Kathleen Edwards

Asking for Flowers

(Zoë/Rounder)

Record Review by Adam McKibbin

For whatever reason—and possibly a number of them—Canadian alt-country singer-songwriter Kathleen Edwards shifts her gaze on her third album, turning more outward than inward. Whereas her past albums, 2002's Failer and 2005's Back to Me (both highly recommended), found their footing with exposed-nerve songs of damaged relationships, Asking For Flowers shows a recurring sociopolitical edge.

Part of Edwards' considerable appeal is that she excels at both hard-charging country-rockers and somber, last call ballads. Neil Young is a kindred spirit in more ways than one. The outside world weighs heavy throughout Asking For Flowers, regardless of tempo. "Oh Canada" is a fiery critique of the way in which society and the press continue to divide people along racial and economical lines, and sweep the underprivileged out of their consciences and off their front pages. "Alicia Ross" is a much more personal story about a Toronto woman murdered by her neighbor; Edwards paints a sympathetic portrait and her intentions are noble (all royalties for the song are being donated to a charity set up by the victim's parents), but, it must be said, the obligatory string quartet makes it one of the few overcooked moments on the album.

Edwards is joined by a crack bunch of session players, including husband Colin Cripps on guitar and Benmont Trench (of Tom Petty's Heartbreakers) on keyboards. If anything, the album feels a little too seasoned at times. But there's also a quiet grace to the album, exemplified by the acoustic ballad "Sure As Shit" and the hazy, seductive closer "Goodnight, California." And Edwards shows some wicked flashes of humor, as when she compares herself to the Gretzky-protecting hockey thug Marty McSorley on the lively "I Make The Dough, You Get The Glory."

Sharing in the credit is producer Jim Scott, who also helmed Whiskeytown's Stranger's Almanac, considered a gold standard of the alt-country genre. Asking For Flowers isn't quite a classic, but there's little question that Edwards has that sort of potential.