The closest that David Sylvian got to mainstream American success was his follow-up to Gone To Earth, setting aside that double album’s extensive sprawl for a focused but no less compelling set of songs that retained all his by-now well-honed sense of compelling, understated vocal charisma and his ear for arrangements that suited said vocals to a T. “Orpheus” was the almost-hit in particular, a mesmerizing slow sway, but the concluding one-two of “Let The Happiness In” and “Waterfront” may be the album’s true pinnacle.