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Authentic soul music warms you from the inside like a good homemade soup. With his intrepid debut album The Colored Section (2002), Atlanta singer-songwriter Donnie served up a savory, cohesive course of 14 tracks like a seventh album from an old pro.
Though delectably sung, Donnie likes his soup chunky. The lyrics on Colored Section sound the alarm on racism, sexism, homophobia, and religious hypocrisy. From its onset, it declares itself a tour guide through the societal ills that both define and complicate the Black experience in America (“Welcome to the colored section / Welcome to the Negro leagues / Sign your name on a Black list / And know this / It’s American history”).
Donnie guaranteed himself a place on neo-soul radio with an ode to natural Black hair called “Cloud 9.” The almost satirical “Big Black Buck” addresses the intersection of capitalism, race, and classism with an R&B-cum-vaudeville sound as whimsical as it is dark. “Wildlife” turns the tables on racism to call it the savage beast it is. And “Do You Know” pairs bossa nova rhythms with blue sky harmonies on an invitation to romance.
Like the church kid he is, Donnie knows how to pull out the drawbars on his Hammond B-3 Organ of a voice. While his baritone is from another time, conjuring Donny Hathaway, Stevie Wonder, and other gilded soul men, Donnie himself is from the future. Public discourse has only recently caught up to the very topics he tried to warn us about in 2002.
Back then, Donnie flooded speakers with everything important that needed saying just in case he never got another chance, but today, a fresh opportunity to appreciate his work circles around again. The Colored Section’s original 14 tracks are getting a digital deluxe reissue, including a treasure trove of remixes, rarities, and previously unreleased material. Among the 16 additional tracks and 90 minutes of bonus content are two outtakes from the original sessions: Donnie’s coy but confident proposition “Trois” and the dynamic love ballad “When You Call My Name.”
This resurgence of The Colored Section provided an opportunity to speak to Donnie himself. True to form, he shared nothing but the same raw and honest truth that has made this record a conversation piece for the last 2 decades. If you know nothing else, know that he means every word he says with the same fervor of every word he sings.
Donnie, I have been looking for you everywhere. Where have you been, bruh?
Exploring! Learning!
I hope you found something good because you were needed the last four years, and you did not show up. I was mad.
I just really honestly was going through it. You know how it is, being human. Some of us awaken late, even though we seem like we “woke,” as they say. We awaken late.
I was telling somebody that The Colored Section was either 10 years too early or 30 years too late.
Are you serious?! [Laughs.] I don't see that with people, but they say it, so I accept it!
You were ahead of the curve, culturally, but sounding like classic old soul musically. The topics you were leaning in to, nobody really wanted to touch. It probably made some people uncomfortable then. But this is where we are in 2021 and you were already there in 2002.
Yeah. We turn away from it. Because, of course, who wants to see all of that muck and mire and hell? I just don't feel like being silent. There’s no reason.
You were pretty fearless then. Is there anything that does scare you?
To be totally honest, I'm not scared to talk about anything. Of course, in the world, there are things that scare me, but I'm going to say something about it…I'm going to do it because somebody is going through it. I come from gospel, and we minister. People need ministry even in soul music.
Do you think anything is different now as opposed to 20 years ago when you were making this album?
I think [there’s] much more consciousness as far as America as a whole. George Floyd helped that. People just had enough, you know? And plus, when White people start changing, then America starts changing. And I know that sounds “whatever,” but until they change, this ain't gon’ change.
What ripple effect do you think The Colored Section has had since it's been out?
You know, I'm not one to really say stuff about accomplishments, but it did what I wanted it to do. There are some women that come up to me and they're like, “When I heard ‘Cloud 9,’ I just shaved all my hair off.” And I was like, “huh?!” I'm talking about several! But then a married couple said, “We bought your album and decided to stay married.” Okay. I'm about to cry right now because that's what I wanted. And then the next person that comes up. “I was gon’ commit suicide and bought The Colored Section and decided to live.” So, it did exactly what I want and far beyond.
How have you changed since The Colored Section?
I was hell. I was pure hell. I have—oh my gosh—I embarrassed myself so much!
Do you forgive yourself?
Now I do. It took a long time for me to forgive myself. Now this right here? This re-release? If you don't forgive yourself, you’re just stupid. And that's what I had to say to myself. “Forgive yourself.” You got the same record label that dropped you, now they're honoring you.
I read that (former Motown Records president, current Epic Records chair & CEO) Sylvia Rhone changed things up when she got to the label. What was your experience like at Motown?
It was not great at all. I did not have what it takes. I did not fit in with the music industry. I was too much of an “artist” because “You ain't going to tell me what song to sing when I go on stage ‘cause we got a single out!” But yes, they are, because we're in the music industry. But you're either gon’ do it or not. ‘Cause there's so many other acts they can go and sign and tell what to do and what song to sing.
So that's what it was. It’s moreso me just being an artist and not fitting in. I hung out with the unpopular kids in high school on purpose. I do not like haughty people and people that act like they're better. I can't stand it. So, I wouldn't have worked well in the music industry ‘cause I would have told them, “You stink.” It wouldn't have gone over well.
What happened didn't go over well, but I'm happy! I'm glad! When India.Arie told me what the music industry was about, I said, “oh, I'm not gon’ sell Donnie!” My ancestors are anointed. I ain’t gettin’ ready to sell none of them!
