies, Jane Wiedlen of The Go-Go's and comedians Samantha Bee, Wyatt Cenac, and James Urbaniak among many other of Rob Kutner's co-workers and friends. Unfortunately, they lack the charisma to better sell the material. Not like there was enough to work with, most of the big names only get a single line. 

The album is unfortunately too song-forward and doesn't try for the balance of poetry, skits and stories that mixes so well on Free to Be. The exception is the two comedy sketches "Girl Meets Boy" and "Girl Meets Droid" which are comic extensions to the wonderful Mel Brooks/Marlo Thomas sketch "Boy Meets Girl." Like the rest of the album, the sketches are shadows of the original material. It's OK To...Do Stuff is a fun concept and devoted to the original, but it also feels rushed and needed more attention for it to be anything more than a few laughs...

But if you wanted any more proof that Rob Kutner and tbe Levinsons' hearts were in the right place, all proceeds from the record were donated to St. Jude Children's Research Hospital, a favorite charity of Marlo Thomas.

Note: Conan O'Brien's long-time Late Night and Tonight Show and Conan sidekick, Andy Richter, has a role on the song/sketch "Friends of Friends." Making this Tour stop was mostly an excuse to get Richter, by whatever means, into this ongoing Tonight Show history. It was either this or the All Hail King Julien soundtrack just for the song "I Love Your Toes" where Andy sings as the character Mort. After a few listens of that song: I, too, wish I were mort.

Here is the discography surrounding Rob Kutner and the Levinson Brothers' debut album:

It's OK To...Do Stuff

"It's OK to Do Stuff" by Rob Kutner and the Levinson Brothers featuring Jane Wiedlin

"Girl Meets Boy/Droid" by Rob Kutner and the Levinson Brothers featuring Fred Willard, Lizzy Caplan and Eugene Mirman

"Divorce Makes a Family Twice as Big" by Rob Kutner and the Levinson Brothers featuring Colin Hanks and Kimmy Gatewood

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Blackstone - Blackstone (1971)

"Love, Love, Love" by Blackstone

When Conan O'Brien took over The Tonight Show, he brought with him his Late Night band The Max Weinberg 7, rechristened Max Weinberg and The Tonight Show Band. Famously, Max was an erstwhile member of the E Street Band when Conan offered him the job as Late Night bandleader. He stayed loyal to Conan even when The Boss reformed E Street in 1999 and he had to balance his Late Night duties amidst touring. Before Max originally joined Springsteen in the mid-70s, he had played in a few other college and Jersey bands and first recorded his drumming as a member of the short-lived five-piece, Blackstone. The eponymous Blackstone came out in 1971 on Epic Records.

The single "Love, Love, Love" leads off the album with a debt to Led Zeppelin. The scream-singing vocals, dubious lyrics, a clever bass and emphatic drumming are all patterned on the hard rock quartet. The simple guitar and unambitious production are the only elements that aren't. There's an obvious difference in virtuosity as each band member either pales in comparison to or comes close to their musical models. Is it sacrilege to say that the young Max Weinberg nearly gives John Bonham a run for his money? By maximizing every fill, Max claims the song for his own. Only the solo gives away that he's still a click behind Bonham as it doesn't match the creativity of his fills. Of course, the song and the band couldn't just settle for being a less-than Zeppelin dupe, so that's why you add a keyboard (especially if you're also a fan of The Zombies.)

Only about a third of the songs scattered throughout Blackstone owes so much to Zeppelin. The rest of the tracks are a flowery, pop psychedelia dominated by lead singer Tom Flynn. The songs feel dated even though they're only two years removed from the late-sixties they evoke, while also harkening to the dim future of derivative corporate rock. If it's not clear already, the album lacks any identity or style of its own and suffers the unfortunate fate of being so unremarkable to be easily forgettable...except for the drumming.

Here is the discography for Blackstone:

Blackstone

Love, Love, Love (1971 single)

"Thinking" by Blackstone

Max Weinberg Leaves Late Night with Conan O'Brien for the First Time

The Max Weinberg 7 Are in a Groove

Max Weinberg Returns to Conan

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Conan O'Brien - Conan O'Brien Can't Stop (2011)

"Polk Salad Annie" by Conan O'Brien

In 1993, Conan O'Brien took over the chair from David Letterman on Late Night, the show that followed The Tonight Show into the next day. After ten years of building a loyal viewership in the early hours of the weekdays, Conan's new contract set forth a path for him to take over Tonight in 2009 as NBC didn't want to lose him to another network. When it came time for the hosting transition, NBC couldn't lose Leno to another network either because of their contract with him. So, they programmed Leno a primetime slot leading into the local news before then airing The Tonight Show with Conan O'Brien.

