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The Absolute Game
The Absolute Game
The Absolute Game
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The Absolute Game
Studio album by
Skids
Released19 September 1980 (1980-09-19)[1]
Recorded1980
StudioThe Manor Studio, Shipton-on-Cherwell; Audio International Studios, London W1
GenrePost-punk, new wave
LabelVirgin
ProducerMick Glossop
Skids chronology
Days in Europa
(1979) 		The Absolute Game
(1980) 		Joy
(1981)

The Absolute Game is the third studio album by Scottish punk rock and new wave band Skids. Recorded in 1980 and produced by Mick Glossop, it was released in September 1980 by record label Virgin. It became their most commercially successful album, reaching No. 9 in the UK Albums Chart.[2]

Writing and recording

[edit]

This album marks the first collaborative effort between Richard Jobson and new bassist Russell Webb, who continued to work together in the band The Armoury Show and also on Jobson's solo album Badman.

Musical style

[edit]

Alex Ogg of AllMusic opined "Musically, the Skids were branching out and writing some illustrious pop tunes."[3]

Controversy

[edit]

Initial copies came with a limited edition second disc entitled Strength Through Joy, a collection of material recorded during The Absolute Game sessions but omitted from the album. Its songs apparently feature members of the band playing each other's instruments. Richard Jobson, the Skids' lead singer, later stated that this title had been taken from Dirk Bogarde's autobiography Snakes and Ladders and was not based on the Nazi slogan "Kraft durch Freude".[4] However, it continued in the controversial theme of the first release of Days in Europa, which had also been withdrawn after accusations of Nazi glorification.

Release

[edit]

The Absolute Game was released in September 1980, preceded by the release of Circus Games as a single in August. It reached No. 9 in the UK Albums Chart.[2]

Around this time the band was riven by internal rifts and disagreements, leading to various changes in personnel. Soon after the release and tour of The Absolute Game, Adamson and Baillie left the band.

Reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStar[3]
Record CollectorStarStarStarStar[2]

Shane Baldwin of Record Collector called it "their finest work, despite the fact that, by then, Jobson and Adamson's relationship had begun to founder. Endlessly inventive and perfectly executed, it deservedly became their most successful release".[2] Ira Robbins of Trouser Press wrote "Parts of The Absolute Game are just arty pretense, but the inclusion of substantial, engaging material makes it a reasonable addition to the collection."[5]

Track listing

[edit]

All tracks are written by Skids (Richard Jobson, Stuart Adamson, Russell Webb and Mike Baillie), except "Out of Town", written by Jobson and Adamson.

Side A
No.TitleLength
1."Circus Games"4:10
2."Out of Town"4:08
3."Goodbye Civilian"4:15
4."The Children Saw the Shame"3:40
5."A Woman in Winter"5:40
Side B
No.TitleLength
1."Hurry On Boys"3:42
2."Happy to Be with You"3:36
3."The Devils Decade"5:42
4."One Decree"3:23
5."Arena"5:10
2008 reissue bonus tracks
No.TitleLength
11."Circus Games" (single A-side edit, 1980)4:10
12."Goodbye Civilian" (single A-side edit, 1980)3:31
13."Monkey Mcguire Meets Specky Potter Behind Lochore Institute" ("Goodbye Civilian" single B-side, 1980)2:55
14."An Incident in Algiers" (Strength Through Joy EP, 1980)3:55
15."Grievance" (Strength Through Joy EP, 1980)2:58
16."Strength Through Joy" (Strength Through Joy EP, 1980)1:59
17."Filming Africa" (Strength Through Joy EP, 1980)3:39
18."A Man for All Seasons" (Strength Through Joy EP, 1980)1:50
19."Snakes and Ladders" (Strength Through Joy EP, 1980)4:01
20."Surgical Triumph" (Strength Though Joy EP, 1980)2:13
21."The Bell Jar" (Strength Though Joy EP, 1980)2:33

