WORKHORSE, DJ: Good morning, fellas.

ALL: Good morning!

WORKHORSE: We have Hanson live in the studio. Let’s have a little formal introduction to our Sunday morning audience.

ISAAC: Hey everybody, I’m Isaac. I play the guitar.

TAYLOR: Hey, this is Taylor.

ZAC: And this is Zac and we play the other stuff.

TAYLOR: Yeah, we play the rest of the stuff!

ISAAC: Zac’s the drum guy.

WORKHORSE: And what “stuff” it is, I tell ya. I saw the show in the Nokia Theater. I’m telling you—oh, while I think of it, I don’t know if you read this review in the Village Voice but I’m just going to quote it right here. It says, “If you think you’ve got Hanson pegged as ‘MMMBop,’ has-beens of the 90s teen boom, however; they are secretly the finest, straight-up rock band in America now as independents.” And as independents go, here, we’ll let this roll in the background while we have a little in studio interview with the boys. It’s great to have you here, guys.

ALL: It’s great to be here.

TAYLOR: I love it, it’s so great to walk into a studio and you’ve got a little bit of everything flowing; you’ve got the turntables, you’ve got the CDs, you’ve got your Mac connected up to the internet.

ISAAC: We’re looking at an LP of Joe Cocker and the Mad Dogs and The Englishmen. Part of the Mad Dogs and the Englishmen was Leon Russell, who is a fellow Oklahoman. We’re from Tulsa, Oklahoma; Leon is from Tulsa. And you were saying the interesting connection with that record is that they covered “Feelin Alright” and so do we!

WORKHORSE: Yeah, and that was the encore, the second to the last song at the New York show. And I have never seen fans freak out. You know what I was trying to do? I was waiting for them to put the house lights on so I could get a picture of the crowd cos it’s so intense from the balcony and I must have wasted 20 shots in the dark cos they kept screaming and screaming and screaming, you guys played so well. Man, it was great.

TAYLOR: Thank you.

ISAAC: We just love what we do. I think at the end of the day, when you have a passion for what you do, hopefully it translates to the fans and I’m certain that in part our love for our own job and our own music, I know that the fans feel that and they respond to it and we’re just proud to be able to play shows over and over and over again.

TAYLOR: It’s not a bad gig to have.

ISAAC: Exactly. So. You know, we’re just rockin and rollin.

WORKHORSE: Okay, and you know speaking of Joe Cocker, we have ** gonna give you a little info.

**: Joe Cocker played here two times during the 1969-1970 year. In December 69 he played with the band that you see in the Woodstock movie. In May of 1970, Leon Russell and the gang. It was OUT of control.

ZAC: I can only imagine.

TAYLOR: It must have been incredible, because we are lucky being from Oklahoma that Leon is from there and we did a show recently where we did a festival back in our hometown and we actually had Leon join us on stage.

ISAAC: It was really cool.

TAYLOR: But to think about him 30 years ago. He still gets up there; he’s got tendonitis but he still gets up there and rocks and listening to those old records, I mean some of it is just…

ISAAC: Stunning.

TAYLOR: It’s unbelievable.

**: They just re-released the Bangladesh record that he’s on and those tracks, 30 years ago, his segment to that record was terrific. He did the mix of “Young Blood” and “Jumpin Jack Flash,” that was his set in that concert. They just re-released it on DVD as well. Check it out.

ISAAC: Okay! I feel like I need to be taking notes now. You’re reminding me of stuff!

ZAC: The thing I love about Leon is he basically just went around the country building studios, just finding new places and working with people. He was just constantly moving. He built three studios in the town we’re from, one on a lake and one in the downtown and he just built—he just went around the country just building, making music, finding a new hot place that he was getting inspired by and just sitting down, making a record there, and moving on.

ISAAC: He was a community guy though too. He was the kind of guy who was connected with Cocker as much as George Harrison and Dylan and everybody else.

WORKHORSE: So is he a heavy musical influence or just like a community--

ISAAC: I think he’s an inspiration and certainly in the sense as we were saying, the community element that he always fueled and his label and the way that he—he signed Petty first and those first couple records were sheltered records.

WORKHORSE: You know, that’s odd that you say Tom Petty because Pat McGee, who opened for you guys, did a Petty cover. I saw Tom Petty when he first came from Florida and he was doing covers, a majority of covers, and I said, “This guy is hot!” And when you guys did that cover of “Feelin Alright,” it was the best cover song I’ve heard in ages.