Unlike Leno, Conan never really did stand up. He was President of the Harvard Lampoon, wrote for SNL and wrote some of the best and most iconic Simpsons episodes. From that and a fateful audition, Conan replaced David Letterman on Late Night as a complete unknown. He had never held such a large stage for a captive audience, but coworkers and friends said that he would captivate any writers' room he was in. Conan quickly proved to be a natural on stage. His show had more in common with the "anything goes that gets laughs" antics of Steve Allen and thus was a more anarchic version of Late Night than Letterman's wry subversion or Leno's workman-like production on The Tonight Show.

The abysmal ratings of Leno's new show caused an uproar amongst the local affiliates, and the slow start to Conan's ratings gave NBC executives an out. They had the host who was a guaranteed #1 in the late night ratings still on the payroll and wanted to dump two underperforming shows begat from their contractual snafus. The proposed solution was to shift the time slots. The Jay Leno Show, which had started at 2200 EST would now start after the news at 2335...the traditional starting time for The Tonight Show. The Tonight Show would then be pushed later and begin airing after midnight. Conan could either accept the changes or be forced out. (As previously hinted, Dick Cavett wrote a blog entry on the debacle and didn't side with either host but rather criticized the boneheaded contracts NBC drew up and wondered at the "wisdom" of writing Leno's planned departure while he was still at the peak of his popularity.)

Conan O'Brien exited NBC and his contract for a large but undisclosed sum. In the settlement, he could not appear on television, radio or the internet for six months after leaving The Tonight Show. So, Conan went on a grievance tour, or rather a concert tour, named The Legally Prohibited from Being Funny on Television Tour with the proceeds going to his laid off crew while he looked for a new home on television. With members of his erstwhile Tonight Show Band and some loyal staff, Conan performed over 40 shows across the United States playing music and comedy to sellout crowds. The tour was chronicled in the documentary Conan O'Brien Can't Stop directed by Rodman Flender. An original soundtrack for the film, Conan O'Brien Can't Stop, was released in 2011 on Lakeshore Records.

The album is a curated set list of the best songs Conan performed on the Tour. Even without the visuals, the audio is clear evidence that Conan gives the audience everything he has. The energy never falters but the exhaustion becomes audible, and banter about needing to go to the hospital by the end of a concert comes off as only half joking. Conan plays guitar and sings better than you'd expect, but it's the clever set list and The Legally Prohibited Band that helps Conan pull off the variety show concert. A learned sense for what the audience will respond to makes a playlist of rockabilly and Americana classics and allows Conan to go between impersonation, at times channeling Elvis, Chuck Berry or The Big Bopper, and his own pure energy (with a dash of Allan Sherman.)

Unfortunately, the album is just the concert's songs. It's a missed opportunity that the record is simply a soundtrack and not a live album that includes the monologues, guest artists and encores (and the Live at Third Man record is not that.) Part of what made the tour so popular and necessary was that the concert experience (monologue and skits included) allowed Conan to further air his grievances to an audience all too willing to support him and revel in a shared spite towards television executives. The Band's beloved "The Weight" is the album's centerpiece. It's a chance for Conan to take a little break during the concert and highlight the talents of his band, and although Conan would never allow it, voices the audience's desire to take some of that weight themselves from off of his shoulders.

Conan O'Brien Can't Stop is fun and engaging but probably more memorable as a live experience. As an intermission to his TV career, it is further proof that Conan has the talent and inspiration to be a great entertainer and a great comedian in any medium, and it couldn't be more apparent that, in another time, he would've made a decent disc jockey turned regional rockabilly artist.

Here is the discography surrounding Conan O'Brien's debut album:

And They Call Me Mad? (2010 single)

Conan O'Brien Can't Stop

Live at Third Man (2011 live album)

"The Weight" by Conan O'Brien and The Legally Prohibited Band

"And They Call Me Mad?" by Conan O'Brien

Late Night's All Kids Audience Show

Andy's Little Sister Stacy

Conan's Last Tonight Show Monologue

Conan Interviews Steve Allen

Conan & John Mayer Sing a Lullaby

Guest David Letterman on Late Night

David Letterman on Jay Leno and Conan O'Brien

Conan O'Brien on The Late Show with David Letterman

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