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At a point when many bands are attempting to try on various sections of the U.K. post-punk scene for size, Grand National have been quietly staking out a nice career updating and refining one neglected section of that time and place. Every Grand National release since 2004's Kicking the National Habit should include a nice little thank you to Mike Alway, the A&R head of Cherry Red Records in the early '80s, because it's his aesthetic, as shown through the label's signing of acts like Eyeless in Gaza, Felt, Everything But the Girl and pretty much everyone on the canonical label compilation Pillows & Prayers, that Grand National take as their musical starting point. For most bands, this sort of gathering of single and EP sides, compilation tracks and remixes is redundant, but over the first three years of their career, Grand National have perfected a hugely appealing blend of subtle electronics, languid acoustic and jangly electric guitars, propulsive basslines and whispery vocals that makes B-Sides, Remixes & Rarities as enjoyable a collection as any of their proper albums.© Stewart Mason /TiVo

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It's been a few years now since John Butler and his trio first cracked the American market, but he's never had quite the same success in the U.S. as he has had in Australia, his father's homeland and his own residence for the past 20-odd years. Butler, however, should feel confident that he can hold his own against any of the Dave Matthewses, Ben Harpers, or John Mayers (all three of whom he can be easily compared to) out there. He's playing pop music, with all the sentimental, occasionally trite lyrics and clean major chord phrasing that accompany that style, but it's pop music done well, with impressive musicianship from Butler (on banjo, lapsteel, and acoustic and electric guitar), percussionist Michael Barker, and bassist Shannon Birchall. Nearly every song on Grand National features at least one instrumental solo, the kind that rolls and sings and grooves and would make Robert Randolph proud, moving close to jam band territory without immersing itself fully in it (only one song, "Gov Did Nothin'," reaches far past the four- or five-minute mark, much in part thanks to a great New Orleans-styled brass band that plays the piece out to a close, and is worth every second). His willingness to explore other genres besides bluesy folk pop -- reggae in "Groovin' Slowly," hip-hop in "Daniella," and modern rock in "Devil Running" -- certainly adds a nice diversity to the album, but unfortunately this talent is double-edged, as it also becomes the album's greatest flaw. Butler often tries to encompass too much, to do too much, and because of this, comes off sounding a little corny (in the aforementioned "Daniella," for example, which is more embarrassing than anything else), truncating words in a weird Dave Matthews-meets-Adam Sandler kind of way that's too forced and unnatural to sit well. And though it's nice to hear, in "Funky Tonight," for example, that he doesn't take himself too seriously, his simple rhymes and delivery are a bit too silly when they're about love and dancing. When he uses them in his socially and politically oriented pieces, however ("And with God on both sides/If death is justified/Whatever the name/Then we're all to blame," he sings on "Fire in the Sky"), they ring more truly, or at least more originally. But what Butler does best -- writing and performing well-crafted pop songs, and sounding like he's having fun all the while -- is good, and though Grand National still may not be his entry up the Billboard charts, it's a welcome entry nonetheless.© Marisa Brown /TiVo

"[I]t's all about the execution and seamless timing of the tunes....Every track is fresh and more exciting than the last..."© TiVo