ISAAC: Oh, thanks man.

WORKHORSE: It had every element. It had the keyboards, the harmonies, the gospel overtones, and Leon Russell feel, who has all those. I was so impressed, I was going, “If that article in the Voice isn’t correct, I don’t know what is.” And now dig this, this is not to do a disservice to, homage to Cream, but I saw them Monday, I saw you Friday, and you did a better show.

ISAAC: Oh. Wow. Whoa.

WORKHORSE: That’s a difficult thing to say as a lover of 60s rock.

ZAC: That’s a difficult thing to hear.

ISAAC: We have a hard time hearing that, yeah.

WORKHORSE: I’m telling you! I’m not making that up.

ISAAC: I really appreciate that. I mean, you know, at the end of the day we have an immense amount of respect for all the music that has come before us and we just hope that more music fans and more musicians can find a way to connect their fans with the music of the past in a way that creates that connection and community because it’s so crucial to not only know where you come from as a musician, but it’s crucial to know where you come from as a fan. And of fans to understand where their artists are coming from and get more of a relationship with that music, cos it’s about a relationship. That’s what music is: it’s a relationship. It’s as much of a relationship as a relationship with your girlfriend, in a sense, it’s just like… I mean, that sounds kind of tweak, but it’s true.

ZAC: I think what you mean is music becomes a part of your life, you take it with you everywhere you go, you kind of wear it on your shoulder. “I’m a Cream fan. I’m a U2 fan.” Music is something that’s kind of with you and it changes the way you walk and step.

WORKHORSE: Well check this out, you can’t hear it I guess without the headphones, but this is Leon Russell with “Sweet Home Oklahoma” right now. So, the influence it’s so powerful. When I saw Leon Russell he had a cane, he was limping, and once he got on stage it was like, “Wow.”

ZAC: Leon Russell, he’s like the Yoda of music. He walks out with a cane and then he gets going and he just wails.

TAYLOR: We’ve always been kind of an awed group cos the things we first heard were stuff like Leon Russell and classic rock & roll and we never connected with our peers in that way. We’d be like, talking about Cream and Jimi Hendrix or something like that. But people like Leon are an example of people that have been kept alive and well by the music. Like, the fuel that that gives you as an artist, over time, you… like, I remember hearing Bob Hope talking about him living so long and everybody going, “You still go so much energy, you seem like you have a lust for life.” And he said, “What I do has kept me alive. What I do has kept me fresh.” And I think for us, we’re young guys but we’ve been driven by just the love of records and playing live.

WORKHORSE: It’s so obvious, though. I mean, tonight at the Patchogue Theater, the folks are going to get a show that that theater has not had as yet. It’s a revamped theater, state of the art sound, lighting, but they have not had 1200 screaming fans. They have not. They’ve had good shows, great artists, local guys, international guys. You’re going to freak them out tonight!

ISAAC: We hope so. I always feel like music people should freak people out a little bit, on one level or another. We were saying the other day that you know, people often walk up to us and go, “Well, you guys have these fans who’ll wait out for days to be the first 50 people in line so that they can get the best seat in the house,” and they go, “That’s just so rare! And then to see this line about the block when the show is about to start, so that people are piling in, that’s rare.” And it really bothers me that that’s rare. It shouldn’t be rare. I want more people to have that, cos I think that that’s what music does for you. It’s a life—it’s a thing that you can’t deny, it makes you want to get up in the morning. For me.

TAYLOR: Again, like when we grew up listening to classic great music, there was a legacy of bands you grew up with, bands you followed for a long time, and so many of these bands today, people that we’re friends with and people who are exposed, you don’t get the sense that there are as many of those people that being exposed, the bands that are really—you’re following them for the last 5-10 years and you’re going through their career with them. But there’s so much music out there that I think fans need to realize that as a community we can pull together and fuel the future of bands like that again.

WORKHORSE: Oh, you can fuel it. I’m telling you. There are two girls, Jamie and Nicole, that I met on the train on the way back from your show and I told them about this. They had tickets to that show, they have tickets to tonight’s show, I said I have to mention them as fans because they were like, falling apart girls. You know what I mean? To see you live. And I’m saying to myself, this is right next door to the MTV commercial scene and you guys are so, I don’t know… it’s not that it’s non-commercial, it’s maybe that it’s just so good that they don’t know how to label it yet. You’ve not heard, you guys have heard but I have not heard Beach Boys/Beatles harmonies like that, live, with a crowd screaming over it. It doesn’t happen. You know what I mean? It just really doesn’t happen. It may be contrived on records, but this is live. I’m standing there going, “This is the best. There’s no way you can touch stuff like this.”