Strength Through Joy

[edit]
Side A
No.TitleLength
1."An Incident in Algiers"3:55
2."Grievance"2:58
3."Strength Through Joy"1:59
4."Filming in Africa"3:39
Side B
No.TitleLength
1."A Man for All Seasons"1:50
2."Snakes and Ladders"4:01
3."Surgical Triumph"2:13
4."The Bell Jar"2:33

Personnel

[edit]
Skids
Additional personnel
  • Jude Nettleton – vocals
  • Julius Newell – vocals
  • Andrew Sigsworth – vocals
  • John Sigsworth – vocals
  • Alison Pipkin – vocals
  • David Pipkin – vocals
  • Hannah Yeadon – vocals
  • Esther Marshall – vocals
  • Chloe Dymott – vocals
  • Marlis Dunklau – vocals
  • Gracie Benson – vocals
  • Sally Nettleton – vocals
  • Harriet Bakewell – vocals
  • Mary Volke – vocals
  • Derek Wadsworth – didgeridoo

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Absolute Game

View on Grokipedia
from Grokipedia
is the third studio album by the Scottish and new wave band Skids, released on 19 September 1980 by . Recorded at Audio International Studios and , it was produced by Mick Glossop and featured a shift from the band's earlier punk toward a more anthemic new wave and sound, characterized by guitarist Stuart Adamson's influential layered guitar techniques and vocalist Richard Jobson's abstract, mythological lyrics. The album includes singles such as "Circus Games," which peaked at number 5 on the UK Singles Chart, contributing to its commercial breakthrough. Peaking at number 9 on the , The Absolute Game became Skids' highest-charting release and is often regarded as their most realized work, blending energetic rhythms with thematic depth on tracks like "Out of Town" and "A Woman in Winter."

Background

The Skids' formation and rise to prominence

The Skids formed in the summer of 1977 in , , , with an original lineup consisting of vocalist Richard Jobson, guitarist , bassist William Simpson, and drummer Tom Kellichan. The band's core songwriting partnership between Jobson and Adamson drew from the emerging punk movement, though Adamson and Jobson had previously been unaware of each other until connecting through local punk enthusiasm in the Dunfermline area. Their debut performance occurred on 19 August 1977 at the Bellville Hotel on Pilmuir Street in Dunfermline, marking the start of intensive local gigging amid Scotland's post-industrial backdrop. Following initial independent releases, including the single "Reasons" on their own No Bad label, the Skids signed with in 1978. Their Virgin debut, "Sweet Suburbia," arrived in October 1978, followed by "" in November, which peaked at number 48 on the UK Singles Chart and gained attention for its raw energy and thematic nods to disillusionment. These early singles established the band's distinctive sound—blending punk aggression with Adamson's intricate guitar work—and built a grassroots following through relentless touring in and . The Skids achieved national prominence in early 1979 with "," released in January and reaching number 10 on the UK Singles Chart, their first top-40 hit that captured themes of youthful conformity and rebellion. This breakthrough coincided with their debut album , released in June 1979, which earned critical praise for its urgent tracks and sold respectably, cementing their status as a leading Scottish punk act. A follow-up album, , issued in October 1979, extended their momentum with denser production and further UK tours supporting the burgeoning new wave scene, positioning them for major-label evolution by 1980.

Production

Songwriting and recording sessions

The songs comprising The Absolute Game were written collaboratively by the band, with vocalist Richard Jobson providing most of the lyrics and guitarist composing the majority of the music. Specific track credits attribute compositions to the Skids as a group for most songs, with dual credits to Jobson and Adamson on "Out of Town" and individual nods where applicable. Recording sessions occurred in spring 1980, primarily during May at in , , under the production and engineering of Mick Glossop for Dukeslodge Enterprises Ltd. Additional work took place at Audio International Studios. The sessions captured the band's stable lineup—Jobson on vocals, Adamson on guitar, Russell Webb on bass and , and on drums—transitioning toward a more polished new wave sound while retaining punk energy. Mastering was handled at The Townhouse.

