Benjamin Croft – We Are Here To Help (Galactic Receiver, 2024)
Benjamin Croft’s We Are Here To Help, captivates from the very first note. The opening track, “The Age Of Magrathea,” serves as a brilliant introduction to the album with its seamless blend of symphonic rock and jazz-rock fusion elements. It sets the stage for what’s to come.
As we transition to the title track, “We Are Here To Help,” a wave of arena rock euphoria washes over. The infectious beats and classic rock vocals instantly command attention, while the interplay between organ, guitar, and synthesizers adds layers of depth to the composition.
In “You Made Me Miss,” Croft takes us on a delightful journey through fusion territory, where guitar and keyboard interplay reign supreme. The track exudes a feel-good vibe, with epic solo work that brings attention to Croft’s virtuosity. As the rhythm slows down to a bluesy reggae beat, listeners are treated to a mesmerizing display of keyboard skill.
Although “Caught In The Flypaper” begins with fantastic female vocals and elegant keyboard work that immediately draw you in, you are in for an expected change. Before that, the rhythm section is stunning, with elaborate time signature changes. However, halfway through the song, I am subjected to a relentless assault on my eardrums. From the moment those metal riffs kick in, it’s like being trapped in a metal factory during a meltdown. That’s all I hear, just a cacophony of guitar drowning out the keyboards. It’s like the guitars are trying way too hard to be edgy (in a heavy metal sense) and hardcore. Thankfully, the assault ends, and we go back to sanity and the beautiful vocals.
“Same Siders” continues the rollercoaster ride, with metal guitars making an unwelcome return. Despite the onslaught, Croft’s keyboard wizardry remains a beacon of light, offering respite from the storm. And when the dust finally settles, we’re treated to a brilliant keyboard solo.
Nearing the end of the album, “Wrestling with Plato” unfolds like a tragic love story, weaving a tale of passion and longing against a backdrop of epic keyboards and soul-stirring female vocals.
But the journey doesn’t end there. “Lower Moat Manor” beckons us once more, inviting us to lose ourselves in its flavorful fusion melodies. With each note, Croft reaffirms his status as a master of his craft, effortlessly mixing keyboard and guitar lines with admirable dexterity.
And finally, we arrive at “She Flies Softly On,” where the band shifts gears with male vocals taking center stage. Though marred by intermittent metal injections, the track’s soaring crescendos and melodic builds offer glimpses of transcendence, reminding us of the album’s overarching theme, hope in the face of adversity.
Beyond the music lies the story of keyboardist, producer, composer and arranger Benjamin Croft, the prodigious talent behind the album. His passion for music, nurtured from a young age, has propelled him to the forefront of the British progressive rock scene.
Musicians: Lynsey Ward on vocals; Benjamin Croft on Yamaha CS-80, Roland Jupiter 8, Sequential Circuits Prophet 5, Oberheim ob-xa, Mellotron M4000, Hammond organ and Steinway; Per Nilsson on guitar; Dave Marks on bass, additional guitars and percussion; Simon Phillips on drums; and Marco Minnemann on drums. Other guests include vocalist Jeff Scott Soto, guitarist Greg Howe, bassist Stu Hamm, and bassist Billy Sheehan.
Album cover by Hugh Syme.
Release date for the album is around April-May 2024.