that place goosebumps on the arms of a generation, choruses that have been bellowed in bars and clubs throughout the nation and songs that endured in the hearts of not only those that experienced them at the time but the music fans that have discovered it at a later date.

These are the ingredients that constitute a true classic album and they’re all attributes that Ocean Colour Scene’s sophomore album Moseley Shoals possess in vast quantities.

Despite having formed in 1990 following the merger of two local bands in Birmingham’s music scene, the band’s initial output and self-titled album; despite containing a handful of great tracks, failed to set the world alight as they’d perhaps intended.

With their debut album largely maligned by the band themselves and hampered by several creative disputes, it is Moseley Shoals which will forever be hailed as the album which introduced the world to an immensely talented band that stood out amidst the overcrowded domain of Britpop.

Where other bands often fell into the trap of merely following the established blueprints of the era’s star attractions such as Blur and Oasis, the now legendary band found themselves careering towards terrain that others weren’t willing to risk entering.

The endorsements from artists such as Noel Gallagher and Paul Weller may have helped boost their profile to a very small degree, yet what set them apart from the braying mob of UK bands is that their approach was one that was entirely of their own devising.

Their central concern was the music, meaning that there was no notion of wishing to emulate the tabloid-aping antics of other prominent acts of their generation; the emphasis was placed entirely on refining the raw materials that glinted from within their debut and bringing them to the forefront.

It is for this exact reason that the band’s announcement of 20th anniversary shows in the lead up to today’s momentous occasion weren’t met with the cynicism that hampers similar artist’s attempts to wander into the territory of nostalgia, it was purely a celebration of what was to become a landmark in Britain’s musical history.

Instead of trotting out to the nation’s arenas and grandest venues, the band took it as an opportunity to downsize from their usual stages and retreat to the clubs and dingy locales in which they first aired the record’s widely-known tracks.

Paying homage to the venues and fans that helped them test the waters was a truly commendable move, demonstrating that they aren’t willing to extort their most seminal album and would rather celebrate it in an untainted fashion.

The record itself is a remarkable fusion of genres and influences from a variety of decades; culling the finest aspects of 60’s R&B, Soul and psychedelia alongside an irrepressible rock ‘n’ roll heart.

Beginning with two of the finest and most iconic singles to be released by a British band in the last 20 years, the combination of the pugnacious, blues based guitar assault of ‘The Riverboat Song’ is offset by the immersive calling card known as  ‘The Day We Caught The Train’.

Seemingly not content with reeling the listener in with the strength of its first two tracks, what follows is a cavalcade of music which puts most band’s singles to shame.

‘The Circle’ is an incredible slice of Beatles-esque pop that could’ve fit seamlessly amid the uplifting fare that can be found on Revolver, while ‘Lining Your Pockets’ and the painful clarity which radiates from its lyrics is a forlorn ballad to rival anyone.

The piano-led stomp of ’40 Past Midnight’ sees frontman Steve Craddock let his vocals loose against a bedrock of decadent rock ‘n’ roll before ‘One For The Road’ and ‘It’s My Shadow’ enable them to exemplify their admirable diversity in both subject matter and musical approach.

The mountainous riffs that herald the emergence of tracks such as ‘Policemen And Pirates’ and the mesmerising ‘You’ve Got It Bad’  are evident of the enduring impact which OCS have had upon the bands of today, with the multi-dimensional musical journey that is ‘Get Away’ summarising everything that makes Moseley Shoals such a wholly rewarding experience from its first note to the very last whisper.

Acting as the deserved launching pad for the enviable and courageous career that Ocean Colour Scene have enjoyed in its wake, it would be a disservice not to spend this Friday in the company of this thoroughly fantastic record.