ZAC: I don’t know that there are a lot of bands out there that have a lot of harmonies. I mean, we’re so based in the idea of harmonizing and that adds so much to your music.

ISAAC: Like, in the middle of the show we do this little gospel tune, we do it a cappella. And the reason why we decided to that was cos it literally had been almost ten years since we’d been doing completely a cappella stuff.

TAYLOR: That’s how we started.

ISAAC: Yeah, that’s how we started. And that’s where the harmony element came from cos we weren’t musicians yet but we were writing songs and memorizing old 50s tunes and singing it in three part harmony.

WORKHORSE: 50s!

ZAC: Yeah, like “Rockin Robin,” “Johnny B Goode.”

ISAAC: “Good Golly, Miss Molly.” You know, the whole nine yards. And here we are, we’re singing all these songs in three party harmony, snapping and Zac was 6, I was 11, and Tay was 9.

TAYLOR: Again, that’s the root of, that’s the root of where we came from. We want to be able to put all those things together and say, like you were talking about earlier, breaking down the barriers and sort of ideas in people’s heads about music… you should be able to play “Feelin Alright,” straight into a gospel tune, straight into a Radiohead cover.

WORKHORSE: But you have to have that jive. It’s either in you when you’re young and you work on it until you hone it, cos you don’t present that stuff and are off-key. It doesn’t work. That’s the impressive part. You did “MMMBop” a cappella and everyone’s clamoring for that and you just blew them away. They’re like, “Wow, they can do it without an instrument.”

ISAAC: Again, we’ve been playing that song, amongst others, so many times and we just want to kind of… we feel like it’s important to change it up as much as possible, cos what people like the Grateful Dead did, what people like the Allman Brothers did, what people like Dave Matthews do today is they encourage their fans to be the part of the community in a way by saying, “Look, every concert that you go to, I promise you we we’ll make it worth your money cos we’re going to make it different for you. We’re going to make sure that you hear other songs that you didn’t hear at the show before.” We have always felt that that was really important and we do that today more than we ever have. And so I hope that other bands…

TAYLOR: That’s such a great record, sorry.

ISAAC: Yeah, no, we’re listening to a record. But it’s really important that that aspect exists also because it gets people involved!

WORKHORSE: Oh, they get involved. I’m telling you. Well, let’s let one of your, I would call it, famous songs, I mean everyone sings along with this and we’ll take a two minute break and get right back, okay?

ISAAC: Okay, great. Perfect.

WORKHORSE: Live, recorded in Australia. (plays “Where’s The Love” from L&E)

WORKHORSE: Hanson live in the studio here at 12:13, WUSB Stony Brook, 60 miles from the greatest city in the world. Gonna take you back as a little underlament to our conversation with Zac, Taylor, and Isaac. They are here in the house. So it’s great to have you in Stony Brook fellas, thanks a lot for coming.

TAYLOR: It’s been great talking with you.

WORKHORSE: Just coming from Hampton Beach, New Hampshire, eh?

TAYLOR: Yeah. Yep, we’ve just been promoting this tour, playing shows all over the country and also coming to schools, which has been, I think, a way the highlight for us, cos it has been so different from what we usually get to do. We actually get to come and talk about music.

ISAAC: Exactly. And being on this radio station and talking to you, this is… it’s so invigorating for us and I feel it’s powerful because when you go to most radio stations it’s not about the music in the same way. We don’t get to have conversations like we get to have with you and we don’t get to talk to the audience in the same way about what’s really going on, and so that’s kind of why being able to go to these college radio stations, go to college campuses, we made a documentary about why we decided to go independent and we’ve been screening it at colleges and it’s just been such a powerful opportunity for us to connect with fans and non-fans in a completely different way.

TAYLOR: We wanted to bring this story to students, people that are training to basically take over the world, in essence, and that are also more active in music today. And also, we’re still at a time where we can talk to them as peers. We’re not talking down to people. We’re talking about being music fans and also being artists and owning a record company and being in a position to say, “In today’s music business, a lot of the major labels have really become so removed from their fans, from what they’re doing in music, from developing bands, and want to show you our story as an example of what’s happening,” and really try to say, “Look, we’re here to talk about solutions and we’re here to talk about how we can all work together to bring out more music and rebuild the foundation of what’s happening in music.”