Musical style and composition

Genre influences and evolution

The Skids' The Absolute Game drew from foundations, characterized by keening guitars and anthemic choruses that defined their early sound, while integrating new wave's structural sophistication and pop's melodic accessibility. Guitarist Stuart Adamson's style, influenced by melodic rock figures like and , introduced soaring solos and riffs that elevated the album beyond punk's raw aggression, blending it with subtle R&B and echoes from the band's debut era. This album marked a key evolutionary step for the band, refining the artier new wave leanings of their 1979 release —which featured Bill Nelson's production and Brian Eno-inspired experimentation—into a more polished fusion. Released on September 5, 1980, The Absolute Game emphasized peak Adamson guitar work alongside synthesizers for expanded textures, transitioning punk's joyous energy into chant-like pop anthems with mythological undertones, thus broadening appeal while retaining core intensity. The result foreshadowed Adamson's subsequent direction, prioritizing Celtic-infused anthems over strict punk orthodoxy, as evident in tracks like the opener "Circus Games," which echoed prior energetic guitar aesthetics, juxtaposed against cheerier pop excursions that signaled mainstream maturation.

Instrumentation and production techniques

The Absolute Game was recorded during spring at The Manor Studios in and Audio International in , under the production of Mick , who emphasized semi-grandiose arrangements to accommodate the band's broadening musical ambitions. 's techniques involved layering overdubbed guitars and vocals to create fuller textures, moving beyond the raw punk aesthetics of prior releases toward a more expansive new wave palette. Core instrumentation featured the quartet's standard rock setup augmented by synthesizers: Richard Jobson handled lead vocals and guitar; contributed lead and rhythm guitar, , vocals, and percussion; Russell Webb played bass, , vocals, and percussion; and Mike Baillie managed drums and percussion. Synthesizers, operated by both Adamson and Webb, integrated electronic tones with Adamson's fiery guitar leads, enabling polyrhythmic and melodic depth on tracks like those showcasing dovetailed guitar-synth interplay. Guest elements added unconventional timbres, including by jazz musician Derek Wadsworth, which provided droning undertones on select cuts, alongside occasional children's choir vocals and for atmospheric variety. These production choices prioritized sonic experimentation, blending punk urgency with sophistication through multi-tracked percussion and harmonic overlays.

Lyrical themes

Political and social commentary

The lyrics of The Absolute Game, primarily written by vocalist Richard Jobson, continue the Skids' tradition of addressing working-class Scottish experiences, , and societal disillusionment, often through poetic and metaphorical language drawn from Jobson's observations of , army recruitment, and global conflicts. This album shifts from earlier direct narratives toward more abstract imagery, critiquing the dehumanizing aspects of and economic exploitation while reflecting punk's ethos without explicit ideological alignment. A central example is "Working for the Yankee Dollar," which condemns as mercenary labor driven by profit, referencing experiences in and where soldiers endure violence and death for American interests. The lyrics depict heroic processions masking the "human flare" of loss and question the purpose of conflicts that prioritize financial gain over human life, expressing regret for participation in such cycles. Released as a single on June 27, 1980, it reached number 19 on the UK Singles Chart, amplifying its reach amid post-punk discussions of . Tracks like "Goodbye " and the title song "The Absolute Game" evoke the transition from civilian life to perilous "games" of , with of "boys in the river" dying from blows symbolizing futile sacrifices in or societal orders marked by and . "Goodbye " bids farewell to domestic stability ("goodbye to the order, goodbye to the ") in favor of an uncertain "," underscoring themes of lost and the inexorable pull of conflict on working-class . Similarly, "Circus Games" portrays life as a deceptive spectacle where figures like gamblers and priests wager amid false honor, critiquing misguided choices and burdens imposed by authority in a rigged social arena. These elements collectively highlight causal links between economic pressures, enlistment, and geopolitical entanglements, privileging empirical reflections on personal and communal costs over abstract , consistent with Jobson's stated inspirations from mates' real-world fates rather than didactic preaching. The album's commentary remains grounded in observable realities of 1980s Britain, including Scottish industrial decline and lingering war traumas, without romanticizing rebellion.

