Teenage Fanclub

Teenage Fanclub
July 15 - Hebden Bridge, UK - The Trades Club - SOLD OUT
Apr 16, 2022 - Brighton, UK – Chalk - SOLD OUT
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From Wikipedia, the free encyclopedia

^ Jump up to: a b "Teenage Fanclub / full Official Chart History" . Official Charts Company . Archived from the original on 17 November 2021 . Retrieved 5 May 2022 .

^ Ryan, Gavin (2011). Australia’s Music Charts 1988–2010 (PDF ed.). Mt Martha, Victoria, Australia: Moonlight Publishing. p. 276.

^ "Teenage Fanclub" . Billboard . Retrieved 8 May 2022 .

^ "Chart Log UK: DJ T - Tzant" . Zobbel.de . Retrieved 8 May 2022 .

^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 551. ISBN 1-904994-10-5 .

^ "iTunes" . Itunes.apple.com. 2010-04-27 . Retrieved 2011-11-01 .

^ "FMQB Airplay Archive: SubModern Rock" . Friday Morning Quarterback Album Report, Incorporated . Retrieved 31 October 2016 .

Norman Blake
Raymond McGinley
Francis MacDonald
Dave McGowan
Euros Childs
Brendan O'Hare
Paul Quinn
Finlay MacDonald
Gerard Love

Released: 11 June 1990
Label: Paperhouse
Format: CD , CS , DL , LP

Released: 27 August 1991
Label: Creation
Format: CD, DL, LP

Released: 4 November 1991
Label: Creation
Format: CD, CS, DL, LP

Released: 4 October 1993
Label: Creation
Format: CD, CS, DL, LP

Released: 29 May 1995
Label: Creation
Format: CD, CS, DL, LP

Released: 29 July 1997
Label: Creation
Format: CD, CS, DL, LP, MD

Released: 23 October 2000
Label: Columbia
Format: CD, DL, LP

Released: May 2005
Label: PeMa
Format: CD, DL, LP

Released: 31 May 2010
Label: PeMa
Format: CD, DL, LP

Released: 9 September 2016
Label: PeMa
Format: CD, CS, DL, LP

Released: 30 April 2021
Label: PeMa
Format: CD, CS, DL, LP

Released: 4 March 2002
Label: Geographic, Domino
Format: CD, DL, LP

Released: February 1995
Label: Fire
Format: CD, DL, LP

Released: 3 February 2003
Label: Poolside
Format: CD, DL

"Association" (International Airport / Teenage Fanclub)

"Fallen Leaves" (Limited to 2,000 copies)

Teenage Fanclub share new song and video "I Left a Light On" ahead of European tour dates
In the 1990s, Teenage Fanclub crafted a magnetically heavy yet harmony-rich sound on classic albums such as Bandwagonesque and Grand Prix . This century, albums such as Shadows and Here have documented a more relaxed, less “teenage” Fanclub, reflecting the band’s stage in life and state of mind, alongside which 2021's Endless Arcade slots perfectly. The album walks a beautifully poised line between melancholic and uplifting, infused with simple truths. The importance of home, community, and hope is entwined with more bittersweet, sometimes darker thoughts of insecurity, anxiety, and loss.

The Scottish band’s eleventh album feels uniquely pensive, even tentative. Nearly every song will have you humming along, though few seem designed to grab your attention.
Bandwagonesque / Thirteen / Grand Prix / Songs from Northern Britain / Howdy!
Four Thousand Seven Hundred and Sixty-Six Seconds: A Shortcut to Teenage Fanclub
Catch up every Saturday with 10 of our best-reviewed albums of the week
Bobby Weir & Wolf Bros: Live in Colorado, Vol. 2
New music from Teenage Fanclub settles into the world like the first days of spring—subtly, quietly, with a sigh of relief. For fans of the long-running Scottish power-pop band, the defining qualities of their music—chiming three-part harmonies, breezy major-key melodies, and dreamy, lovesick lyrics—have come to feel so pleasant and familiar that measuring their current work against their past can seem a little beside the point: Could it be sunnier? Did it feel more exciting when you were younger? These concerns melt away within a few notes: Just open your windows and let it in.
In a career defined by consistency, Teenage Fanclub’s eleventh album, Endless Arcade , is their first preceded by a sense of rupture. In summer 2018, after much of their catalog was reissued on vinyl , Gerard Love, one of three primary songwriters and vocalists, announced his departure from the band. It was slightly troubling news: Love penned fan favorites like “Star Sign” and “Sparky’s Dream,” as well as many highlights from more recent albums. During the 21st century, his reedy voice and soaring choruses have inspired Teenage Fanclub’s most energetic moments, reminders that this band once caused a frenzy at their shows.
Without Love’s contributions, Endless Arcade feels uniquely pensive, even tentative, among their releases. The moments that stand out initially do so for their novelty: the extended guitar solo that closes “Home,” the uncharacteristically dissonant chord changes in the title track, the presence of newest member, keyboardist Euros Childs, on British Invasion throwbacks like “Warm Embrace.” Songwriters Norman Blake and Raymond McGinley can still write melodies culled from a heavenly jukebox alongside all the lost hits of the ’60s, but while nearly all of them will have you humming along, few seem designed to grab your attention.
Like all of Teenage Fanclub’s albums, Endless Arcade reveals itself slowly, and much of the action takes place below the surface. My favorite song is Blake’s “The Sun Won’t Shine on Me,” with a harpsichord accompaniment that tiptoes around its amiable, waltz-time guitar riff. It is the kind of song that could play on endless loop, and when the dual guitar solo segues into a final singalong round of the chorus, you get the sense they feel the same way. “Back in the Day” has a similar effect: Its airtight, gently aching verse and chorus melodies create the effect of a constant cycle of hooks. “I just can’t seem to find the peace of mind that I knew back in the day,” Blake sings as his bandmates try to replicate that sense of comfort.
This thematic territory—self-doubt, aging, nostalgia—spans the record and can sometimes make Endless Arcade feel like a gloomy concept album. While the title and cozy pace of the opening track “Home” suggest a band settling into their comfort zone, the lyrics tell a different story: “I sometimes wonder If I’ll ever be home again,” Blake sings in the chorus, paraphrasing a Carole King classic about a relationship broken by distance. His words suggest a moment of uncertainty from a band that often plays the role of uplifters, offering their music as a beacon of stability. When the last chorus ends, a long guitar solo takes the spotlight, fuzzy and bittersweet, sprawling out and doubling the length of the song. Winding through just two chords, it neither builds the tension nor resolves it. Slowly, the entire band falls under its spell, swaying back and forth, lapping along. It’s like they don’t want to leave us.
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