Coming November 15, 2024, from Colemine Records, Ohio based singer, songwriter and multi-instrumentalist Andrew Gabbard will release his third solo record titled, Ramble and Rave On. In between his other musical escapades, including being a member of the Black Keys touring band, Gabbard’s solo record is a welcome addition to those of us who still lean towards ace songwriting and well played rock and roll.

The homespun record is a vibrant blossom in a barren contemporary musical landscape that often relies less on melodic invention and more on gimmickry. Gabbard’s record is a refreshing well spring of inventive ideas, and musical intentionality. He plays all the instruments on the recording lending each track an intimate personalized glimpse into his creative intent.

Despite the unique originality of the recording, it’s quite exoteric. Gabbard’s influence ranges from the rustic thumping of a Neil Young inspired “Harvest” era drum sound, to the simple complexity of his Harry Nilsson-esque piano and vocal stylings. But easy comparisons don’t do justice to the depth of individualized musical expressions that take place throughout the album.

The record reveals itself with two smokey mid-tempo ballads; the first, the slow drip psych-soul of “Just Like Magic.” This sweet confectionary whips together Gabbard’s effortless falsetto vocals and brambly guitar lines into sonic alchemy.

Next, the cloudy ethereal pulse of “If I Could Show You” (Then You Would Know Exactly What I Mean) continues the earnest emotion displayed with “Just Like Magic.” Here, Gabbard illustrates his ability to initiate a deft falsetto flip, moving between his chest voice and a beautifully pinched higher register effortlessly. His attention to detail is where the hermeticism takes place, found in between the cracks of well-placed vocals that nestle side by side with carefully layered counter melodies. His guitar work throughout is beautifully transparent.

The title track, and lead single from the record follows (previously reviewed by the rock room here) and throttles up the tempo of the record accordingly. “Magic Taxi,” the second single release comes next, and is a hearty slice of blue-eyed soul. Piano based and emitting a pale paisley, the song weaves several ticklish segments of licks and vocal melody into an analog Gabbard orchestra.

A groovy slide-centric cover of Neil Young’s “Barstool Blues,” leaves a ring on the drink counter and slots into the track listing perfectly. Gabbard lends Young’s song a hazy swing and hillbilly lilt. “Everywhere I Go I Don’t Belong,” follows and is a jaunty bit of self-examination, decorated with what sounds like Mellotron strings and glistening with a sunny chorus.

Only partially through the record, Gabbard’s depth of influence and wealth of ability is tangible. Both elements work together to create a piece of art totally refreshing and original.

Opening with a nodding drum motif, the funky off-kilter mantra “All Right Mama,” is a shifty slide centric blues and one of the rock room’s favorite tracks on the record. There is cool delta blues push and pull happening that makes you crane your ear. The message of the cut is one that I think we all can relate to. Next, “Good Boy,” is a straight shot of finger picked acoustic guitar that wafts in on the smoky memories of a smoldering all-night campfire.

“Again Again,” slides in on a slippery guitar riff the bubbles beneath the arrangement for its duration. The song moves like a stony lullaby, highlighted by layered vocals and a shimmery vibe. “Donna Lou,” churns gently with a backwoods bent and is cut from the same patchwork quilt as “Again Again,” featuring wonderfully placed vocal adornments and serene singing.

The penultimate cut, “I’m Bound to Ride,” sounds like a lost track from Neil Young’s Zuma record with its undulating rhythm, cross-cut fuzz guitar, and pedal steel work (the only thing NOT played by Gabbard on the record). There is an inherent dramatism in the song that seethes. When a chilly piano part appears from the mix during the second verse it’s the kind of detail that separates Gabbard’s music from the norm.

The final song on the record, “Mulberry Rock,” puckers up with a tight T-Rex style groove and percussive vocal that leaves plenty of room for a helix of Gabbard vocal parts. The sleek silver veneer of his lead guitar line is the perfect topper, and as is typical of the record, is the consummate definition of not overplaying, but providing a song exactly what it needs.

Ramble and Rave On is an unobstructed view of Andrew Gabbard’s musical visions. The album is a focused piece of work and a weighty grab bag of storytelling, melody, and musical fun. It feels like the next logical step in his progression of recordings. Ramble and Rave On, is a record that should be played, flipped, and repeated. You should probably even use its cover to roll another number. While Gabbard’s sideman work may pay the bills, his solo recordings fulfill the soul.