Release and commercial performance

Singles and chart success

The lead single from The Absolute Game, "Circus Games", was released on 16 August 1980 and peaked at number 32 on the UK Singles Chart. Followed by the album's release on 19 September 1980, "Goodbye Civilian" appeared as the second single on 5 September 1980, reaching number 52 and spending four weeks on the chart. The third single, "A Woman in Winter" (also stylized as "Woman in Winter"), issued on 6 December 1980, achieved a peak of number 49. These releases marked the band's final singles featuring guitarist before his departure, and collectively they spent a combined total of 14 weeks on the charts, supporting the album's commercial momentum despite modest individual peaks. None reached the top 20, contrasting with earlier hits like "Working for the Yankee Dollar" from 1979, but they aligned with the album's number 9 entry on the .

Marketing and distribution

The album was released on 19 September 1980 by in the , with the label managing primary distribution through its established network of retailers and wholesalers. International editions followed shortly thereafter, including versions in (catalogue 202859), (202 859-320), , (promotional white-label pressing), and , all under Virgin imprints, facilitating broader European and Commonwealth market access. Some pressings featured distribution partnerships, such as in for manufacturing and sales logistics. Marketing efforts centered on leveraging singles to build anticipation and sustain momentum post-release. The , "Circus Games," was issued in July 1980, peaking in the UK Top 40 and serving as the primary promotional vehicle ahead of the album launch. Subsequent singles "Goodbye Civilian" (October 1980, released as a ) and "Woman in Winter" (with a gatefold comic-book sleeve insert) extended visibility, employing novelty packaging to differentiate from standard punk releases and appeal to collectors. A dedicated tour, advertised via posters and commencing around the release period, supported live promotion, with performances emphasizing tracks to engage fans amid the band's evolving new wave sound. Certain editions included a bonus 8-track LP titled —experimental recordings not on the main —as a limited-edition to drive initial sales and . This strategy aligned with Virgin's approach to Skids releases, building on their prior successes like "" to position The Absolute Game as a commercial pivot toward more ambitious, synth-infused material.

Cover art controversy

Initial design and public backlash

The initial packaging for The Absolute Game, released on September 19, 1980, by , featured the main album alongside a free limited-edition bonus disc titled Strength Through Joy. This title directly referenced "Kraft durch Freude," the Nazi Party's state-run leisure organization aimed at promoting worker productivity and ideological conformity through mass tourism and recreation programs, which operated from 1933 to 1945. The design choice echoed the Skids' prior provocation with their 1979 album , whose original artwork depicted the band members in stylized militaristic uniforms suggestive of fascist , prompting widespread accusations of glorifying and leading to its swift withdrawal and redesign. Public reaction to the inclusion was swift and negative, with media outlets and punk scene commentators decrying it as tone-deaf or indicative of flirtation with far-left or far-right , amid the era's heightened sensitivity to neo-fascist in subcultures following incidents like the rise of Oi! bands and revivalism. Critics argued the reference trivialized the Holocaust-era machinery of control, especially given the band's Scottish working-class roots and lyrics, which some interpreted as masking ambiguous politics. Sales of initial pressings—limited to early buyers—faced boycotts from select record shops and fan protests at gigs, amplifying perceptions of the Skids as intellectually provocative but recklessly inflammatory under frontman Richard Jobson's influence. The backlash contributed to internal band tensions, as guitarist reportedly distanced himself from such conceptual risks, favoring musical innovation over shock value.

