The Skids continue to enjoy popularity with two top 20 singles, "Masquerade" and "Working for the Yankee Dollar", from the album "Days in Europa", produced by Bill Nelson. The Cover of the album, showing an "aryan", was seen by some as Nazi, and was soon replaced with a less controversial sleeve. This sleeve, although conventional, still bore the image of the first release seen through the viewers eyes by a picture on the wall, alongside a picture of 'Scared to Dance', the sleeve portrayed a woman , bare breast showing, in the hands of a man.
The Absolute Game was The Skids' 1980 third album (not counting the two different mix versions released of their second album 1979's Days in Europa) and was produced by Mick Glossop. It featured two new band members, Russell Webb (bass guitar, vocals, guitar, keyboards, percussion) and Mike Baillie (drums, vocals, percussion).
The album continued the Skids' progression from a punky sound into a more mellow one - paralleled by many bands of the period. The album has a great deal in common with Days in Europa, but not much with its successor, Joy. Around this time the band were driven by internal rifts and disagreements, leading to various members coming and going. Soon after the release and live concert tour of The Absolute Game, Adamson and Baillie left the band. (Although Adamson did temporarily return to play on one more song from the album Joy, called Iona.) Adamson went on to launch the career of his new band, Big Country, and Baillie moved back to Scotland to live. A great deal of Big Country's future sound and style can be heard in this album. In particularly on Hurry On Boys, which features bagpipe simulations and real didgeridoo. Joy has a completely different sound to other Skids albums, and some fans consider The Absolute Game to be the last canonical Skids album.
Soon after the release and live concert tour of The Absolute Game, Adamson and Baillie left the band. (Although Adamson did temporarily return to play on one more song from the album Joy, called Iona.) Adamson went on to launch the career of his new band, Big Country, and Baillie moved back to Scotland to live. It left Jobson and Webb, in 1981, to write and record the band's fourth and final album Joy, which Russell Webb also produced. The pair played multiple instruments on the album, and also invited a collection of seventeen musical friends to perform on various tracks with them. The Skids dissolved in 1982, with the album Fanfare posthumously issued by Virgin. It was a mixture of greatest hits and unreleased tracks.
Jobson and Webb then went onto form a new band called The Armoury Show. The group only recorded one album called Waiting for the Floods in 1985 before splitting up. Jobson went onto pursue a solo career as a poet, songwriter, television presenter and most recently a film director. He released albums on the Belgian record label Les Disques du Crepuscule, and the UK's own Parlophone Records.
Sadly, on December 16 2001, Stuart was found dead in Best Western Plaza Hotel in Honolulu, Hawaii, having committed suicide.
In the year 2007, U2 and Greenday covered "The Saints Are Coming" recorded originaly by the skids for the "Scared to Dance" album. Most fans seen this as a juncture to include new fans to the old punk scene.
In 2007 Richard Jobson, William Simpson and Mike Baillie, along with Bruce Watson (guitar/vocals) of Big Country, Jamie Watson (guitar), Brian Jobson (vocals) and Jane Button (vocals), got together to play three gigs. They were to commemorate the thirtieth anniversary of the group's formation, and as a final tribute to Stuart Adamson, who died in 2001. The shows on 4 July and 5 July were at Dunfermline's Glen Pavilion, where they were supported by Rosyth band The Draymin - outside of which The Skids had previously played only their second gig according to Jobson - and on 7 July, at the T in the Park festival.
Skids returned to the stage on 28 November 2009 as one of the headlining acts in Homecoming Live, a series of gigs held around the SECC complex in Glasgow to celebrate the end of the Year of Homecoming in Scotland. The line-up mirrored the 2007 gigs, with members of The Gospel Truth Choir joining Button on backing vocals for "A Woman in Winter" and "Working for the Yankee Dollar".
The same lineup performed a concert on 5 March 2010 at the ABC in Glasgow, with support from The Law and Bruce & Jamie Watson, and lastly a concert on 6 March 2010 at the Alhambra Theatre, Dunfermline, with support from Beatnic Prestige and Bruce & Jamie Watson. This final concert was to conclude a week of events celebrating the works, past and present, of Richard Jobson as part of The Fifer Festival 2010 on 6 March 2010.
In 2016 the band reformed and announced a 40th anniversary tour of the UK with their original singer Richard Jobson. In 2018, Skids released their fifth album, Burning Cities.
Both Dunfermline Athletic FC and Charlton Athletic FC use "Into the Valley" as a theme song.
The Saints Are Coming
The Skids Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Its been our place for many us poor boys
and god I know Im one
I cried to my daddy on the telephone, how long now?
Until the clouds unroll and you come home, the line went
But the shadow still reamins since your descent, your descent
Until the clouds unroll and you come home, the line went
But the shadow still reamins since your descent, your descent
The Saints Are Coming, The Saints Are Coming
I say no matter how I try, I realise there´s no reply
The Saints Are Coming, The Saints Are Coming
I say no matter how I try, I realise there´s no reply
oohhhhhh
New birth, rebirth, trombone shooting
Were living like birds and nest in all your trees
down on the rooftop, motor on our knees
Topside hear us please, I AM IN AMERICA!
The drowning sorrow fills the deepest grief, how long now?
When a weather change condemns belief, how long now?
