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.
Working for the Yankee Dollar
The Skids Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
As I held the rope on through the scope I wish I'd never seen
Where the air turned red as the bodies bled into a schoolboy's dream
But who were there could only stare into this wondrous scene
Yankee, to war
Yankee, head high
Yankee, in call
In Germany in the '45, my mind was on the altar
Thought of God the Iron Rod and thought that needed shelter
From 'Tragen' pain and men insane and eyes that got much colder
Saw a German son with a Yankee gun and a uniform much older
Yankee, to war
Yankee, head high
Yankee, in call
Yankee, we cry
Working for the Yankee Dollar (4x)
Processions bear that human flare which mark a hero's welcome
For those dead and for those shed it was a big occasion
And all flags and Yankee mags which embroidered all the meaning
In an oversight, forgot the fight, which never bore elation
Yankee, to war
Yankee, head high
Yankee, in call
Yankee, we cry
Working for the Yankee Dollar (5x)
Yankee, to war
Yankee, head high,
Yankee, in call
Yankee, we cry
(repeat 'till the end)
The Skids’ song “Working for the Yankee Dollar” is a politically charged composition that explores the experiences of an individual in two historical events: the Vietnam War and the end of World War II in Germany. In the first verse, the singer is regretful of his participation in Vietnam, where he held “the rope on through the scope” and wished he had never seen the violent and bloody events he witnessed. The second verse focuses on the singer’s experience in Germany in 1945, where he thought he needed to seek refuge from the “Tragen’ pain and men insane” by turning to religion. However, in this scene, the singer sees a German son armed with a “Yankee gun” and wearing a “uniform much older,” which hints at the influence of America’s military might in shaping the post-World War II landscape.
The chorus of “Working for the Yankee Dollar” repeats the phrase “Yankee, to war / ...head high / ...in call / ...we cry” four times, emphasizing the power, pride, and horror associated with American military intervention. The final verse of the song, which begins with the line “processions bear that human flare which mark a hero’s welcome,” critiques the way in which the media and political discourse surrounding war reduces complex human conflicts to simple heroism and patriotism. The singer argues that flags and symbols only serve to “embroider all the meaning” and obscure the true reality of the violence and suffering that occur in war.
Overall, “Working for the Yankee Dollar” offers a critical perspective on the impact of American imperialism and interventionism around the world, as well as the role of political and media discourse in shaping public perceptions of these actions.
Line by Line Meaning
Saw Vietnam as a partisan and wished I'd never been
I regret participating in the Vietnam War and witnessing its horrors
As I held the rope on through the scope I wish I'd never seen
I saw death through the lens of a rifle and wish I never had
Where the air turned red as the bodies bled into a schoolboy's dream
The horrific violence turned my youthful optimism into a nightmare
But who were there could only stare into this wondrous scene
Those who witnessed the violence could only gape in disbelief
In Germany in the '45, my mind was on the altar
During WWII, I was preoccupied with religion and spirituality
Thought of God the Iron Rod and thought that needed shelter
I believed God would protect me from war's destruction
From 'Tragen' pain and men insane and eyes that got much colder
I witnessed tremendous suffering and cruelty
Saw a German son with a Yankee gun and a uniform much older
I saw a young German soldier carrying an American weapon and wearing an older uniform
Processions bear that human flare which mark a hero's welcome
Ceremonies honoring soldiers who died in war are full of glowing tributes
For those dead and for those shed it was a big occasion
These events are huge affairs meant to honor those who have died
And all flags and Yankee mags which embroidered all the meaning
The symbols of patriotism and nationalism were everywhere
In an oversight, forgot the fight, which never bore elation
The ceremonies were meant to celebrate, but overlooked the pain and devastation caused by war
Working for the Yankee Dollar
The song is critical of those who participate in war for financial gain
Yankee, to war
The call to fight is directed towards Americans
Yankee, head high
The lyrics encourage soldiers to maintain their morale and pride
Yankee, in call
The song is urging Americans to join the military
Yankee, we cry
The emotional toll of war affects all Americans, not just those who fight
Contributed by Violet S. Suggest a correction in the comments below.
@francisbegbie3326
Saw Vietnam as a partisan and wished I'd never been
As I held the rope on through the scope I wish I'd never seen
Where the air turned red as the bodies bled into a schoolboy's dream
But who were there could only stare into this wondrous scene
Yankee, to war
Yankee, head high
Yankee, in call
Yankee, we cry
In Germany in the '45, my mind was on the altar
Thought of God the Iron Rod and thought that needed shelter
From 'Tragen' pain and men insane and eyes that got much colder
Saw a German son with a Yankee gun and a uniform much older
Yankee, to war
Yankee, head high
Yankee, in call
Yankee, we cry
Working for the Yankee Dollar (4x)
Processions bear that human flare which mark a hero's welcome
For those dead and for those shed it was a big occasion
And all flags and Yankee mags which embroidered all the meaning
In an oversight, forgot the fight, which never bore elation
Yankee, to war
Yankee, head high
Yankee, in call
Yankee, we cry
Working for the Yankee Dollar (5x)
Yankee, to war
Yankee, head high,
Yankee, in call
Yankee, we cry
(Repeat 'till the end)
@michaelcandon2971
What a brilliant song,..should be played every day on radio...keep music sane.😊
@frankmurphyburr3598
Stuart Adamson the pride of Dunfermline
@vordman
Although I think he was actually born in Manchester
@AllanStewart-qi5zc
Mum and dad scottish@@vordman
@mikehughes2183
Stuart Adamson is a very under rated guitarist! Very innovative.
@bobmarlowe3390
R.I.P. Stuart. His work with The Skids and Big Country was great.
@stevencuthbertson9399
Rip Stewart, thanks for the sounds.
SKIDS ya bam.
@michelelaraia7358
Saw same comment in another vid. The Old Grey Whistle Test performance
@scottfraser7118
Yip 😘
@lawrencedavis5459
Met Stuart Adamson and big country in Plymouth in 1995. Such a great guy.