“I bet Ivan wouldn’t have found me ridiculous. Ivan would have let me be in his weird gang. I could have been the Donkey to his Shrek, the Ralph Malph to his Fonz.” Men Without Hats in 1983

It’s almost thirty years since I first heard The Safety Dance by Men Without Hats. I still have a videotape somewhere with the clip that introduced me to the song. Back in 1983, Top Of The Pops used to have a regular feature in which Jonathan King would play bits of songs that were doing well in America. I think we only got about a minute of The Safety Dance, but in that minute, the sight of chief Hatsperson Ivan Doruschuk in artisan waistcoat and chestnut tresses (in 1983, having a lead singer with long unkempt hair was practically a deviant act) skipping through an English village with a the Timotei girl’s mad sister and a dwarf made me a fully paid-up member of Ivan’s weird gang. Of course, the thing about The Safety Dance video is that this is exactly what it was designed to do. The video to The Safety Dance cast Ivan as a synth-pop pied piper, arriving unannounced in a picture-postcard English village with a new message to impart. Don’t listen to “them”! The people who are stopping you from dancing! The dance-thwarters! You can dance if you want to!

I probably developed a bit of a mini-crush on Ivan. I had an older brother, but he thought I was ridiculous. I bet Ivan wouldn’t have found me ridiculous. Ivan would have let me be in his weird gang. I could have been the Donkey to his Shrek, the Ralph Malph to his Fonz. In this world, I was far too self-conscious to dance in public, but, of course, Ivan’s manifesto stipulated that I would have to dance, otherwise “he was no friend of mine.” Well, fine. They looked like they were having a much better time than me over there. Besides, if I join Ivan’s weird gang, no-one would know me. They wouldn’t know that I was too scared to dance. I could jettison my entire personality and get a new one! Finally, I could dance!

So yes, If there was a Narnian portal that would have allowed me access to Ivan’s weird gang, I would have gone there like a shot. Alas, the nearest option available to me was Easy Listening Records in Acocks Green, where The Safety Dance was available both on seven and twelve-inch. Back in those days, the logic I would apply to record buying was simple. If I liked a song enough, I would want to buy as much of it as possible. Hence, if an extended mix was available, I would always opt for that. One Saturday morning, with that week’s freshly-dispensed pocket money in my hand, I walked into Easy Listening and bought an extra five inches of The Safety Dance. I didn’t want regular Safety Dance. I wanted large Safety Dance, thank you. And when I got home and played it, I was delighted. Men Without Hats had extended it by building in an extra bit before the first first. Over a catchy little synth motif, this feature Ivan speaking the first verse, thus ramping up your expectations for the moment when the more familiar synth intro begins.

Of course, most normal 14 year-olds would have left it there. But I was now in a cult. I played the b-sides of The Safety Dance and they pushed Men Without Hats into the realm of Bands Whose Name I Would Write On My Adidas Holdall With My Special Metallic Pen. I Got The Message, in particular, with its talk of “the rhythm of youth” bolstered my perception of Ivan as kind surrogate big brother. When they finally played in Birmingham, I could hang around after the gig. I would tell him about the other bands I liked – The Doors and Dexys Midnight Runners – and he’d say, “Hey kid. You’re pretty cool for a 14 year-old.” Maybe that would be the moment I’d officially join his weird gang.

But no live shows were forthcoming. The follow-up single wasn’t a hit. This was probably because the record company had elected to make the follow-up single I Got The Message, thus giving everyone who had bought The Safety Dance no reason to buy this one. Not me though. I was different. I took I Got The Message home and my faith was rewarded by the two b-sides on the 12-inch. The first of these songs, Utter Space is pretty great, if not hugely dissimilar to the sort of I-am-not-quite-here air of dislocation found on records by the likes of Thomas Dolby, John Foxx and Gary Numan.