Responses and revisions

In response to criticisms that the album's cover art and accompanying Strength Through Joy bonus disc evoked fascist aesthetics reminiscent of Nazi-era , Skids frontman Richard Jobson defended the choices as deliberate artistic provocations aimed at examining power structures and historical myths, rather than promoting . Jobson emphasized in interviews that the band's work drew from classical and imperial motifs to challenge complacency, drawing parallels to their earlier explorations in , and rejected labels of as misinterpretations by press seeking sensationalism. Virgin Records, the band's label, opted not to withdraw or redesign the as they had for the prior , instead limiting the bonus disc—a four-track EP named after the Nazi leisure organization Kraft durch Freude—to initial pressings only, with subsequent releases omitting it to mitigate ongoing backlash while preserving the core packaging. This approach echoed the label's prior handling of controversies but reflected a calculated revision to balance artistic intent with commercial viability, as the still charted at No. 9 on the upon its September 1980 release.

Reception

Contemporary critical reviews

Upon its release on 19 May 1980, The Absolute Game elicited mixed responses from music critics, who appreciated its polished production and melodic hooks while critiquing its departure from the band's raw punk roots toward a more commercial new wave sound. The album's shift, produced by Mick Glossop, was seen by some as a maturation that diluted the urgency of prior efforts like Days in Europa (1979). In New Musical Express on 20 September 1980, Chris Bohn (writing as ) hailed the record's buoyant energy, declaring "Bubblegum's back and it sounds wonderful" and likening the Skids' opportunistic flair to Sweet's glam interpretations of and Bowie influences. Bohn praised tracks like "Circus Games" for their starry-eyed enthusiasm amid trends, positioning the album as a vibrant counter to dour contemporaries like . Conversely, in its 2 October 1980 issue rated the album 6 out of 10, describing it as "not as strong a record" compared to the band's earlier punk-driven releases, though it acknowledged appeal for existing fans through standouts such as "Circus Games" and "Working for the Yankee Dollar." This middling assessment reflected broader concerns in period coverage that Glossop's refining influence had eroded the "vital edge" and "gusto" of the Skids' initial fervor. US-based , reviewing around the release timeframe, echoed this sentiment, noting the production's smoothing effect diminished the band's drive, despite strong individual songs. Overall, while not universally acclaimed, the album's commercial peak at No. 9 on the underscored its accessibility to a wider beyond punk purists.

Long-term evaluations and fan perspectives

In retrospective analyses, The Absolute Game has been evaluated as an ambitious evolution from the band's earlier punk rawness, incorporating greater polish and structural complexity while retaining energetic hooks. A 2016 review highlighted its departure toward more intricate arrangements, such as the staccato verses in "Arena," yet noted it as a "slightly lesser commodity" compared to predecessors due to an overcorrection toward perceived punk roots amid post-Days in Europa experimentation. Similarly, an unsung album assessment praised its planning and success in blending influences, deeming it the Skids' most refined work, though acknowledging preferences among listeners for the "rough punkier feel" of Scared to Dance. Band members have reflected on the album's bold reinvention, with frontman Richard Jobson describing it in 2017 as an attempt to "redesign our own wheel," shifting from "interesting rock'n'roll" to a more conceptual sound influenced by producer Clancy's layered production. This view aligns with long-term recognition of guitarist Stuart Adamson's "unique and highly influential" style, which foreshadowed his Big Country work and contributed to the album's enduring guitar-driven appeal. Fan perspectives emphasize its lasting playability and canonical status, with enthusiasts in 2024 reporting frequent spins of the 1980 release and viewing it as the final true Skids statement before lineup shifts. Live performances commemorating its 45th anniversary in October 2025, including full-album sets at venues like The Grove in Newcastle, drew crowds nostalgic for its high-energy tracks and social commentary, underscoring sustained grassroots appreciation despite commercial underperformance at release. Aggregate user ratings, such as AllMusic's 8/10 from 34 votes, reflect this sentiment, prioritizing its hooks over contemporaneous criticisms of overambition.

