But Rabinowitz didn’t start in the
world of soul, R&B, and hip-hop. Rather, the eclectic artist began his
journey as “an introspective folk singer with reclusive tendencies.” Yet, when
finances became an issue, the artist found himself working at a gentlemen’s
club as a DJ where he became entranced with the beat-heavy music and swarthy
hooks, drawing him into a new creative space.
Along that journey, Rabinowitz came
alongside hip-hop pioneer Schoolly D who helped to mentor the young artist. The
tandem worked together with guitarist Erik Horvitz on the animated urban music
interview show, The Cookie Rabinowitz Show, which later led to Rabinowitz
heading out with Schoolly D and a plethora of other rappers, with Public Enemy
among them, on a tour that would change the artist’s trajectory forever.
“The hip-hop community really
embraced me. It was eye opening. Schoolly let me do my thing and shine – I was
able to sing and play guitar at 3,000 capacity venues,” he recalls. “That
inspired me to dive into that world.”
That inspiration and the artist’s
creativity collide in full harmony on Four Eyed Soul, a term the artist
coined to describe his blend of sounds which borrows the best of the old while
bringing it firmly into the future with swells of hip-hop, soul, R&B, as
well as rock. And backed by some of Philly’s finest, Rabinowitz steps out and makes
some lovely music.
“Sing Alone, Sing Along” gets things
off to a killer start, a smooth, funky groove carrying forth the artist’s silky
vocals, complete with playful falsetto while he offers up introspective
thoughts about the lack of disconnect in a digital age. A rich guitar solo
provides some additional color while “Crakka Smile” employs some sweet
keyboards and more falsetto to hammer home its message.
“Every St.” lets Rabinowitz’s
hip-hop side out a bit, his lyrical flow solid while the arrangement draws from
a multiplicity of ranges and is followed by “Life on Mars,” carrying similar
tones complete with some sampling and vinyl scratches, providing some bonus
texture. Rich funk steps to the forefront on “Pass You By,” vintage guitar
effects in use alongside thumping bass notes and bright keyboards while “Text
You With My Mouth” lets a persistent beat carry the load as the artist again
implicates the age of social media.
“Get Yer Own” is a beat-centric
hip-hop jam, a collection of sonic textures merging together while “Blue”
hearkens back to 70s soul for a commentary on racial tension. A bit of
alternative rock makes its way into the set list with “Underground,” the
programmed beats melding with raw guitars and Rabinowitz’s nuanced vocals as
“Self Loathing” and “Rock & Roll Karaoke” again bridge the gap between
soul, R&B, and hip-hop, the artist again breaking out his falsetto for the
high notes.
“More Tired Than Lonely” is an album
highlight, solo guitar opening things up as the artist sings of his reluctance
to enter into a relationship due to the finger-pointing and baggage he’s
experienced, “too tired to take the blame, too tired to hear you told me.” It’s
a smooth, simple groove that carries the lyric well and definitely stands out
while “Talking to Pigeons” closes things out in fine fashion, another mash up
of genres flowing together in sweet success.
Cookie Rabinowitz might not be what
you’d expect when you first see him but after you hear him you wouldn’t want
anything else. Bridging the gap between multiple urban genres and infusing his
own introspective folk leanings, the artist successfully crafts tracks that
carry their own sense of soul for a new generation.
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