WILLIAM TOPLEY
with guest
Terri Binion
Skipper's Smokehouse
Tampa, FL
8/01/98

As I entered the venue, young Terri Binion from Orlando, FL was just beginning her set. I had heard some nice things about her on the local radio station and discovered a distinctive voice with a message. However like many artists, talent is not enough to get you a record deal, only exposure and often pure luck. I hope Terri gets lucky.

Playing songs she wrote and which appear on her self-produced album (see below) the crowd gave her a nice reception. "One More Number" reminded me a lot of Sheryl Crow's "Leaving Las Vegas" and Terri's lyrics contain a lot of the storytelling magic that makes Sheryl so appealing. "Leavin this little town/out of this dust bowl of delusions/and dreams run aground" sung soft and sorrowfully it was one of the best lines from "Leavin This Town," the title track to her CD.

I had visions of that commercial where the girl throws her former boyfriend's clothes away and drives off in the convertible as I listened to her sing "Abilene." Terri's music is full of false starts, dashed hopes, but always the hope that down the road is a new opportunity.

"Long Cold Winter" drew the crowd to the dance floor as she delivered this blues waltz. I always find it a compliment to a singer that the crowd enjoys the music enough to get up and dance, that they get involved in the moment. Both Terri and William Topley imparted this comfortable feeling to the crowd tonight.

Terri Binion and her guitar delivered simple yet engaging melodies, a pleasant discovery on a hot Saturday night that threatened rain.

Up next was William Topley whose performance I had been eagerly awaiting ever since first hearing his new album, "Mixed Blessing." The cd had been playing endlessly over the past two weeks as I just couldn't get enough of his music and just a few days before I received two cd's from his former band "The Blessing" which Mercury has just reissued. Like any first time experience I was hoping that Topley 'live' would not be a disappointment and that this wasn't just a studio artist. My only disappointment this night was when it ended.

The first surprise of the evening was William, himself. The artwork on the CD somehow suggests a slight, wisp of a man with a great voice. When he took the stage I discovered that he has a body to match the voice. William is a tall imposing figure that compliments the voice that pours out of it. The last time Topley had appeared in the area it was to a handful of people. Tonight the house was packed, obviously the word has gotten out, this man can 'sing!'

Backed by a talented group of musicians, Luke Brighty on guitar and backup vocals, Jim Kimberley on drums, Martin Swain on bass and Mark Ford on keyboards, Topley proceeded to give an all out effort that had him drenched in sweat before his first number was over. He made no bones about it. It wasn't pretty but it made no difference in the quality of his performance.

Opening his set with "She Can't Feel" from "Black River" he wasted no time in showing that he was in fine voice reaching every corner of the venue with a clear and distinctive sound that some have compared to Van Morrison but which I find richer and fuller. The next two cuts were off his latest CD "Mixed Blessing," "Uptown" and "Sycamore Street" blues oriented tunes about addiction. He imparts the feeling as if they are life experiences, infusing the lyrics with the false joy and pain that makes up highs and low of the user.

The next several songs all revolve around water in some way from "Sink Like A Stone" to the evocative "Song Of A Seabird" interspersed with the ballads, "Highway 5" and "Delta Rain" which is done as a duet on the album but which seems even more powerful as a solo tune. It might be the atmosphere of performing in the South in a state where water surrounds us but the images are particularly powerful for me and from the rapt attention on the surrounding crowd's faces they seem to share my feeling.

"Mannish Water" and "Black River" continued this marine excursion. By now the crowd had gravitated to the dance floor in front of the stage and lost themselves in the music. Not even a broken string could stop the show as all the band took a break while repairs were made, except Topley and the keyboard player.

Things heated up with "Soul Love" with a faster beat and rougher sound and got the crowd pumped and filled the dance floor with sweating gyrating bodies. William moved back and forth across the small stage, obviously feeling the need to expend the energy he was vocalizing as he gave a touch of funk to the evening. The crowd was really into "The Ring" and only slowed when he changed pace and sang my personal favorite, "Wake Up" a nightmare come to life. The frenzied feel of thrashing about your bed in the grips of your worst nightmare can be felt in Topley's voice and body language.

Topley closed his set with "Starbroek" but quickly returned with a spirited and faithful rendition of "Hurricane Toots" that lasted for nearly 10 minutes and had the crowd dancing away and begging for more.It was last call and he served up a "Drink Called Love" one of the most striking love ballads to come along in years. This was a perfect end to a terrific show, one I thoroughly enjoyed. If he comes anywhere near you make a point to see him. You won't regret it.