Green finds revelation within the funky groove of "Funny How Time Slips Away," while the album-closing "Patches"--with George Jones playing father to B.B. King's son--achieves a spine-tingling majesty. Though Natalie Cole and Reba McEntire misconnect on "Since I Fell for You," Sam Moore (of Sam & Dave) and the late Conway Twitty are at their soulful best on "Rainy Night in Georgia." --Don McLeese  (less)

in the MCA trilogy, is an ever-appealing 10-song outing that makes Willis's lack of commercial success all the more mystifying. Posited midway between the Nashville outskirts territory of Lovett, Steve Earle, and the other '80s insurgents and the mid-'90s y'alternative school (Willis mixes easily with both camps), Bang Bang shows off the singer's powerful pipes and nose for excellent songs: tunes by Earle, Australian folk-rocker Paul Kelly, Jim Lauderdale, and Joe Ely are among the standout selections here. Bang Bang reflected where one vital stream of country music headed in the '90s; too bad more fans didn't catch the boat. --Steven Stolder  (less)

not afraid of either tantalizing melodies or country music history. Here the Mavericks reprise four tunes from their eponymous indie debut and toss in four new Raul Malo originals along with covers of Hank Williams (a lackluster "Hey Good Lookin'") and Buck Owens (a much more engaging "Excuse Me"). Their deft mix of old-school honky-tonk, Orbisonesque sob stories, and punchy modern country-rock serves notice of a band with enormous commercial and artistic potential. --Marc Greilsamer  (less)