Freeways, however, was something else. Freeways was Men Without Hats’ very own Autobahn. “American radio/In your homes and bars/It’s music to my ears/In a foreign car,” sings Ivan over as a succession of icy synth chords fan billow out over a relentlessly basic electronic beat. If you didn’t know any better, you might mistake Freeways for a Flight Of The Conchords track. Just as Flight Of The Conchords approach their favourite records like a stalker approaches their heroes (a stalker knows they can never really be equal, so they default to sabotage) Men Without Hats do something similar with teutonic synth pop. What results is an audible wrongness. But the wrongness isn’t a problem. The wrongness merely makes me like it more: “My seatbelt’s fastened tight/I feel secure/Both hands upon the wheel/My life’s insured/If you’re feeling low, driving’s the cure.” Neither does it matter that Ivan’s not actually trying to take the piss (not even when he does an entire verse in the sort of German you might hear on b-movie depictions of Nazi Germany). As with Flight Of The Conchords’ best songs, Freeways is a love letter to great pop, in this case, almost certainly written in a child’s best handwritten approximation of pocket calculator font.

So, it seemed only natural, at the end of 1983, that if I saw a Men Without Hats album in the next WHSmith record sale I would make it mine. A few months later, my plan went totally according to itself. After handing over £1.99, I took Rhythm Of Youth home and metaphorically joined Ivan’s weird gang. I’m not sure what I made of Living In China, with the chorus, “They got the red book, they got the new look/All the little people that are living in China/They got ping pong, egg foo yung/All the little people that are living in China.” By the time, it got to the bit about “The Gang Of Four trying to make it as a western band,” I think I decided it was about the disconnection between our fetishisation of communism and the reality. But I realise even now that it might just be a song about all the little people that are living in China.

And that was pretty much where it peaked for me and Men Without Hats. For all of that, however, I kept the records. Looking once again at the Safety Dance video, I can see why it pushed the buttons of a socially inept 14 year-old in Birmingham. For a second, it was as though pop had been gatecrashed by a well-meaning if earnest youth club leader saying, “Hey!You don’t have to follow ‘their’ rules! Let’s do away with all this fakeness and talk about what we really feel!” The English village scenery, the folk imagery and Ivan’s look all fed into that, as did the interview in which he ventured, “Boy George has to dress like a goof to get to number one.” Yes, it seems silly now, but pop will always need its earnest youth club leaders. Try muting the Safety Dance video and play an Arcade Fire song over it and you’ll see what I mean.

Back in 2013, after a wait of 30 years, Men Without Hats are finally coming to my town. Tonight, they’re set to play a small show at Islington Academy which, in all likelihood, will be exclusively attended by their fellow Canadians. Needless to say, I’ll be there too. Finally, I get to join Ivan’s weird gang.

“This used to go like that, but then one day something happened as it so often does.” Dexys Midnight Runners in 1982.

“There there my dear” by Dexys Midnight Runners

The school holidays were six weeks long. I was in my dead grandmother’s house in Athens, bored out of my mind while my older brother – homesick and in love with wedge-haired rouge-streaked Caroline Fellowes – played The Doors‘ 13 compilation on a single-speaker tape recorder over and over again. For all of that, I was relieved to be bored; relieved to be away from my pipe-smoking form teacher Mr Newton, who looked like Lech Walesa, ran the chess club and sought to alleviate the tedium by picking on pubescent halfwits like me.

It was all a bit shit, to be honest, but it would have been shitter had it not been for Eddie Holmes. Eddie was the toughest kid in the year. Self-doubt literally wasn’t in his vocabulary. The morning after his first wank, he proudly marched into the playground and told us that he’d “spunked up.” Then he proceeded to ask every single other boy in our class if they too had spunked up. Everyone said yes, except for me. At 13, I was already becoming unbearably supercilious. Within a year, I’d be writing Doors lyrics all over my exercise books and feeling superior because of it. Boys like Eddie normally bullied boys like me, but for some reason Eddie liked me. In fact, Eddie was the only person in my class who liked me. Maybe he’d seen one too many BBC childrens series in which the handy alpha male had a nerdy friend called Brains, and together they formed a ying-yang shield of invincibility. Maybe he just needed a Goose for his Maverick.