When the nightwatchman lets in the thief, what's wrong now?
The saints are coming, the saints are coming
I say no matter how I try, I realise there's no reply
The saints are coming, the saints are coming
I say no matter how I try, I realise there's no reply
I say no matter how I try, I realise there's no reply
I say no matter how i try, I realise there's no reply
"The Saints Are Coming" by The Skids is a song about the aftermath of Hurricane Katrina which struck New Orleans in 2005. The song references the Superdome, which became a shelter for those who had been displaced by the storm. The lyrics mention the desperation and confusion of those affected. The opening lines "There is a house in New Orleans its called the Superdome, Its been our place for many us poor boys, and god I know Im one" immediately establish the setting of the song.
The singer's plea to his father for relief from the situation is captured in the lines "I cried to my daddy on the telephone, how long now? Until the clouds unroll and you come home, the line went, But the shadow still remains since your descent, your descent". The "shadow" is likely referring to the impact of the hurricane which left its mark on the city.
The chorus of the song "The Saints Are Coming", repeats like a rallying cry. The Saints are the NFL team of New Orleans, but here it is symbolic of hope and redemption. The song also speaks to the resilience of the people of New Orleans, who, despite their trials, will rise again.
Overall, "The Saints Are Coming" is a powerful song that captures both the pain and the hope of those affected by the hurricane.
Line by Line Meaning
There is a house in New Orleans its called the Superdome
The Superdome is a significant location in New Orleans that people, specifically poor boys like the singer, have used as a place of refuge.
Its been our place for many us poor boys
The Superdome has been a home for the poor boys who have relied on it for safety and shelter.
And god I know Im one
The singer recognizes that he is one of those poor boys who have taken shelter in the Superdome.
I cried to my daddy on the telephone, how long now?
The singer is desperate to know when the current situation will change and turns to his father for help.
Until the clouds unroll and you come home, the line went
The singer wishes for the storm to end and for his father to come home safely.
But the shadow still reamins since your descent, your descent
Despite his wishes, the singer still feels the impact and presence of his father's loss.
The Saints Are Coming, The Saints Are Coming
The singer emphasizes the arrival of the Saints as a symbol of hope and salvation for the people (including himself) in New Orleans.
I say no matter how I try, I realise there´s no reply
The singer acknowledges that despite his efforts, there is no guarantee of a response or solution.
New birth, rebirth, trombone shooting
The singer emphasizes the rebirth of New Orleans as a city through the sounds of music.
Were living like birds and nest in all your trees
The people of New Orleans are taking refuge and living in every corner of the city, just like birds do in trees.
down on the rooftop, motor on our knees
Despite being on the rooftop, trying to escape the flood, the people of New Orleans are still working hard to survive.
Topside hear us please, I AM IN AMERICA!
The singer speaks out, wanting to be heard and saved, as a citizen of America.
The drowning sorrow fills the deepest grief, how long now?
The singer is overwhelmed with sadness and asks when this sorrowful situation will end.
When a weather change condemns belief, how long now?
The singer questions how long they will have to face the adverse weather and its consequences.
When the nightwatchman lets in the thief, what's wrong now?
The singer questions why the one who is supposed to protect them lets danger in instead.
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: Richard Jobson, Stuart Adamson
Lyrics Licensed & Provided by LyricFind
@jakeboromfc4375
[Intro]
I cried to my daddy on the telephone
How long now
Until the clouds unroll and you come home
The line went
But the shadows still remain since your descent
Your descent
[Chorus]
The saints are coming
The saints are coming
I say no matter how I try, I realise there's no reply
The saints are coming
The saints are coming
I say no matter how I try, I realise there's no reply
[Verse 1]
A drowning sorrow floods the deepest grief
How long now
Until a weather change condemns belief
The stone says
This paternal guide once had his day
Once had his day
[Chorus]
The saints are coming
The saints are coming
I say no matter how I try, I realise there's no reply
The saints are coming
The saints are coming
I say no matter how I try, I realise there's no reply
I say no matter how I try, I realise there's no reply
I say no matter how I try, I realise there's no reply
@delby66
Stuart Adamson.....what can I say other than he was an absolutely brilliant guitarist. Missed but never forgotten. RIP Stuart.
@cromptoniser
so pleased i was a teenager 76-83
@jeremyclark7872
Over 40 years old and still brilliant.
@Tinxtin100
Die Skids waren eine meiner Lieblingsbands zu der Zeit. Höre ich heute noch gerne. Klasse Musik !
@ThanosGerlo
Never heard a better version than the first one.Great band!! The Saints!
@resurrectionjez1111
A mega song and really underrated. To me it’s one of the few from that era that haven’t dated.
@blownable
Thanks - there will always be people who like and dislike certain music.
@23dark
what a great band love the skids and use to listen to big country a lot in the 80s miss those times
@andrewboggis2768
Stuart is a legend and original, I shook his hand and thanked him for the joy he had given, words to that effect. I am so honoured to have touched the hands that create musical genius
@cliveedwards2958
Saw the Skids support the Stranglers in '78...it just blew me away..especially 'of one skin' and 'saints are coming'..oh and 'open sound'..I windmill danced round the entire dance floor to that one...so sad when Stuart Adamson took his own life...talented beyond belief and beyond his years