This week the marks the 10th anniversary of the chart battle betwen Blur an Oasis at the neight of Britpop. Here are some of the highlights of 1995, the year Britpop took the UK music scene by storm.
PJ HARVEY AT GLASTONBURY
Harvey burned herself onto several thousand memories playing a Pyramid Stage set at Glastonbury.
PJ Harvey was a Glastonbury 1995 revelation
Dressed in a shocking pink catsuit and black Wonderbra, and playing tracks from the Mercury-nominated To Bring You My Love, she was a reminder of a darker alternative to the Britpop tide.
BLUR AT MILE END
With Blur's third album Parklife already a success and with their follow-up, The Great Escape, mere months away, this was confirmation the indie band formerly known as Seymour were zeitgeist-defining.
The gig, at Mile End Stadium in east London on 17 June 1995, saw Blur triumph on a damp day, playing Country House, the song that would cause that famous chart battle with Oasis.
THE SUPERGRASS HUGH GRANT COVER
Oxford indie upstarts Supergrass used a US police mugshot of British actor Hugh Grant for the cover of their debut single, Caught by the Fuzz. The picture was of the actor just after his arrest for lewd conduct in Sunset Boulevard earlier that year. However the cover was dropped after Grant's lawyers complained.
PULP'S COMMON PEOPLE
One of the most enduring of the Britpop anthems, Pulp's single climbed almost to number one - no doubt helped by a video starring Sadie Frost and introducing frontman Jarvis Cocker's loose-limbed dancing to the masses.
When Pulp replaced an ailing Stone Roses at Glastonbury, their rendition of Common People produced one of the great festival moments of all time.
Oasis' Some Might Say was the first broadside from their gigantic '95 album (What's the Story) Morning Glory, catchy enough, but music critics were almost unanimous in their praise for its B-side, an ode to Gallagher brotherly love called Acquiesce.
Acquiesce dealt with Noel and Liam Gallagher's fraught relationship
To this day, it still stands as one of the band's finest moments.
THE WARCHILD HELP ALBUM
The Britpop biggies (Blur, Oasis, The Boo Radleys) come to the aid of charity Warchild, raising money for Balkan war victims by recording and releasing a 20-track album within a week.
It featured something of a memorial to a few of the Britpop footsoldiers, as well - the barely-remembered Salad's singer Marijne Van Der Vlugt duetting with Terry Hall on a cover of Dream a Little Dream With Me.
Damon Albarn declares himself king of the new breed of British pop star in a BBC TV special shown on 16 August 1995, featuring the likes of Gene, Echobelly and Sleeper. Now it is derided by some critics as proof that the Blur singer was starting to believe his own hype a little too much.
McALMONT AND BUTLER'S YES
The former Suede guitarist Bernard Butler teamed up with soul singer David McAlmont to record an exultant, Phil-Spectorish classic that proved a foil to all the Kinks and Beatles-based guitar rock suddenly holding sway.
TEENAGE FANCLUB'S GRAND PRIX
The Boo Radleys' Britpop success came after years crafting more enigmatic music. As it was with Scotland's Teenage Fanclub, previously tour mates of Nirvana and attuned to an American sound. In 1995, however, their handsomely harmonic album Grand Prix beat most of the Britpop pack at their own game.
Teenage Fanclub made one of 1995's best albums, Grand Prix
THE GOOD MIXER
A nondescript pub in Camden, north London became, thanks to the patronage of bands like Blur and Menswear, the epicentre of Britpop. Britpop acolytes from all over Europe made the pilgrimage to the smoke-filled bar in the hope of seeing their heroes.
RADIOHEAD'S THE BENDS
While most of Britain's guitar-rock community seemingly wanted to be The Beatles or the Kinks, Radiohead set about trying to become the next U2.
On their 1995 album, released while much of the music press was holding its breath for Oasis and Blur's latest, Radiohead delivered a set of songs which made them stars in the US. Their legacy has far outlived many of the over-hyped Britpop bands.