The first thing you’ll notice about “Spanish Wells,” (William Topley’s third solo album since the demise of his indie alma mater, The Blessing) is his sharpened skill in how he uses the timbre of his low baritone to capture the spirit of the moment. Like the subtle Jamaican inflections that permeate the opening “Kingston Morning” here, where Topley allows just a little island slang and softly-brushed slurring to embellish the song’s saga of lost love.

Or his unique ability to punctuate the fierce rockin’ “Walk Like I Do” with those Otis Redding-inspired, low-to-the-ground howls that come from reachin’ way down inside.

Or dramatic betrayal and grief that comes roaring from below during “Wide Sargasso Sea.” Not since Marc Cohn has there been such a strong narrative figure with a deep, charismatic voice that burns with as much soul and grace as Topley. Which may also say something about the character of his songs, which also carry a strapping, muscular quality. While his lyrics may have roots in the ruptured love metaphors of country-western music and Americana, Topley is actually an Englishman with a special sensitivity to his selection of phrases. “You were fanning like a fire, all those impure dreams and indiscretions,” he moans during “How Did You Know?” “So sad, and yet free, you’d talk into the night/and if I heard your right, said there’s no need to keep the faith with me.”

It’s a poignant lyric, even if were caught in a canticle, yet, Topley’s backing band (led by guitarist Luke Brightly) kicks in with a soulful, streetwise vibe that grinds in the hurt that much deeper. While the various settings for “Spanish Wells” may be continental or tropical at times, Bruce Springsteen’s bleak midwestern America tone (used for much of “Nebraska”) reappears often, as if Topley is reaching for some kind of cross- cultural reference. And none would be a better example than the cover of Stan Jones “Cowpoke,” a 40ish western swing blues given a strong Celtic seasoning with droning guitars, ¾ time and a plaintive recorder playing a minor-keyed reel. “I’m lonesome, but I’m happy, rich but I’m broke” Topley sings during the chorus. “But I’ll never be branded.” Except as a powerful singer.