So, whose idea was it to re-release The Colored Section at the same time as Juneteenth, Black History Month, and Pride Month?
That was Maurice Bernstein's idea at Giant Step. He released The Colored Section first before Motown signed me. They had been trying to figure out the date. So, he suggested the 18th. It’s Juneteenth weekend, it’s Gay [Pride] Month, Black Music Month, so it was perfect. It was like he was in sync.
I finally heard the bonus tracks and I need to know why “When You Call My Name” did not end up on the album. It’s gorgeous. I think Motown may have missed out on a hit.
I don't know, to be totally honest, because it was recorded then. I don't know what they were trying to do, but you know how it is in the music industry. They're trying to sell. And they’re looking at me, I guess they see a soul artist speaking about societal issues and they just wanted a few love songs because it's only a few of them there. Everybody who I talk to, they love the song. I don't, necessarily!
Did you write it?
Yes.
Why don't you love it?
I would rather somebody else record it. Frank McComb recorded it and I was just like, “Oh my gosh!” This was years ago! He recorded it at Steve Harvey's studio (Steve Harvey, my producer, “The Scotsman”) because he heard it and he liked it. He didn't do it like I wanted to every bit. I'm trying to make everything where anybody can sing it. It's not a “he” nor a “she,” you know. The intersex can sing it, the straight man, straight woman, gay man, gay woman.
If you did a third album, would you want to work with Steve Harvey again?
I would want to work with Steve, not a whole album, but there's some songs that I love of his as far as I was writing music to. I would love those songs on the album, but I would like to work with other producers here in Atlanta, so I can be comfortable and at home!
Harvey also worked with Frank McComb. You and Frank are both people who sound a lot like Donny Hathaway, a lot like Stevie Wonder. What is it like being in the same area with each other and trying to differentiate yourself musically?
I believe he sounds like Donny Hathaway even more than I do! He does it intentionally. He'll go clear his throat and then he'll start singing. And I'm like, wow! And I think with me, it's moreso belting, but being compared to Donny Hathaway is an honor.
Do you get tired of hearing about Donny Hathaway in interviews?
No. If there was a king of soul, [it] would be Donny Hathaway. Aretha Franklin and Donny Hathaway were the most soulful singers in the music industry. That man could write a symphony and conduct, then get behind the keyboard and go right to church. He has so much respect [from] me. I do feel for his life, but I never get tired of hearing that!
What are your five favorite albums of all time?
Oh my gosh. Why are you doing that to me? Because this is American music. Let me, let me just—Marvin Gaye’s What's Going On because that's what really inspired The Colored Section as far as a vision album. I mean that and Songs in the Key of Life. I mean, gosh, you pass that up? You're stupid. I ain't going to be stupid.
The Clark Sisters. Heart and Soul. 1985. Oh, Jesus! My God. Because Twinkie Clark is just as prolific as Stevie. Another album. The Clark Sisters. 1981. I think it was You Brought The Sunshine. Every song on the album is like, “God, woman, you writin’! Yeah! And they're producing.”
One more album. Oh gosh. Woo! Let me think about that because there's so many. Commissioned. The first album [I’m Going On].
See, I like a lot of gospel music. A lot of gospel music taught me how to write. Contemporary gospel music. They could write. It makes no sense! So, three of the albums are gospel. Yeah.
I hear it in your voice, man. There’s so much church in there. What kind of church did you grow up in?
Hebrew Pentecostal church. It’s Pentecostal with a Hebrew feel. You're mixing Judaism and Pentecostalism. We celebrate the Passover. We celebrate Yom Kippur, the feast of harvest, just different things.
If you were going to record a gospel album, what would it be like?
Whoa. I would really talk about the things that I believe and don't necessarily believe anymore. They would really kind of find it racy. They would like it and not like it. It would be bitter to the belly, but sweet to the mouth. And I love them. I still love the Christian church, but we're going to have to stop doing certain stuff that our supposed masters taught us.
Which artists would you like to collaborate with in the future, God willing?
Most of all, I want to meet Twinkie Clark. I would love to write a song with her. But as far as recording with or writing a song … I just have to say—they’re my favorite group—so I would have to say The Clark Sisters. I already wrote a song that sounds like them from my musical [The American Mythology]. I want to hear them sing this!
If somebody says “Where is Donnie? What is he doing?” how do you want people to get in contact with you?
I guess I haven't been concentrated on that. I really was discouraged by the past, so I'm really just coming back up. You know what I mean? Because that's where I was. So, my page on Facebook for now. I'm not a major internet artist. I've been working, just like “Elvin” at the supermarket! And I got a lot of actor friends who work at the supermarket because we have to!
There’s no shame in that. If you have actor friends, you know actor friends gotta eat too! But really, man, for everything that you've contributed, for your art, I hope the love that you put out comes back to you. And I hope you have people around you that are supporting you. I'm so glad that I got the opportunity to talk to you.
It was an honor. For anybody to want to interview you? Thank you for having me, really!
Take care of yourself, man, and hopefully we hear from you very soon.
Very soon! We will! Yes!
Editor’s Note: This interview has been edited from the original transcript for length and clarity.
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