Track listing

Main album tracks

The main album of The Absolute Game, released as a 10-track vinyl LP on September 19, 1980, by , features songs blending punk energy with emerging new wave elements, primarily written by Skids members Richard Jobson and . The track sequence divides into two sides, with production by Mick Glossop emphasizing layered guitars and rhythmic drive.
No.TitleDuration
1Circus Games
2Out of Town4:03
3Goodbye Civilian4:15
4The Children Saw the Shame3:40
5[A Woman in Winter](/page/A Woman_in_Winter)5:40
6Hurry On Boys
7Happy to Be with You
8The Devil's Decade
9One Decree
10
Track durations are as documented on original pressings for available entries; full timings vary slightly across formats due to mastering differences. "Circus Games" opens with aggressive riffs critiquing spectacle and conformity, while "Arena" closes with expansive arrangements reflecting the band's evolving sound.

Strength Through Joy bonus disc

The Strength Through Joy bonus disc accompanied select initial vinyl pressings of The Absolute Game, released by on 11 September 1980. This limited-edition 12-inch EP comprised outtakes and additional recordings from the album's sessions at Jacobs Studios in , , earlier that year. The material reflected the band's experimental shift toward new wave influences, with dense, layered production by producer Mick Glossop, though tracks were deemed surplus to the main album's cohesive structure. The EP's title drew from Kraft durch Freude, the Nazi regime's state-sponsored leisure organization aimed at worker morale and propaganda, a provocative nod consistent with punk's tradition of reclaiming or subverting loaded historical terms. No official singles emerged from the disc, and its distribution was restricted to early copies, making it a rarity among collectors; later CD reissues, such as the 2008 Captain Oi! edition, incorporated its contents as bonus tracks on a single disc. The recordings showcased Skids' lineup—Richard Jobson on vocals, on guitar, on bass (replacing original member William Simpson), and on drums—emphasizing Adamson's intricate guitar work and Jobson's abstract lyrical themes of conflict and resilience.
TrackTitleLengthNotes
13:55Session outtake with rhythmic percussion evoking North African influences.
22:58Up-tempo track addressing personal discord.
31:59Title track, brief and intense, blending punk energy with orchestral elements.
43:39Experimental piece with atmospheric soundscapes.
5A Man for All Seasons1:50Short, cryptic composition omitted from main album.
62:45Playful yet tense referencing chance and struggle.
These selections, totaling approximately 17 minutes, were not remixed for standalone release and retained raw studio qualities, underscoring the album sessions' productivity—over 20 tracks were reportedly cut, with the bonus disc capturing rejects that hinted at untapped directions for the band's evolving sound. Reissues like the 2008 version appended them after the original 10 tracks, preserving their status as supplementary rather than core material.

Credits

Band personnel

Richard Jobson performed lead vocals and played guitar on The Absolute Game, recorded in spring 1980. contributed guitar, keyboards, percussion, and backing vocals, marking his final major involvement with the band before departing later that year. Russell Webb handled , , percussion, and backing vocals, having joined as a replacement for original bassist William Simpson. Mike Baillie provided drums, percussion, , and backing vocals, solidifying the rhythm section after his recruitment in late 1979. Additional instrumental support came from Derek Wadsworth on didgeridoo for specific tracks. The core quartet's configuration reflected Skids' transition from punk roots toward a more experimental new wave sound during this period.

Production and additional contributors

The album was produced and engineered by Mick Glossop for Dukeslodge Enterprises Ltd., with recording taking place at The Manor Studios and Audio International during spring 1980, followed by mastering at . Glossop, known for his work with new wave and punk acts, applied a polished sound that emphasized the band's evolving style, incorporating synthesizers and layered arrangements. Additional contributors featured backing vocals from Gracie Benson, Harriet Bakewell, and Mary McCluskey, collectively credited as "The Adults" on tracks requiring choral elements. The Skids handled the sleeve concept, contributing to the album's visual packaging that reflected their thematic focus on strength and resilience. No further guest musicians were involved beyond the core lineup of Richard Jobson, , Russell Webb, and Mike Baillie.

