Recorded in Tucson, one wonders about the inspiration for the organ-drenched garage rave "Death Valley Rain," which features a supple, lyrical lead, or the somber, sun-baked dirge "Drought," with its reverb-haunted, Southwestern feel. Inhabiting song styles much like a musical costume designer, Wynn goes Velvet-y on the chunky, feedback-driven "Southern California Line," then rides a Bo Diddley beat through an inspired, post-apocalyptic "Strange New World." Then there's the Pink Floyd-flavored "Butterscotch," complete with harmonic humming and operatic builds. The second side features several epic tracks: the low-riding, downbeat "Topanga Canyon Freaks," with Wynn doing his best sotto voce, Lou Reed imitation; "Good and Bad," whose quiet, folksy guitar and piano opening recalls Neil Young's "Cortez the Killer;" the high-throttle, riff-raging guitar showcase of "Smash Myself to Bits," and the apropos garage-pop redemption of "There Will Come a Day," the album's closing track. Only Wynn's limited singing palette holds this album back, which is like complaining about a Western's dusty locales.