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Hey Big D. How do you like that CD? I've heard 2 of the David Sylvian songs as they're on his retrospective he put out a few years ago. Nice. Just listened to a couple other instrumentals and they're pretty nice as well. It's on the same label as Hector Zazou is on now and seems to have a similar feel to some of his work. Very interesting concept. Even a similar cast of characters to some of the Zazou albums. Maybe not quite as eclectic, but still lots of talent. I see even Roger Eno was on board for that one.

Anyway, not sure about the whole lyric package but you can get the 3 David Sylvian songs at his site. I'll post them below. Might have to look up the others individually based on who wrote them.

An interesting description too from this Marco Polo page at http://www.pierluigiandreoni.it/marco.html ...

A "concept" album like this could be rather cringeworthy, but Alesini and Andreoni (and Materiali Sonori) seem to have enough taste to avoid the cheesiness that have plagued such releases in the past. In this respect, this CD can be compared to Hector Zazou's recent releases, and the similarities do not stop there. Zazou's Sahara Blue was text-inspired (Rimbaud's poems), as is Marco Polo (Sklovskij's 1972 Russian bio of the Italian explorer in question). And the excellent choice and use of guest musicians -- in some cases the very *same* musicians -- make A&A's work sucessful for reasons similar to HZ's. David Sylvian writes the vocal lines & lyrics, and sings, on three of the tracks; David Torn is on two; and Harold Budd and Roger Eno contribute as well. Sylvian's abstractionist approach to lyrics plays a large part in the avoidance of a hackneyed, linear, plot-based development of the Marco Polo concept. Said lyrics even go so far as to offer some meaty themes inspired by Marco Polo as icon of west-meets-east conundra, rather than by Marco Polo as guy-who-sure-did-get around-a-bit-didn't-he figure. For example, Maya is a "grass is always greener" mantra, which seems to be extolling the virtues of other worlds simply because they are other. Yet this simplistic idealization and objectification of the exotic is undermined by the meaning of the title: illusion. This theme is very deep indeed -- so deep as to be sexual -- and yet it is a central aspect to the Marco Polo legend.

Come Morning
God is in the silences
Between the rhythms rise and falling
The starring of the skies of blue
The promise of tomorrows calling

Hey ho and away we go
Hey ho come morning

Hey ho and away we go
Hey ho come morning

Hey ho and away we go
Hey ho come morning

The Golden Way
She said "come to me
and sit you down"
You'll always return as I promised you would
When you're through playing games with the bad and the good
Immerse your heart
The remains of the day
On the golden way

She's telling me stories
of surrender and joy
Of warrior gods that the heavens deployed
And love that spills out from the words on the page
In this golden age
In this golden age
In this golden age

Shoot an arrow to Shiva through the blood of the sun
The prayers of a lifetimes will not go unsung
On the golden way
On the golden way
The shadows emerge from night into day
And rally through lifetime in anger and rage
But love embraces all
In the golden age
In this golden age

The knife enters deep but I'm longing to sing
The fool's ready to take the place of the king
It's the wildest of things
Destroyed and glistening
On the silent wings
On the golden Way

Maya
Over there
The music's playing
Over there
The lights are shining
Over there
They need for nothing

Over there
Loves fire's burning
Over there
The wheels stop turning
Over there
They need for nothing

Over there
The ships are sailing
Over there
The gods are crying
Over there
They need for nothing