A very interesting read.

In 1987, his debut album saw him hailed as a rival to Michael Jackson and Prince – but then his star crashed and burned. He talks about the nervous breakdown that triggered his identity change, living as a recluse and the music industry’s ‘Olympian’ conspiracy to bring him down.

Read more:

https://www.theguardian.c...?CMP=fb_gu

I have to say, I lost interest after Wild Card. I had hopes for him to just put out great music and work the system to his favor. MJ did it, GM did it. Prince did. All those folks he named - gone. He's still here. There is a void in music that he can help (but not totally) stand in the gap.

Most times I've seen or read interviews with him, only about twenty percent of it is decipherable as something coherent and digestible. He either has too many metaphors to rely on in conversation or he's just taking himself way too seriously. We all fight, suffer, battle, etc., to survive. We all get in dark places, and find a way out. It's almost like he fights to be so offbeat and tortured that he's lost himself. Sananda is a character to cope despite his claims to the opposite, IMO.

I don't know. I guess having once loved him so much on the music scene that now I'm just incredibly disappointed in the quality of his output, the mindless ramblings about Zeus or Zubegrian Time Lords, or whatever.

thetimefan said:

Wildcard IIRC was a more "mainstream" production where he was about to leave Sony. It's origins date back to 1998 or even a bit earlier. A few well known producers worked on Wildcard too. It's a shame Sanadas talent is being wasted but if he's happy making music he wants to make all power to him.

In what way do you think his talent is being wasted?

TrivialPursuit said:

I have to say, I lost interest after Wild Card. I had hopes for him to just put out great music and work the system to his favor. MJ did it, GM did it. Prince did. All those folks he named - gone. He's still here. There is a void in music that he can help (but not totally) stand in the gap.

Most times I've seen or read interviews with him, only about twenty percent of it is decipherable as something coherent and digestible. He either has too many metaphors to rely on in conversation or he's just taking himself way too seriously. We all fight, suffer, battle, etc., to survive. We all get in dark places, and find a way out. It's almost like he fights to be so offbeat and tortured that he's lost himself. Sananda is a character to cope despite his claims to the opposite, IMO.

I don't know. I guess having once loved him so much on the music scene that now I'm just incredibly disappointed in the quality of his output, the mindless ramblings about Zeus or Zubegrian Time Lords, or whatever.

I completely understand where he is coming from. In a way it is no different from what Prince tried to achieve during his Slave era with the name change... To distance himself from the toxicity of the mainstream music industry and their destructive ethos. As for his taking himself seriously, he sounds like there might actually be valid reasons for him to do so. He mentions PTSD, that sounds fairly serious... I think we should look beyond his current (relative) famelessness and be grateful for the person that survived and support who he is trying to be now. I personally think he still is a great inspiring artist with an amazing voice...

Sananda has made some personal and artistic choices that have alienated a greater or lesser part of his fanbase. In the face of speculation over mental health deterioration from those choices and his press interview ramblings, I don't know, but I think he's dealt with the affects of skirmishes with his old record label in his own way to better his personal environment. If not, I hope his people can help to carry him through. I feel that he's got the right people around him, though. The dissaproving talk around his songwriting and production choices remind me of the dissent by Prince fans who would urge for Prince to go back to his old band The Revolution and make the music together like they did before, the way it sounded back then. Was that right, too? Many will say yes but well what can one do besides gripe, move on, or enjoy the variety!

>

I don't think that Sananda is going to partner with a major label again to fill any gaps one may perceive exists in the current roster of stars in R&B, or whatever. Maybe he would if he could form partnerships like what Prince had done to present a finished product excluding label input and use them for marketing and distribution alone. Sananda doesn't want their money because he doesn't want their meddling in his process--understand that this was the problem to instigate the end of Terence Trent D'arby. His objective is to perform the role of creator and deliver the unadulterated works of his vision, which he is doing now. It would probably be difficult for the big-money corporations in the current environment to take him on, him being an obstinate veteran without much hype beyond his 1980s premiere album for them to leverage toward the public. Also, obviously, he is no longer a young novice shooting for mass popularity. The synergysm of those two factors make a hard prospect to wish for much change in his trajectory.

>

The old fans of Terence have the old recordings to hear, and I'm sure that these will attract new fans and inspire other talented people to study, enjoy, and bring forth some great new creations.

