In watercolour the surface matters more than the brand of paint. The same pigment behaves differently on two sheets: on one it opens softly and can still be adjusted, on the other it sinks in at once and stays where it landed.
Paper made of one hundred per cent cotton has long, strong fibres and is sized so that water sits on the surface for a moment before soaking in. Two advantages follow from that: the wash can be moved around for longer, and a colour already laid down can be partly lifted or lightened. The sheet also survives repeated wetting without fluffing up.
Cellulose paper absorbs water faster and less evenly, so a wash stops almost immediately and any attempt to lift colour usually scuffs the surface instead. It is not a bad paper, simply a more decisive one. For practice, for outdoor sketches and for single-layer work it does the job well, and it costs several times less.
Put a strong patch of colour on an offcut, let it dry, then try to wash half of it away with a damp brush. Cotton will give back part of the pigment and stay smooth, cellulose will hold the colour and start to fray. That single test says more than the description on the packaging.
Paper decides about prints too: I make my giclee prints on a stock whose surface is close to watercolour paper. The originals are in the watercolours gallery.