Whatever our differences, one thing Eddie and I did have in common was that we were both Dexys Midnight Runners fans – him a little more than me, if truth be told. He continued to buy their singles even when they didn’t chart. A year had elapsed since Dexys’ last hit. In modern pop terms, that’s practically the space between breakfast and lunch, but for most of my classmates in July 1982, Dexys were over a long time ago. Except that, during the course of month that I had spent in Greece, Dexys were anything but over. In the space of four weeks, they’d put out a record and that record had climbed to number one. Not just that, but this Dexys looked nothing like the Dexys of Geno or the Dexys of Show Me.

Consciously or not, Come On Eileen deployed off the same trick that, two years previously, Madness had pulled off with Baggy Trousers. Down to the Crombies and Harringtons, the Doc Martens and the drainpipes, Suggs and his mates looked like most of the boys in my class. We saw our day-to-day lives in the words of that song and, vicariously, felt a sense of yearning for something that was still ongoing. If Baggy Trousers described what was happening in the classroom, Come On Eileen described what was happening in our interior world: the desperate quest for some sort of encounter that might circumvent the awkwardness of courtship. The need to stop being a person that hadn’t done it and to start being someone who had. And, as with the cast of Baggy Trousers, Eileen was to all intents and purposes, a figment of Kevin Rowland’s imagination. Eileen was his first love. A teenage crush idealised by the passage of time. By the time Come On Eileen hit the top spot, Kevin was going steady with Dexys’ violinist Helen O’Hara. But my friends and I all had our Eileens – crushes that we were too scared to even tell each other about. Between the Dexys song and the Madness song, our collective world had been gift-wrapped and presented back to us. And that’s how, in the summer of 1982, we already found ourselves nostalgic for a version of what we were going through there and then.

But I couldn’t just go out and buy Too Rye-Ay. Not on my pocket money. Jackie Wilson Said (I’m In Heaven When You Smile) appeared, and that was barely less a force of nature than Eileen. Dexys were on TV a lot, and every time you saw Kevin, you felt that there was a pop star you could believe in. My brother returned from town one Saturday afternoon and told me that he saw Kevin and Helen on an escalator that – for the fact that they were dressed in their ripped dungarees – could have come right out of a TV screen. In December, something like the opposite happened. Dexys Midnight Runners appeared on fledgling Channel 4 music show The Tube and reeled me in, out of my empty front room, out of Acocks Green, out of pre-adolescent uncertainties and into something, to quote another Dexys song, “pure and precious”

In the four months since Come On Eileen hit number one, Dexys’ ascent was ratified by their Tube performance. Even The Jam’s final live TV appearance with Beat Surrender warranted a lower billing. Kevin Rowland was intensely competitive, but he was also the product of a catholic upbringing, with all feelings of unworthiness that brings. Both of those traits seemed evident in their Tube performance. Dexys had 20 minutes to do whatever they wanted and, like Queen at Live Aid, these 20 minutes radiated a supercharged urgency that set them apart from all their contemporaries. Whatever self-doubt afflicted Kevin at this time, none of it extended to the music. Dexys had been touring since the summer. The chemistry between the players is palpable, not just in the playing, but in the sly smiles and playful glances exchanged between Helen O’Hara, Billy Adams and Steve Brennan.

For all of that, the first two songs, Let’s Get This Straight (From The Start) and Celtic Soul Brothers offer no indication of what’s about to follow. “This used to go like that, but then one day something happened as it so often does. And now it goes like this.” Like what, exactly? A single note repeated on a bass string – a noise which instantly commands your attention – and then, “Ro-Ro-Ro-RO-BIN!” Two years previously, There There My Dear sailed into the top ten in Geno’s slipstream, an amphetamine-charged evisceration of Kevin’s greatest bete-noir: the left-leaning dilettante whose cold correctness arouses suspicion in a singer simply can’t understand people like that. But, by December 1982, There There My Dear was less about the person addressed in the line, “I don’t believe/You really liked Sinatra,” more an existential address from the man asking the question.

