Want Your Money Demo Reviews
Skratch Magazine June 2003
WANT YOUR MONEY
The Vankmans offered me a great invitation into a world of their own. Caught by the tempos and lyrical gestures and released by the gracious melody, WANT YOUR MONEY is a perfect title.
The album is on the slower side of rock, resembling the sounds of the '70s. Calm tracks and evenly flowing vocals make for a tolerable CD. There is no screaming and only light guitar solos. I think the band really focused on vocal harmony and making each track smooth with creative unity. The Vankmans seem like they are just some guys who play music for the love of it. I can see them at a bonfire party at the beach providing the right sounds to take the party into a hormonal rage. You can't help but fall in love with the person next to you when you hear The Vankmans in the background!
Skratch Magazine January 2004
WANT YOUR MONEY VOL. II
Vintage pop/rock that would best fit in the late '60s or '70s opening up for The Beatles. The Vankmans are classic pop/rock, with a heavier edge that tries to surface at times. They touch on the sounds of Blur, but the influences are mostly pop/rock of the '60s. It is a happy garage rock (unlike the modern garage rock scene). WANT YOUR MONEY VOL. II is a time warp to the days of THE WONDER YEARS, with noticable[sic] touches of newer pop/rock bands (e.g., Weezer). Considering this is only a demo, The Vankmans could prove to give the modern garage-rock scene a much-needed facelift.
Print Edition Only
Performer Magazine Spring 2004
The Vankmans - We [sic] Want Your Money Vol.1 & Vol.2
Recorded by Chris Reid
Reviewer -Mark Kramer
The Vankmans' brash proclamation of “We Want Your Money,” the title of both Volume 1 & 2 of their latest effort, is a rather tongue-in-cheek introduction to the world of Chris Reid, writer, performer, and recorder of the Vankmans. Their bizarre musings inside the album jacket aside, their music is just plain catchy, with the harmonies of the instruments reflecting off of, and not melding into, the harmony of the vocals. Although this technique has been widely used before (made popular by the Beatles), few bands seem to employ this technique effectively. This flaw, however, cannot be attributed to the Vankmans. A polished and professional sound is achieved, yet they still retain the musicianship to propel the band into the mainstream, with a great contemplative sound intermixed with the usual cheer of California pop. Of the two volumes in the set that together makes up a full-length album, volume 2 is definitely the stronger, sounding more eclectic and interesting that the straight on pop that volume 1 seems to be mired in. Their rock, very different from today's usual outpouring of stifled emotion, is rather a celebration of love and loss. This celebration is heard in their interesting and thought provoking arrangements, incorporating unusual chord progressions and instruments. They also bring spoken word into some songs that adds a dimension of seriousness that keeps the listener more than interested. If there is one complaint about the album, it is that the subject matter of the lyrics is a little too restricted. Almost wholly focused on interpersonal relationships,
it is easy to tune out what the singer is saying in favor of concentrating on the melody, which is by far more interesting. To be able to fit with their multi-tonal and serious melodies, a more eclectic subject matter, dealing with issues beyond the sphere of love, would be a more apt fit. This would aid in differentiating themselves from other bands. A more varied subject matter would propel this band out of the local scene and onto the national front. (self-released)