***PLEASE NOTE*** JOMAR RECORDS, LLC., USES PHILLIPS BRAND CDS, WHICH CONFORM TO ISO STANDARDS.
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***BIOGRAPHY***
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Born July 2, 1967 in Memphis, Tennessee to a large family. Renea Mitchell was exposed to music at an early age. Her father, Willie C. Mitchell (AKA Honkey Dory) was a DJ for well-known, Memphis radio station, WLOK. As a young girl, Renea would always attend his "D. J. gigs" and assist him with his records.
When her grandfather passed away, she found out that Malaco Records recording artist, McKinley Mitchell was her cousin! She was inspired from that moment on, and always kept the dream of singing in her heart.
In 1995 that dream was realized, when she was asked to sing background for David Brinston's Southern Soul classic album, "Hit and Run." Under the leadership of Marshall Jones, she was able to sing background on four of David's songs. Now, Jomar, Morris J. Williams, Robert Smith Jr. and Renea have worked to created a well-rounded Southern Soul album, entitled "The Road of Love."
Renea Mitchell's single, "Seventeen Days of Loving" is screaming up the Southern Soul charts (#1 on Blues Critic & #3 on Soul and Blues). This remake of Carl Sims international hit (which sold in 26 countries world wide!) has even better production. But, don't take my word for it, read what the Blues Critic says!
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***SOUL PATROL*** 8/12/2006
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Renea Mitchell: The Road of Love
The Road of Love is the debut CD from Renea Mitchell and showcases the superb writing talents of Renea, Morris J, Scott Thornton, Robert Smith Jr, and the Masterfull Marshall Jones who alone could guarantee success for Renea's first CD release. The song "The Road of Love" is a sweetly sung and smartly written declaration of love that is so nice even though there are 2 versions I could stand to hear this song again in it's purest form accapella. I think that "17 Days of Loving" works for the sole reason that it is already a great song, but now the sista is telling the story.
The current hit single is called "Dirty Woman" and brings to mind songs sung by greats like Betty Wright, Gwen McCrae, and Candi Station like Rocking Chair and Clean-up Woman.
This is really a quite nice first effort with tremendously written material, I will say that the one thing I would like to hear on the next CD is more power and emotion because these songs deal with strong emotional situations. When you can write like this it means there were some serious issues and no tissues, so I would just like to hear some of that pain and sorrow next time.
Overall with all the songs on this CD I conclude that every sista who digs the Southern Soul should jump on the ROAD OF LOVE
Enorman Harris, Soul Patrol.com
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***JUST IN*** FROSTILLUSTRATED.COM - 5/10/2006
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Renea Mitchell
Solid music from an avowed 'southern soul' artist
Courtesy of Phat Sound Promotions.
While qualitative arguments rage about the viability and appropriateness of naming a genre "southern soul," singer Renea Mitchell embraces that label from the very start (as the blurb on the cover indicates) and then quickly and wisely moves on to do what's most important in the debate-produce some great music. The result is "The Road of Love" (Jomar Records/Phat Sound Promotions), a well-done, 15track collection of soulful tunes.
Blessed with a lovely voice and chops that allow her to sing even the toughest songs with deceptive ease, Mitchell turns in a extremely pleasant and easy to listen to set on "The Road of Love." While you can hear traces of the masters and archetypes of the genre she willingly embraces-folks like Dorothy Moore, Denise Lasalle and others-Mitchell has her own unique and soothing approach to the music. There's an easy going, controlled quality to her performances on this record. Even when she cranks up the heat, she doesn't explode, but rather builds it up from a smolder to a nice, slow burn that warms the heart.
Call it "serious southern soul," if you like-as does the blurb on the cover-but singer Mitchell's "The Road of Love" seems to owe just as much to the Philadelphia sound, Motown and other soul centers as it does the classic sounds of Stax, Muscle Shoals and Malaco. Check out the tight and sometimes elaborate arrangements throughout. Keyboard strings and horns often can be a bit cheesy, but if properly done-as in this case by producer Marshall Jones and co-producer Morris J. Williams- the results can be suprisingly good, even great, as is this case on this record. That combination of great arrangements and a great singer make for a very satisfying outing.
The record starts off with a quick monologue on the blues before launching into "Seventeen Days (of Loving)." which proved to be a big hit for another artist in the southern market sometime back. Producer Jones and co-writter Scott Thorton have rearranged the tune and given it a nice, relaxed feel here which makes it a wonderful vehicle for Mitchell's stellar vocals. Mitchell kicks the pace up a little bit with the Tyrone Davis-like groove of "Two Can Play That Game," a cautionary tale about how payback can be a bit rough.
She digs in for the poignant "Somebody's Cutting My Cake," a well-written heartbreak tune.
Some slick guitar playing and nice horn arrangements open the driving "Dirty Woman," while tunes like "I'm Just A Fool (In love with you)" puts on in mind the type of song Gladys might sing-only with a bit lighter, pleasant airy sound in Mitchell's hands.
Other highlights include the wicked funk groove of "You Ain't Man Enough" and the luscious "The Road of Love," a tune with a definitely Philly-type sound. Mitchell finesses all kinds of sweetness out of this one. It's a truly lovely vocal performance. The record features two versions, the first "with guitar" and the second without. Both versions are great, but the whining, volume pedal guitar effects on the first are nice icing on the cake. This tune alone is worth the price of the record. Still, there's plenty of other good songs here including "Party Lights," "Mr. DJ (Play my song)" and the sweet "Lay Your Head On Me."