WORKHORSE: Well, just to give the fans a voice-to-person contact, you’re speaking to Taylor right now, that’s Taylor’s voice. Zac, let’s hear your voice.

ZAC: Hello, this is Zac!

ISAAC: And this is Isaac over here.

WORKHORSE: And Isaac. And it’s a little difficult and no one really understands why these three fellas are on the road, coming in here, trying to get to the people, they’re doing a documentary this afternoon at 1 o’clock, they’re doing a show tonight, they did a show last night, six days on the road straight and then they’re going to Detroit, which I have a lot connections with, which is crazy… we’ll talk about later. But they’re doing this all for the fans and for the independents of almost, I would call, a musical history. It’s like, “Get hip, listen to us, listen where we’re coming from.” It’s not that we’re saying this isn’t all new, how fortunate that Leon Russell from Oklahoma… and then he’d be freaking out saying, “These young cats have really taken it.” The pride is there.

TAYLOR: The pride is something that a lot of these bands today—a lot of these bands today—I sound like… but a lot of people that are our peers look at them and they’ve been sort of given this schlock that if you look the part, you can be a band. But the whole thing about being an artist and being a musician and getting out there is staking it on and realizing that you’ve got to raise the bar every time. Every time you go out there to make records and do shows, only as a generation of artists, not only music fans or whatever, we all need to be pushing ourselves and sort of one upping the last group, the last time somebody came through and that whole attitude of, “Wow, these guys look like the coolest, hippest band in the world but they just can’t bring it.” For us, it’s just never been about anything but the music.

WORKHORSE: Yeah, but as well as the music, you’re up here and it’s 12 o’clock in the morning, you got off the road. That’s what I think people don’t understand unless you tell them: you’re going out of your way for them. So they can get to hear your voice personally, your insights, not just your music and you have so much of it to give. It’s great.

ISAAC: It is really, really important to us that fans realize that they can really make a big difference in what’s going on in music right now. For example, when you come to a show on a Hanson tour right now, you come to any of these shows until Thanksgiving, which is when we stop, you will get a Live & electric independent music sampler.

TAYLOR: That’s one of the things that we forgot to bring with us.

ISAAC: But it comes with the ticket.

TAYLOR: That is the live album (music playing in background), but in addition to the actual, like he was describing…

ISAAC: You actually get a Live & Electric independent music sampler, and what that includes is a couple songs of ours, and multiple other artists and songs of theirs and basically what we did was we went to these guys and said, “Look, we think you guys make really great music. You guys are affiliated with this website that we are affiliated with, which is called areyoulistening.com, and we want to help expose your music to our immediate fan base, so we’re going to print up all these CDs and everybody that buys a ticket we’re going to give them this record, but we want you to let us use one of your songs.”

WORKHORSE: That’s so cool!

ISAAC: There’s five artists in total, several of them have only sold a couple thousand records. One of them is from Australia, has never been exposed to the United States at all. And we were just like, “Look, we think this is an opportunity, we think this is what music is about, it’s about a level of community that does not exist right now, and we want to be a part of making that community more successful.”

TAYLOR: People need to—fans want to find music and artists want to find fans, and artists and fans need to work together to be the greater whole, to support one another.

WORKHORSE: The key word that you just said—WORK. And usually it’s a force-fed thing like Zac was saying before. You’re fed it and there’s no work involved. If you like it, you turn it on, turn it off, whatever, and within college radio, within your sound, your tour, you’re working. You’re here. You’re pushing yourself more than just your performance level, your rehearsal level, your recording level. This is the work. Now when people start saying, “I stayed up until 1 o’clock last night and didn’t have to get up at 7 o’clock and these guys did,” they respect it, but you have to tell them, “and I did it last night and the night before, all for non-commercial success. So you can get the feeling and we can tell you about Joe Cocker, we can tell you about where we come from singing this and that, so enjoy yourself while you’re with us. We’re putting out, so that you can get it.”

