For some, it represented the haughty bravado of Oasis and cheek of Blur, while for others, it symbolised the astute wit of Pulp. However, the Britpop movement primarily created catchy songs about young people on the go. The scene provided a fascinating new soundtrack for young life for those who were growing in the early 1990s, in dingy pubs and vacant flats. In addition to expressing their grievances with class and community, bands like Suede, Blur, Oasis, Elastica, and Jarvis Cocker's Pulp also managed to capture the charms and peculiarities of their respective countries. All of this was topped off with a defiant, tongue-in-cheek beauty. By the late 1990s, this formerly unappealing scene had gained such cultural authority that it sparked tabloid feuds.

"It was really distasteful when it got called 'Britpop' because that was like somebody trying to appropriate some kind of alternative culture, stick a Union Jack on it, and take the credit for it." - Jarvis Cocker

Let's dive in and explore the best albums from that era in NO PARTICULAR ORDER

Suede - Suede

The Smiths, among others, are mentioned in similarities to Suede's debut album, which is both glitzy and unexpected. Its legacy cannot be underestimated, as evidenced by its current ranking of 78 on NME's list of the top albums of all time. The album's standout track, Animal Nitrate, is an outstanding gem that debuts Brett Anderson's distinctive voice and has a resolute opening riff. Suede also includes standards like "Metal Mickey" and The Drowners, both of which contributed to the group's ascent to the top of the Britpop scene, which they would hold until Blur's comeback.

Wonderfully self-absorbed while also being conscious of the flimsiness of the stereotypical rock-star parody. Although Brett Anderson's wailing and belting adds a subtle wink to the lifestyles depicted in the record-a glitzy, melancholic, and anthemic collection of songs that even manage to find carnal glamour in overdoses, sexual abuse and the melodramatic odes to the sleeping pills, debauchery, and loose sex that dominated much of the 1970s glam. On the nose a little? Possibly, but when were pop stars ever understated?

Oasis - Definitely Maybe

Was there truly any other possibility? Instead of creating a record that accurately represented Rock 'N' Roll, the Gallagher brothers and their bandmates created an album that made people feel like stars and defined a generation. Even if Columbia should definitely be the first track, just for its bold intro, the opener Rock 'N' Roll Star says it all. Simply put, there isn't a terrible song on the entire album, in other words, this is where it all began. One of the finest Britpop album of all time, Definitely Maybe is enormous, absurd, and stratospheric.

The ideal fusion of indie and Brit rock in Definitely Maybe resulted in a timeless classic that would transform music as we once knew it. Everyone is familiar with the few number-one singles. Everyone has a favourite musical genre. However, the record is one of the best debut albums ever in my opinion because of its unmistakable impact and unrelenting raw intensity. The perfect rock n' roll revival record was formed by the incorporation of rock riffs particularly in Cigarettes and Alcohol and a rebellious British flavour. This album inspired a whole new generation and left a legacy that will survive for many years to come. 

Oasis - (Whats The Story) Morning Glory?

Parklife's music alone can support its inclusion in this list, but (What's The Story) Morning Glory? provides a better argument. Roll With It, Don't Look Back In Anger, Hello, Cast No Shadow, Wonderwall just listing them out might make one joyful. Oasis had no need to worry about the fabled sophomore slump because even the more subdued songs because Morning Glory broke sale records by selling 345,000 copies in its first week in the UK, and it went on to hold the top spot on the UK Albums Chart for 10 weeks. Along with its enormous title hit, (What's The Story) also includes the heartbreaking Champagne Supernova, Some Might Say, and other songs. simply sensational.

With tracks like Don't Look Back in Anger and Cast No Shadow, (What's the Story) Morning Glory? largely distinguishes between the guitar-rock of their debut and a more contemplative ballad style. The band's trump card throughout is Gallagher's ability to make any song sound good. Would this even be a list if this album wasn't featured?

Blur - Parklife

Modern Life Is Rubbish's older brother, Parklife, is bigger, bolder, ruder, and funnier. Lyrically, Blur are now at the conclusion of an inheritance that begins with The Kinks and The Small Faces and continues through Madness and The Jam. Not simply because they are obviously inspired by all four although analogies may be made but also because they convey the realities of daily life with equal humour and force. Musically, they are miles better than before, the ill-formed ideas have come to maturity.

Its songs, the annoyingly catchy Girls And Boys, the pushy End Of A Century, the magnificently written To The End and of course the seminal title track-can alone explain why it is the album s on this list. Blur's slow ascent to fame may be largely credited to this, when they were at their best.

Pulp - His 'N' Hers

His 'N' Hers perfectly captures Pulp at their most seductive, enticing, and occasionally filthy. Songs like Babies, a first-person account of love and voyeurism, and Do You Remember The First Time? establish Pulp as a formidable force. Although His 'N' Hers is more focused on Pulp at their most poetic and seductive, Different Class is less centred on a central notion like the in a different class but in a class of its own way. 

Pulp had made three albums by the time His 'N' Hers came out, yet they still handled themselves in the recording studio like the legends they are. They had perfected their exhilaratingly contradictory recipe, which included tonic synth-pop anchored by Cocker's sweetly barbed melancholy, which was sensual and high yet considered glossy and singalong yet too sophisticated to be cheap. The sultry dancefloor anthems Lipgloss and Do You Remember the First Time? were as poignant as the sultry mood pieces Acrylic Afternoons and David's Last Summer. 