Also, I want to say that I agree with the OP's take on S.M.'s situation. I enjoy seeing such supportive comments. I'm a great supporter of what he's doing today and I am truly enjoying the sound and vision of his musical output. I enjoy Sananda's interviews too. Once you get him past his traumatic TTD-experience recollections, he's quite humorous and insightful.

CherryMoon57 said:

TrivialPursuit said:

Most times I've seen or read interviews with him, only about twenty percent of it is decipherable as something coherent and digestible. He either has too many metaphors to rely on in conversation or he's just taking himself way too seriously.

I completely understand where he is coming from. In a way it is no different from what Prince tried to achieve during his Slave era with the name change... To distance himself from the toxicity of the mainstream music industry and their destructive ethos. As for his taking himself seriously, he sounds like there might actually be valid reasons for him to do so. He mentions PTSD, that sounds fairly serious... I think we should look beyond his current (relative) famelessness and be grateful for the person that survived and support who he is trying to be now. I personally think he still is a great inspiring artist with an amazing voice...

His PTSD seems to be from actually having a record deal.

For me, I don't see a huge comparison w/ the Slave era. Prince wanted control of his music and out of his contract. TTD comes across as an over-thinking self-involved whiner. "I was famous and rich and I have PTSD!" Waaahhhh. Take your dollars and get a therapist. Hell, artists should have a psychologist the same time they find a manager or agent.

He does have points about how Hollywood is a big clique and it's easy to get isolated in the business out there. Homes are built with privacy fences and hedges around them, and security systems at the curb.

He has a great voice, but the quality of writing, etc. is less than stellar. It's why I finally just let him go. I still own the Hardline album on vinyl, and I think Vibrator on CD. But it ends there.

CherryMoon57 said:

Never got into his music too much but I respect his talent and lke some songs.

I think the statement "Do I miss being on the mountain none of my colleagues survived?" is profound. MJ, Prince & GM's lives were cut short abruptly before/during their mid 50s because of drugs (possibly brought on b/c of the psychological distresses of being famous) and he's probably relieved he can live a quiet life with his family. And I do believe him when he says there wasn't room for another pretty boy black superstar singing rock'n'soul...this ain't the first instance of MJ trying to blacklist someone to stay #1 boy stayed shady behind that giggly high voice

I personally much prefer the artist TTD to the artist Sananda, but for him becoming Sananda apparently was inevitable and he says is much happier as the person Sananda than he was as TTD and I respect him for being true to himself.

Germanegro said:

Sananda has made some personal and artistic choices that have alienated a greater or lesser part of his fanbase. In the face of speculation over mental health deterioration from those choices and his press interview ramblings, I don't know, but I think he's dealt with the affects of skirmishes with his old record label in his own way to better his personal environment. If not, I hope his people can help to carry him through. I feel that he's got the right people around him, though. The dissaproving talk around his songwriting and production choices remind me of the dissent by Prince fans who would urge for Prince to go back to his old band The Revolution and make the music together like they did before, the way it sounded back then. Was that right, too? Many will say yes but well what can one do besides gripe, move on, or enjoy the variety!

>

I don't think that Sananda is going to partner with a major label again to fill any gaps one may perceive exists in the current roster of stars in R&B, or whatever. Maybe he would if he could form partnerships like what Prince had done to present a finished product excluding label input and use them for marketing and distribution alone. Sananda doesn't want their money because he doesn't want their meddling in his process--understand that this was the problem to instigate the end of Terence Trent D'arby. His objective is to perform the role of creator and deliver the unadulterated works of his vision, which he is doing now. It would probably be difficult for the big-money corporations in the current environment to take him on, him being an obstinate veteran without much hype beyond his 1980s premiere album for them to leverage toward the public. Also, obviously, he is no longer a young novice shooting for mass popularity. The synergysm of those two factors make a hard prospect to wish for much change in his trajectory.

>

The old fans of Terence have the old recordings to hear, and I'm sure that these will attract new fans and inspire other talented people to study, enjoy, and bring forth some great new creations.

Yes. An artist that chooses to remain true to themselves will always be an obstacle for the money making machine.

The opposing forces of what music represents for the industry: a money driven process responding to - and sometimes even influencing - the customer's expectations/demand, and the actual artist's creative process that derives from his own inspiration, are bound to collide at one point or another and it is usually the artist who suffer the consequences.

I think an artist's direction should be his own choice, not his fans' or anyone else's.

Germanegro said:

Also, I want to say that I agree with the OP's take on S.M.'s situation. I enjoy seeing such supportive comments. I'm a great supporter of what he's doing today and I am truly enjoying the sound and vision of his musical output. I enjoy Sananda's interviews too. Once you get him past his traumatic TTD-experience recollections, he's quite humorous and insightful.