TAYLOR: It’s hard to say, you can’t look at a fan and be like, “Look how hard we’re working,” but artists do need to decide that it’s that important to wake up after those shows night after night and get out there and decide to say, “You know what? What happens in music is going to depend on our passion and what we believe in in our music.” We can’t look at other people and say, “Hey, hand it to us.” We have to fight for our music in the same way fans do.

ISAAC: And right now we’re hearing “MMMBop” in the background and I have to say, I love this song. And I just have to comment, cos people will go, people often ask us silly questions like…

WORKHORSE: Here is what we’re going to do. This is live. This is what the audience needs to hear. Listen to this crowd, now this is “MMMBop” live, recorded in Melbourne, Australia and it’s just not happening except with Hanson. I’m telling you. And the crowd gets louder and louder and louder and louder. This is what it’s all about, folks. Tonight at Patchogue Theater you’re going to get a chance to experience this.

ISAAC: You know, it’s just fun to play.

WORKHORSE: It’s fun to hear it. The experience, as I was saying, to be one door down from MTV and blow he whole scene off. I was proud, myself, just as an audience person.

ZAC: I think it’s ironic, because when you look at that big MTV building in Times Square, it has this big billboard across it that has all these faces of different people of ethnicity and age and it says, “We all have one thing in common. Music.” And MTV doesn’t play music. What are they talking about? They’re such hypocrites. Come on. Wake up!

ISAAC: And it’s not about saying, “Hey, MTV, you guys are a bunch of jerks.” It’s really bout saying…

ZAC: No! “Pick up what you’re saying!”

ISAAC: “Pick up on your own spiel!” Because they only play ten songs in rotation heavily.

TAYLOR: I think it’s important to say... you keep drawing attention to, oh that we’re here doing our thing, working or whatever, but we are a band that comes from having success at MTV, being in that world, and when we talk about it… MTV, we have relationships with those people, but it’s more important to us to be able to say, “Look, we’ve been on MTV over and over and over and over, but what you’re not doing is playing your role in the greater industry of providing great music, MTV.” Or radio, for that matter. And that there’s something to lose as an artist in taking the risk to say things, but ultimately we all need to be in a position of finding solutions.

ISAAC: We’ve been saying over and over again when this documentary gets screened and people see that our A&R guy says some really studio stuff, and he ends up looking like a bit of a jerk, but we always say, “Look. It’s bigger than him. It’s not about us trying to have a vendetta against somebody.” We’re just trying to draw attention to the problem and say, “Look, let’s all solve the problems as a collective whole.” Bono said it, he said in the Rock & Roll Hall of Fame induction speech he said, “We all need to take a long, hard look at ourselves and ask ourselves some serious questions, cos U2 would not exist if things were the way they are today.”

WORKHORSE: Did you ever hear the Bob Dylan statement like from the 60s? He said, “Everybody wants change, but nobody wants to change.”

ISAAC: EXACTLY!

WORKHORSE: I do that myself, I go, you know. But I don’t judge a book by its cover. I look at the little deeper part of it, which is why I like Hanson, cos you’re so deep that unless you experience it on record or live, you don’t even know what it’s about. You have no idea.

TAYLOR: You’re right, it’s true. It’s a challenge. Here’s this cover, this is what Zac was talking about. This album cover, our last album is called Underneath and our album cover is a pair of old school headphones and what we always used to say, was, when we first came out and were really young, we used to say, “Just think of us as old guys with high voices.” Just listen to the music.

ISAAC: That was kind of our joke.

TAYLOR: Just don’t worry about the fact that we’re young or whatever, just listen to the music. Ultimately, it sounds like this broken record thing to keep saying that over and over. But the truth is, so often, that’s the last thing people decide to do. Is really decide to just say, “Hey, what’ going on in this? Let’s listen to it.”

WORKHORSE: “Dancing In The Wind,” right here. This is from the DVD?

TAYLOR: This is actually from the album we released last year. It was the first full-on independent full-length album we released.

ISAAC: It was the first major release as us as a record company, 3CG is our record company.

TAYLOR: This is a #1 independent album.

ISAAC: Yeah, it debuted #1, it was top 25 overall, it’s been really, really, cool.

TAYLOR: This has been kind of the maiden voyage 3CG Records, which is the company we started.

WORKHORSE: It’s called Underneath. I hate to be layering the music cos we have such a good conversation, but this is called “Dancing In The Wind” from Underneath, released last year, 2004. Go out and buy it and go see the show tonight!

