Anyone who can work hockey player Marty McSorley into a chorus has admirable songwriting chops. The mystery on the album is really why roots rock fans haven’t rallied around Edwards like they have around Lucinda Williams. Is she paying the price for her Canadian-ness? For living in a civilized country with a healthy sense of reserve? For music that’s less showily artful? Her songs map out the emotional landscape of the characters that inhabit her songs in music that offer surprises. In the kiss-off “The Cheapest Key,” the driving guitars give way to piano trills as she sings, “Don’t get me wrong / here comes my softer side,” followed immediately by the resurgent guitars. “And there it goes.” And you root for her, just as you do for Williams. There’s so much heartbreak and so many bad choices, but her songs resist the urge to bog down in bummerdom. The title cut is typical; when things get dark, they also get more lovely and insightful here.