CharismaDove said:

Never got into his music too much but I respect his talent and lke some songs.

I think the statement "Do I miss being on the mountain none of my colleagues survived?" is profound. MJ, Prince & GM's lives were cut short abruptly before/during their mid 50s because of drugs (possibly brought on b/c of the psychological distresses of being famous) and he's probably relieved he can live a quiet life with his family. And I do believe him when he says there wasn't room for another pretty boy black superstar singing rock'n'soul...this ain't the first instance of MJ trying to blacklist someone to stay #1 boy stayed shady behind that giggly high voice

I think so too.

TrivialPursuit said:

CherryMoon57 said:

I completely understand where he is coming from. In a way it is no different from what Prince tried to achieve during his Slave era with the name change... To distance himself from the toxicity of the mainstream music industry and their destructive ethos. As for his taking himself seriously, he sounds like there might actually be valid reasons for him to do so. He mentions PTSD, that sounds fairly serious... I think we should look beyond his current (relative) famelessness and be grateful for the person that survived and support who he is trying to be now. I personally think he still is a great inspiring artist with an amazing voice...

His PTSD seems to be from actually having a record deal.

For me, I don't see a huge comparison w/ the Slave era. Prince wanted control of his music and out of his contract. TTD comes across as an over-thinking self-involved whiner. "I was famous and rich and I have PTSD!" Waaahhhh. Take your dollars and get a therapist. Hell, artists should have a psychologist the same time they find a manager or agent.

He does have points about how Hollywood is a big clique and it's easy to get isolated in the business out there. Homes are built with privacy fences and hedges around them, and security systems at the curb.

He has a great voice, but the quality of writing, etc. is less than stellar. It's why I finally just let him go. I still own the Hardline album on vinyl, and I think Vibrator on CD. But it ends there.

It's not the end of his career just yet, there's still time to give him another chance.

Yes

CharismaDove said:

Never got into his music too much but I respect his talent and lke some songs.

I think the statement "Do I miss being on the mountain none of my colleagues survived?" is profound.

my opinion?

too much nonsense 4 me!

'Supermodel Sandwich W/ Cheese'

or better yet..

O Jacaranda
I wanna be your Panda
O Jacaranda
I wanna be your Panda

MD431Madcat said:

my opinion?

too much nonsense 4 me!

'Supermodel Sandwich W/ Cheese'

or better yet..

O Jacaranda
I wanna be your Panda
O Jacaranda
I wanna be your Panda

MD431Madcat said:

my opinion?

too much nonsense 4 me!

'Supermodel Sandwich W/ Cheese'

The Vibrator album is one of my most favorite by him. I think the guy has an incredible discography.

Germanegro said:
Ha--I didn't know that Bobby Brown did the second Ghostbusters soundtrack! This was also around the time that Grunge made its debut, or shortly thereafter)--Album Rock, next phase--and Sananda suggests that while the industry was also picking up that sound and promoting it that his own promotion got a bit sidelined. The TTD stuff was sounding great, but seemed to get the sideline.There weren't a ton of listeners post--The Hardline. His style appears to have been co-opted by other musical styles of the times.

Thankfully he doesn't try to do much repeating of what he had done in those days. Nice efforts, but one must move on down the road with one's expressions. It'll be interesting to hear what comes next, if there's a chance.

You must not be in the US. On Our Own was all over the radio. Bobby had a cameo in the movie too.

NorthC said:

MickyDolenz said:

His 1st album went multi-platinum. But by the time his 2nd album came out, New Jack Swing had blown up and TTD's sound was less likely to be played on R&B stations. Bobby Brown was the big crossover star for NJS. Bobby got the theme song for the 2nd Ghostbusters movie and helped an unknown singer like Glen Medeiros get a hit single. A lot of established acts released NJS records and songs at the time, even Boy George. TTD's 2nd album didn't really have that sound like Tony! Toni! Toné! and Al B. Sure! did.

You have a point, but 1989 was also the year that Lenny Kravitz' debut album came out. Living Colour and The Family Stand were also popular back then, so there certainly was a market for black rockers.

I don't think that first Lenny album was a big hit in the US. The Family Stand? Who's that? I don't remember anybody called that on the radio here. Must be a group popular in Europe. Fine Young Cannibals were really popular around that time in the states on Top 40 radio.

