Nei panni di Replacements molto orecchiabili, i Teenage Fanclub centrarono il segno con il singolo God Knows It's True, che contiene anche So Far Gone. Questo e altri singoli del primo periodo verranno riassunti su Deep Fried Fanclub (Paperhouse, 1995).

The King (Creation, 1991) venne cancellato il giorno stesso in cui usci`, per cui pochissime copie sopravvissero. L'album contiene brani molto diversi dallo stile degli altri dischi, e in particolare una Robot Love degna degli psichedelici piu` sballati.

Quello che avrebbe dovuto essere il loro capolavoro barocco, Bandwagonesque (DGC, 1991), e` invece un album ripetitivo e zoppicante che spostava comunque il baricentro verso le armonie lucide dei Big Star (Concept) con spezie di Byrds (Star Sign) e Beatles (What You Do To Me) per buona misura, e omaggi espliciti a Beach Boys e Love.

Thirteen (Creation, 1993) e` ancor meno originale. Non solo annaspa nello stesso sbiadito pop-sound di quarta mano, ma scivola anche spesso nella ballata country (120 Mins). Almeno meta` dei brani sono superflui perche' ripetono i vari Cabbage, Hang On, Radio, Escher su cui riposa il potenziale commerciale dell'album. E` un segno dei tempi che il brano migliore sembra essere lo strumentale Gene Clark.

Il batterista Brendan O'Hare lascia il gruppo e forma i ben piu` interessanti Telstar Ponies.

Grand Prix (DGC, 1995) continua in quella direzione country-pop. Da Don't Look Back a Mellow Doubt e` un repertorio di banalita` fin troppo calcolate.

Il "west coast sound" di Songs From Northern Britain (Creation/Sony, 1997) e` quello dei tardi Byrds o dei Crosby Stills & Nash. Come nel caso di tanti album di country "autostradale", le canzoni sono pressoche' indistinguibili. Conta l'atmosfera d'assieme, non il singolo brano.

With the band reduced to a trio of songwriters (Blake, McGinley and bassist Gerard Love), Howdy (Columbia, 2000 - Thirsty Ear, 2001) could be their strongest work to date had they removed the weak tracks. The tender, organ and acoustic-guitar based Happiness and The Sun Shines From You are captivating all right, and the moody, seven-minute ballad My Uptight Life would be a highlight on many folksinger's albums, but the core of their art remains songs like I Need Direction and Accidental Life that are reminiscent of the Byrds both in the vocal harmonies and in the jangling guitars; and, as usual, most of the album is filler: one wonders why Brit-pop bands can't just wait five years before releasing another album. In the agonizing Brit-pop scene there is no room anymore for half-hearted efforts.

Words of Wisdom (Alternative Tentacles, 2002) is a collaboration between Teenage Fanclub and Jad Fair.

Four Thousand Seven Hundred and Sixty-Six Seconds (Jetset, 2003) is a career retrospective.

As original as a rainy day in London, Teenage Fanclub's seventh album Man-Made (Merge, 2005) is, nonetheless, their most valuable contribution to Brit-pop since Bandwagonesque. It is hard to be thrilled by the likes of Norman Blake's It's All In My Mind and Slow Fade, Gerard Love's Save, Raymond McGinley's Feel, Nowhere and his piano ballad Only With You, Virtually a hit parade of the Sixties (Beach Boys, Byrds and especially Hollies), but one must recognize a stubborn consistency in the trio's oeuvre. As far as imitations go, this is indeed an impressive one.

Shadows (2010) turned from teenage pop to adult pop, like Baby Lee that seems to date from before they were even born.

Norman Blake and Euros Childs of Gorky's Zygotic Mynci, collaborated on Jonny (2011).

Teenage Fanclub's bassist Gerry Love formed the Lightships that debuted with the mediocre Brit-pop of Electric Cables (2012).

Teenage Fanclub's Here (2016) was the last album with bassist and co-founder Gerard Love and contains Norman Blake's I'm in Love.

Drummer Francis Mcdonald released Music for String Quartet, Piano & Celeste (2015).