The record finishes with a wonderful version of Cheryl King's "Lollipop"-a tune King co-wrote with producer Jones.
"The Road of Love" by Renea Mitchell is a super solid piece of work from a talented and inviting singer. There's no gimmickry and cheap "novelty" tunes here-just solid, entertaining music. Perhaps if more folks turned out quality work such as this in the contemporary "southern soul" market, much of the debate over the viability of the music would be settled.
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***BLUES CRITIC RATING SYSTEM***
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***** Classic, Essential Purchase
**** Very Good. Majority of songs above average
*** Good. Solid disc with little filler
** Mediocre. A few above average cuts- mostly filler
* Avoid it.
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Renea Mitchell "The Road Of Love" (Jomar Records)
**** 1/2 Jomar Records believes in this new artist and they've been willing to bank on her with classy promotion and phat production. The kind of push artists dreams of. But the question is: "Does it live up to the hype?". Well, in two words let's just say: "Sho 'nuff!". Likely you've already heard the runaway smash "Seventeen Days (Of Loving)", which has the audacity (boldness) to best Carl Sims version (also produced by Marshall Jones) It's racing up the Soul Blues/Southern Soul charts to #1 as I write. Mitchell has one of those sweet voices you could listen to all day - smooth, sexy and tensely soulful. Could she be the new Diana Ross? It don't hurt when you got Grade A material to sing. Check out the serpentine "Somebody's Cuttin' My Cake", a tale of a woman scorned and not with who you may think. She says "It's just like Adam and I'm your Eve/ But I didn't know you were lovin' Steve!". See, Peggy Scott-Adams, Renea feels your pain. Wonder if "Bill" and Steve will ever meet. Other likely hits are the head bobbin', toe-tappin' Southern Soul gems "Lay Your Head On Me", "Two Can Play The Game" & "Dirty Women" or maybe the 70s-styled dancer "Party Lights". Mitchell declares "Take down my pumps/Turn on the shower/Been workin' all week/It's time to spend some dollars". That says it all- that's what "Party Blues" is all about. Oh and let's not forget the title cut (appearing in two versions). Here, Mitchell, delivers a pitch perfect vocal on this melodic slow jam imbued with the spirit of Motown. "The Road Of Love" is not two singles and out like much of the competition- this disc holds up all the way through. Some big wigs of the "Southern Soul" world are on board (and behind the boards). Marhsall Jones, the man behind Carl Sims' "I'm Trapped" & David Brinston's "Hit And Run" is turnin' the knobs with assistance from Scott J. Thornton and Morris J. Williams, a key architect in the Ecko Records sound. Speaking of Ecko, Mr. John Ward himself is in the house to play guitar and Robert Smith Jr. handled vocal arrangements. Programmed Southern Soul at it's finest and hands down one of the finest releases of 2006.
Review by: Dylann DeAnna
The Blues Critic
www.bluescritic.com
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***ABOUT US***
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Marshall Jones (AKA Jomar) is no stranger to the music world. As a young man, he was taken "under the wing," of Willie Mitchell (of legendary, Memphis based, Hi-Records). Marshall Jones, an apprentice, observed everything about the music business and absorbed all he could in the recording studio. As a matter-of-fact, Marshall spent more time in the recording studio, than school. Something was in his blood and no one could not keep him away from his first love......... MUSIC!
Willie Mitchell, Hi, Stax and Atlantic Records gave Marshall the opportunity to work with the biggest recording artist in the world! from the Staple Singers, Rance Allen, Sam & Dave and Al Green. The list goes on and on.
Marshall Jones quickly developed as a "powerhouse" record producer. It was no coincidence that he “hooked up” with legendary song writer/producer, Carl Smith. (who, by-the-way, wrote BMI’s award winning song’s, "Higher & Higher," covered by: Jackie Wilson, Bette Midler, Otis Redding and Rita Coolidge and "Rescue Me," sung by Linda Ronstadt).
It was a well-known fact that in the Seventies, Marshall was the hottest producer and was dubbed the "Quincy Jones of Southern Soul Music" by well-known record mogul, Senator Jones.
Mr. Jones was approached by several "industry heads" to start a division of a major label in Memphis. Talks were started, ideas were tossed around, but in the end Marshall stayed true to himself. He did not "sell-out."
It was that militant attitude and radical way of thinking that caused a lot of people to wonder about him and record companys to take notice, however, Marshall always stayed true to himself! Understanding the mentality of the major labels (how they would chew you up and spit you out) he embarked on his own journey. Not wanting to become a "corporate puppet," Marshall Jones started Jomar Records. His first big release was Carl Sims, "House of Love" album, (origionally on Labro Records - Wiley Brown) so big, in-fact, that the album started to "run-away." Knowing the music business and having a lot of acquaintances, M. Jones and W. Brown received help from long time friends, Al Bell and Raymond Botwell. Carl Sim's album "House of Love" ended up on Stan Lewis renowned label, Paula Records and became an INTERNATIONAL smash!
The commercial achievement of House of Love, led then unknown recording artist, David Brinston to Marshall Jones recording studio in Memphis, TN. Working day and night as the producer, Jomar crafted David’s sound and honed his vocal skills on the microphone. With Jomar's track record, it’s no wonder that Hit and Run became an instant Soul/R&B classic.
We are getting to ready to hear the magic again! This time, Marshall is working to create Renea Mitchell’s debut album, "The Road of Love."
Several other projects are in the works. There are sure to be some heavy hitters coming out of the Jomar Record camp!
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