TAYLOR: Actually, for any of the students listening, one of the things we’re doing with this documentary screening is because it’s important to us to put this in people’s hands, anyone that comes to the screening today, we’re actually going to give you a copy of Underneath as a part of coming because the documentary illustrates the making that album and illustrates the issues we went through, but ultimately how we left the label, and we wanted people to walk out with that story and then leave with music. So, anyone that comes to the screening will walk out with this record.

WORKHORSE: Beautiful.

TAYLOR: And again, that’s an effort. It’s about listening, it’s about music, it’s about… we love to talk about music, but even more important, playing records and checking it, that’s what really gets your head around it.

WORKHORSE: You know what they look like? Language lab.

TAYLOR: They do look like language…

ISAAC: They’re actually Panasonic. They’re Panasonic E-40s?

WORKHORSE: Andy Warhol-ish, you know what I mean?

ISAAC: No, we were going for a pop/art vibe.

WORKHORSE: So even that, man, you guys are into the artwork, the presentation.

ISAAC: Absolutely.

WORKHORSE: It’s very deep, Hanson is very deep. I hope the fans do understand that you fellas are taking your time out, you’re coming to Stony Brook, you’re going to New Hampshire, Boston, New Jersey, and it’s all for this, I consider it art because the product is artsy, the music is soulful, you need more respect than you’re getting, not to be commercial but to get that number of ears. I think it’s world changing.

ISAAC: Well, I thank you very much. Everybody wants to change the world, right? They want a revolution. You all want to change the world.

WORKHORSE: “Where’s The Love,” you’d think that every grammar school kid would be singing that at the top of his lungs! You know what I mean? Holding hands like the Coke commercial.

WORKHORSE: Well you know, we just love what we do and we just cross our fingers and hope that continually, as the years go on, we’ll be able to be doing this on… even if we just continue to play between 1500-2500 seats, that’s fine with me. I just want to be able to play for 15 years more than we’ve already been playing. It’s not a matter of how many places you’re playing for, it’s not a matter if it’s 500 or 300. It’s a matter of whether or not you love what you do and we love what we do and I hope that we get to do it for a long time.

WORKHORSE: I think you will. Well, it’s 12:28. We’re going to have to sign off cos the next show comes up at 12:30, but it was a pleasure to have Hanson in the studio. I have a guy here who wants to say something. (plays clip from Napoleon Dynamite:

BOY: What are you going to do today, Napoleon?
NAPOLEON: Whatever I feel like I want to do, gosh! *big laughs*

WORKHORSE: Hanson will be at Patchogue Theater tonight, they’re doing a documentary over at the…?

TAYLOR: Who knows exactly where the documentary screening is? We’re looking around…

WORKHORSE: The Table Center, I think, on campus. It’s a media center here at Stony Brook University. And what a pleasure to have Hanson with us, I’ll tell you man.

ISAAC: Well, we appreciate you letting us on your show and for all of those listeners who were surprised by the music, we hope you enjoyed it, cos I know this is not the regular playlist.

WORKHORSE: Well, they’ll be hearing a lot more of it, you have got two albums here at Stony Brook and all of the other DJs will be digging deep into it.

ISAAC: Well, we appreciate it.

TAYLOR: Thanks for having us.

WORKHORSE: I wish we had more time, you know… time constraints, you know that fellas. What time did you get up this morning, guys?

TAYLOR: Too early.

WORKHORSE: Alright, so we’re going to say goodbye. Let’s hear the Hanson boys say “goodbye.”

TAYLOR: Yeah, hey, thanks so much for having us.

WORKHORSE: How about doing a little harmony “goodbye,” come on!

ISAAC: Oh, I don’t know, let’s see… *coughs*

TAYLOR: We can sing a little bit of a song called “This Time Around,” which is one that we do… this is off the second album we sing a lot.

TTA A CAPPELLA

WORKHORSE: Hanson, live at Stony Brook University at 90.1 with Workhorse. What a great program. I wish I could just keep you guys on here till like, 5 o’clock!

TAYLOR: One of these days we’ll just come in and we’ll play music for 24 hours.

WORKHORSE: That would be great. Well, thanks fellas. Zac, Isaac, and Taylor from Hanson. It’s been a pleasure. Thanks for coming to WUSB Stony Brook.

ALL: Thank you.

WORKHORSE: We’re going to leave you with some Hanson from that 2004 album. Workhouse taking off, peace!