MickyDolenz said:

NorthC said:

You have a point, but 1989 was also the year that Lenny Kravitz' debut album came out. Living Colour and The Family Stand were also popular back then, so there certainly was a market for black rockers.

I don't think that first Lenny album was a big hit in the US. The Family Stand? Who's that? I don't remember anybody called that on the radio here. Must be a group popular in Europe. Fine Young Cannibals were really popular around that time in the states on Top 40 radio.

Could the FYC have been the genesis of Britpop, made large internationally, amplified by promotion in the States? I know that 2 of the group had splintered off from the Brit band, The Beat. I LOVE The Beat. FYC, not so much, but I guess they were popular like you say!

>

The Family Stand consist of singer Sandra St. Victor and a slightly changing lineup--a musical collaboration--more about them here https://en.wikipedia.org/...mily_Stand. They did good stuff but were of marginal interest to the majority crowd. I guess I might be tempted to call them a kind of rock-like, neo-soul prototype. Living Colour made a much bigger splash, I think, because they had a bigger, metal sound that could fit well with the tastes of the times. There was/is a market for rockers of darker complexions, just not enough for major label support.

>

I think that Lenny had his market scoped from the beginning--a retro sound with old-school production, and kind-of rock by-the-numbers, really. But plenty of people know who he is and dig his stuff.

>

Sananda was a little bit extra from the start from many others with his large, supple voice and poetic lyrical leanings. His arrangements have a bit different swing to them--like Keith Richards would say, he had "the rock AND the roll."

*I fixed a couple of sentences and words.

[Edited 10/14/17 7:23am]

TrivialPursuit said:

I have to say, I lost interest after Wild Card.

The last consistently great album for my money.

He can get by just fine on the notoriety of his ( slave ) past alone, I reckon. His songs are still playing in shopping centres and people can look him up and can discover & buy his new stuff. This time he's collecting the lion's share of profits, not crumbs. He can do exactly what he wants. And presumably he is...so good for him.

But to paraphrase the topic here, I would say 'it was that and death'.

New interview:

http://www.mirror.co.uk/tv/tv-news/what-happened-terence-trent-darby-11354663

And full video here:
http://www.itv.com/goodmorningbritain/entertainment/terence-trent-sananda-maitreya-says-changing-his-identity-saved-his-life

[Edited 10/18/17 4:01am]

Sorry, but I gotta keep it real here: TTD's been talking this same record-label-conspiracy-theory/Master-Michael-and-Master-Prince bullshit for over 10 years in every interview he gives.

*

For those that don't remember, this dude used to give arrogant as hell interviews back during the Hardline days. In other words, he was Kanye decades before Kanye. The difference is that, album after album, Kanye backed his (arrogant) words up with great music. TTD's subsequent abums didn't appeal to the fans that brought Hardline and, as a result, his sales and clout fell off.

*

I'm not a musician or an artist and that's why I don't care for the "artistic integrity" argument. Like the O'Jays said- "you've got to give the people what they want". If you don't want to do that, step aside and don't waste the industry's time- there're millions of talented amateurs living and dying for 1 shot to make it in the industry. If you're fortunate enough to get one, you only have yourself to blame for fucking up the opportunity of a lifetime.

*

(FOR ANOTHER THREAD) And on that note, what am I listening to right now? Symphony or Damn (my personal favorite TTD joint)!!!!!

CoolMF said:

Sorry, but I gotta keep it real here: TTD's been talking this same record-label-conspiracy-theory/Master-Michael-and-Master-Prince bullshit for over 10 years in every interview he gives.

*

For those that don't remember, this dude used to give arrogant as hell interviews back during the Hardline days. In other words, he was Kanye decades before Kanye. The difference is that, album after album, Kanye backed his (arrogant) words up with great music. TTD's subsequent abums didn't appeal to the fans that brought Hardline and, as a result, his sales and clout fell off.

*

I'm not a musician or an artist and that's why I don't care for the "artistic integrity" argument. Like the O'Jays said- "you've got to give the people what they want". If you don't want to do that, step aside and don't waste the industry's time- there're millions of talented amateurs living and dying for 1 shot to make it in the industry. If you're fortunate enough to get one, you only have yourself to blame for fucking up the opportunity of a lifetime.

*

(FOR ANOTHER THREAD) And on that note, what am I listening to right now? Symphony or Damn (my personal favorite TTD joint)!!!!!

You're contradicting much of your statement with your very last sentence. What were you saying--just to be more clear?