In the seconds that follow the Sinatra line – in the tidal rush of horns and thermal upswell of hammond that fill the available space – you begin to apprehend the measure of Dexys’ commitment. This is just a brief interlude before the next verse, but it’s worth dwelling on. Last year, when making a documentary about Dexys’ 1985 album Don’t Stand Me Down, I met the saxophonist on the right. As Chairman of Sony Music, Nick Gatfield is one of the most senior executives in the British music industry. He seems ambivalent about his time in the band, in particular the tortuous period between 1982 and 1985 – but he’s not ambivalent here. No-one is. Kevin Rowland could barely string a few chords together on a guitar, so why did he attract such devotion from his fellow musicians? Why did Helen O’Hara jettison a promising career as a classical violinist to help realise his musical vision? Was it just the promise of mere session work that would have persuaded venerable American backing singer Jimmy Thomas to don dungarees and weigh in on backing vocals? The answer reveals itself from about three-and-a-half minutes – when everything but the rhythm section drops out, Kevin sinks to his knees and delivers four minutes which effectively place him within touching distance of Sam & Dave, Van Morrison, Otis Redding – the singers who clearly shaped his earliest notions about what it was to be a great frontman. Thomas, sometime sideman to Ike Turner, looks just as lost in the moment as everyone else.

Six minutes and forty-four seconds. A wordless scream. Alternating cries of “STOP!” and “GO!” on every bar. And suddenly, the band are watching Kevin as intently as I am, in a Birmingham sitting room, on the other side of a cathode ray. No-one knows what’s coming next. No-one could ever guess what could ever come next. “At this point, I do some press-ups”, declares Kevin. And off he goes, not for the last time in his career, merging the sublime and the ridiculous in ways that no-one else would dare. In a song that defies its subject to forget his inhibitions, to show some passion, the a performance that demands the same of you. And no more so at this point. Aged 13, self-conscious in all sorts of ways, I sat stock still watching Kevin Rowland cradling an imaginary baby, seemingly in a dream-state, apologising for some imagined “joke.”

From that moment on – with Plan B and Let’s Make This Precious still to play – Dexys Midnight Runners ruled my world. I unwrapped Too Rye-Ay on Christmas morning, wandered into the posh room where we kept the hi-fi and plugged in the chunky headphones. I pretty much I stayed there until 1983. Sixteen years later, I met Kevin Rowland and told him so. He remembered that week for different reasons. All his friends assumed that now he was a pop star, he must have had loads of invitations to swanky New Year’s get-togethers. As a result, none of them thought to ask him what he was doing. Kevin Rowland, frontman of Britain’s biggest-selling pop group at that moment in time, spent the evening alone in his house. Two very different lives in the same city, both of them changed forever by Too Rye-Ay.

“By the mid-80s an irreversible sea change had swept across the chip shops of the West Midlands. Kebabs. Everyone wanted kebabs.” Growing up in a chip shop, 2010

It was the birthday party of the year, hands down. How could it not be? The summer holidays had only just begun. It must have been about 2pm on a weekday, because that’s when my parents turned off the fryers and closed up for the afternoon. On my eighth birthday though, they kept the fryers on – and when all my friends finally arrived, my mother put the “CLOSED” sign up, while my dad opened up the front panels of all the pinball machines and did what he always did for me on holiday afternoons. Pressing down the wire lever on the inside of the machines – once for each credit – he racked up enough games to keep us all amused for an hour. Then, when we were done, we were beckoned out of the back room of the shop and to a table beside the counter, where everyone was given their own bag of fish and chips and pop of their own choice: Tango, Corona Lemonade or Lockwoods Cola.

A single blurred black and white photograph places that afternoon in time. Without even a discussion, we did what any group of eight year-old children did when posing for a picture in 1977. We assumed a Bruce Forsyth “thinker” pose – forehead resting on raised left fist, back leg up. Didn’t we do well? Conspicuous by his absence in that lineup is poor Paul Blunn – victim of his own terrible timing. Days before the invites were issued, Blunn had seen fit to taunt me on the basis that: (a) I was Greek; (b) Greece sounds a bit like grease; (c) I lived above a chip shop; and, therefore, (d) this made me “a greasy chip”. “Greasy chip! Greasy chip!” he repeated incessantly, until I waited outside the school gates and – excuse the pun – battered him.