Pulp - Different Class

Different Class is frequently cited as the best Britpop album ever, and for a good cause. Inviting successive waves of impressionable indie youngsters to the dance floor, songs like Common People and Disco 2000 continue to stand as defining alternative club anthems. The mystique and attractiveness of Pulp are only increased by their ability to effortlessly provide literary characteristics through frontman Jarvis Cocker and exotic melodies through Russell Senior's Jazzmaster guitar.

Different Class, which represents both community and isolation, the party and the comedown, victory and failure, pleasure and the price of pleasure, embodies Britpop's distinctive blend of surface levity and undercurrents of worry. It's amazing because it knows what happens when you have what you believe you wanted; it's great because it throbs with the urge to transform and flee. A great album whose music is timeless and is still frequently listened to by the people of today. 

The Verve - Urban Hymns

Without a doubt, Urban Hymns, his greatest work, will live on as Richard Ashcroft's legacy. The Verve gave Britpop new life with huge tunes like Lucky Man and The Drugs Don't Work, taking the sunny optimism made popular by Oasis and giving it a cool, folky flavour. In fact, Ashcroft's influence on the Manchester greats is perhaps what gave rise to that optimism in the first place, since it prompted them to record Cast No Shadow as a dedication to Ashcroft on their masterpiece (What's The Story) Morning Glory? two years earlier.

The Verve disintegrated shortly after the release of A Northern Soul as a result of conflict between guitarist Nick McCabe and singer Richard Ashcroft. The fact that their third album, Urban Hymns, was recorded after the two made up in late 1996 is one of the reasons why it is so exceptional. It appeared as though the band had broken up before realising its full potential. A masterwork of songwriting, ensemble playing, and orchestration that is breathtakingly lovely. The degree to which this LP is inextricably bound to my life and heart is something I find difficult to express in words. One of the best rock songs of the 1990s is and always will be Sonnet. You only have one chance to record such a thing, but The Verve did it repeatedly on Urban Hymns. Not to mention Bittersweet Symphony, which defined their age. The Verve has a legacy.

Supergrass - I Should Coco

For those who are confused by the title, I Should Coco reportedly refers to the phrase I should think so in Cockney. The punk-influenced songs Caught By The Fuzz and Mansize Rooster, as well as the unforgettable Alright are all featured on Supergrass' debut album, which was produced in Cornwall. With tracks like Lenny, the trio also crosses nasty riffs off their list. Supergrass has only had one number one album, but for good reason I Should Coco is likely their best.

When it was released during the peak of Britpop in 1995, it caused a big stir in the alternative movement, debuting at number one on the UK album charts and giving that scene a youthful exuberance that only young people like them could convey. I Should Coco were all about melody, power, and eclectism played with surprising dexterity, a quality rarely seen in avant-garde bands, from the angsty/joyous opener, I'd Like To Know, with all of its kinetic pacing and guitar abandon, to ineffable 90's alternative anthems like Alright, Caught By The Fuzz, or Mansize Rooster. But those songs weren't the only highlights of this album; Sitting Up Straight, She's So Loose, and Strange Ones, to name a few, exude a craftsmanship that feels organic and natural. This demonstrates that Coombes, Goffey, and Quinn never tried too hard but couldn't help but deliver while having a tonne of fun.

Ocean Colour Scene - Moseley Shoals 

The Circle, The Day We Caught The Train, and the explosive The Riverboat Song are all found on the album Moseley Shoals. When it comes to festival and nightclub anthems, Ocean Colour Scene sound like The Beatles and The Jam got together to write them. This is an impressive and cohesive pair of influences, especially when you consider that Paul Weller and company already sampled The Beatles' Taxman for their own song, Start!. 

It was the group's second attempt at success after their self-titled 1992 debut had sunk without a trace and they had spent four years working on the follow-up with no money. Steve Cradock, a guitarist, remarked, "We knew it was good. "We spent a lot of time working on it." The Riverboat Song, which Chris Evans of Radio 1 championed and turned into the theme song for TFI Friday, screamed into the top 10 all summer thanks to Paul Weller and Noel Gallagher's backing. It peaked at No. 2 on the charts. The underlying reason for its success, though, was much more straightforward, it was an incredible record, performed by a talented bunch of musicians.

Elastica - Elastica

Justine Frischmann, a member of the London Britpop scene, demonstrated that she was more than just a member of Suede by guiding this superb band through a convincing debut. Some of the tracks were compared to legendary post-punk successes by critics, although like most pop music, the influences were updated for a modern audience.

Elastica are a jack of all trades, which is uncommon in music. A band that excels at all genres and has the ability to simultaneously sound energetic, delicate, and bittersweet is rare. It's amazing how the four members were able to pull it off. With their razor-sharp lyrics about sex, groupies, and boredom, the snappy songs on Elastica perfectly reflect the frenzy of the early-'90s Britpop explosion. Elastica combined the angular guitars of Wire, Buzzcocks, and other English punk bands with the pop hooks of American new wave bands rather than idolising The Beatles, the Kinks, and David Bowie. They were able to connect with an American alt-rock audience who had grown up listening to pop punk bands like Green Day and Nirvana thanks to their simultaneously edgy and catchy sound. Elastica's music was unlike anything their rivals had produced. Britpop was a movement, not a kind of music, and the musicians frequently belittled one another in the media because they found it upsetting to be compared to performers with which they shared little in common.