Legacy

Cultural impact and influence

The Absolute Game exerted influence primarily through its refinement of the Skids' sound, bridging raw punk energy with more ambitious, anthemic structures that highlighted guitarist Stuart Adamson's melodic guitar techniques. Adamson's playing on tracks like "Circus Games" and "Arena," featuring layered overdubs and a distinctive tone blending punk aggression with folk-inflected melodies, laid groundwork for his later innovations in , where similar elements defined the band's style on their 1983 debut The Crossing. The album's cultural footprint in the UK scene is evident in its commercial peak at number 10 on the upon release on September 29, 1980, signaling a maturation that contrasted with the era's more rigid punk orthodoxy while incorporating synthesizers and choral elements for a broader, arena-ready appeal. Retrospectively, it has been praised for embodying Scottish musical identity through mythological lyrics and regional fervor, contributing to the Skids' status as overlooked pioneers whose evolution influenced perceptions of punk's transition to new wave and in . Enduring interest is reflected in reissues, including its remastered inclusion in Edsel Records' 2025 compiling the band's Virgin era albums, which has renewed accessibility for collectors and affirmed the record's niche legacy amid band reunions and documentaries like The Story of Skids: Scotland's No. 1 Punk Band (2025). While direct citations of influence on subsequent bands remain sparse, Adamson's instrumental approach from this period has been credited with shaping guitar-driven aesthetics in acts drawing from indie traditions.

Reissues, reunions, and recent recognition

The Absolute Game has been reissued in various formats since its 1980 debut. A CD edition appeared in via Captain Oi! Records. In October 2025, Edsel Records released the 5-CD Boy, Man & Soldier: Skids 1978-1981, compiling the band's core output from that period, including The Absolute Game alongside expanded editions of earlier albums and . Skids disbanded in 1982 after releasing Joy, but reformed sporadically thereafter. The band reunited in 2007 for initial concerts, leading to a full 40th tour in 2017 featuring original vocalist Richard Jobson, guitarist ’s replacement Bill Simpson, drummer Mike Baillie from the Absolute Game lineup, and members Bruce and Jamie Watson. Recent activity underscores growing acknowledgment of The Absolute Game as a pivotal work. In 2025, Skids launched a dedicated 45th tour for the album, with performances scheduled through early 2026 across the , emphasizing tracks like "Circus Games" and "A Woman in Winter." Live shows, such as the October 13, 2025, appearance at The Grove in Newcastle, have been praised for recapturing the album's ambitious fusion of punk energy and progressive elements. Complementing this, Last Night From issued The Complete Sessions 1978-1980, a vinyl and CD collection of the band's recordings from the era, further highlighting their transitional sound during The Absolute Game's creation.

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  53. https://www.headheritage.co.uk/unsung/reviews/the-skids-the-absolute-game
  54. https://writewyattuk.com/2017/05/26/absolute-game-on-reconvening-the-skids-the-richard-jobson-interview/
  55. https://www.facebook.com/groups/936069459767330/posts/27670614492552797/
  56. https://www.facebook.com/groups/officialskids/posts/1647416998641770/
  57. https://genius.com/albums/Skids/The-absolute-game-strength-through-joy
  58. https://www.last.fm/music/The%2BSkids/_/Strength%2BThrough%2BJoy
  59. https://www.ebay.com/itm/376561474537
  60. https://highfidelityla.com/release/9053179/skids-the-absolute-game
  61. https://www.recordproduction.com/interviews/mick-glossop
  62. https://theseconddisc.com/2025/08/15/skids-cd-box-set-vinyl-compilation-edsel/
  63. https://www.demonmusicgroup.co.uk/catalogue/releases/skids-boy-man-soldier-skids1978-1981-5cd/
  64. https://skidsofficial.com/news-1/f/the-absolute-game-tour
  65. https://www.seetickets.com/tour/the-skids-the-absolute-game-
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