Growing up above The Great Western Fish Bar in the Birmingham suburb of Acocks Green had made me different, but until that eighth birthday, I didn’t know whether this was good-difference or bad-difference. I had never stopped to consider why the room we called “the front room” wasn’t actually at the front, but right in the middle between the shop and the house kitchen. Aged four, I just accepted it – like I accepted the fact that the transition from a waking to dreaming state always happened over the faint ring of a cash till and the scattergun ack-ack-ack of six pinball machines. My earliest memories are all rooted in the front room that wasn’t a front room. Until I started school, this was where I could be found most mornings, arranging my Matchbox cars in a perfect line. Once in a while, a pair of legs – belonging either to my mum or dad – would hurry past with an empty bucket, somehow clearing the miniature motorcade that threatened to upend them on their way to the storeroom, where the chips sat in plastic barrels. On a Monday lunchtime, it would be once an hour; on Friday teatime, every ten minutes.

Childcare, inasmuch as we understand the term now, was scant. Between the end of the children’s programmes on BBC1 and bedtime, I would wander into the smoky backroom of the shop, when Brummie youths with names like Bolt, Ranjo and Bic acted as my de facto childminders. Between the age of four and seven, chronic shyness meant that I didn’t speak to anyone apart from my parents and my brother. But after years of free pinball practice, I sure played a mean pinball. With a mane of curly hair I looked and behaved like a Bonsai Roger Daltrey in Tommy. When I wandered in, one teenager would move a chair to the front of the machine, on which I would stand. On some weekends, it felt as though every denim-covered Brummie teen with volcanic skin and a provincial feather-cut was lining up to beat the mute pinball freak. Not only would they pay for their own game, but they would pay for mine. If my parents had actually planned to pimp out my pinball skills, it couldn’t have worked out better.

In fact, for the longest time, there was no downside. On Saturdays, after I had returned from the newsagents and read the latest Whizzer & Chips, Whoopee! and Krazy, I would amble into the shop take eight pieces of chip paper, fold them over and make a cut down the middle – thus making my own blank 32-page comic. After three pages spent trying to think of comic strips to rival the exploits of Sid’s Snake, Val’s Vanishing Cream and The Bumpkin Billionaires, I’d lose interest until the following week.

At this point, if I had to draw a list of the best things about living above a chippy, the food probably wouldn’t have figured in the top five. I’ve a clear memory of the day we started selling mushy peas for the first time, because I remember my mother carefully writing, “LOOK! MUSHY PEAS!” complete with a pair of eyes doubling up as the Os in “LOOK!” and pinning the home-made sign up on the wall-tiles. However, early memories of eating chips from the shop are relatively late.

My mother would insist on using the kitchen at the back if she ever made me chips – slicing the potatoes herself and placing them in a pan of sunflower and olive oil. It took me decades to realise what an odd thing this was, longer still to deduce the reason. In Athens, where she grew up, she had trained as a draughtswoman. For her, coming over to Britain and helping to run a chip shop was a means to an end. There had never been any greater intention than to come here, build up the business, pay back the loan needed to buy the shop in the first place, sell it at a profit and return to Greece or to Cyprus, where my dad had grown up. I think the thing with the chips fed into some sense of pride that she was trying to ring-fence – something that predated a situation that she felt was beneath her. In fact, for the longest time, we rarely seemed to eat anything from the shop. If she couldn’t go back to Athens, at least she could try and serve it up on a plate. Moussaka, dolmades and keftedes always took precedence over pies, saveloys and cod.

I guess we must have repaid the loan by 1981, because we sold up the shop and moved into a house whose front room was actually at the front of the house. At the same time, we found The Kingfisher – a stand-alone shop about a mile away from the house. Leaving Britain was no longer an option. My brother and I trenchantly opposed the idea – and the prospect of national service at 16 meant that my mother sided with us. The fact that my parents now had to travel to work meant that suddenly Aki and I saw less of them. And the less of them we saw, the more “English” we seemed to become.

Pop music usurped comics in my affections. Now, I used chip paper to create my own music magazines. I was comfortable enough with the vernacular of my brother’s NMEs and Record Mirrors to attempt my own rival publication. Espying a gap in the market, I noticed that no existing magazine offered a review of every single record in the current Top 40. And so, Pop Scene was born. I still have the sole copy. It reads like a cross between Paul Gambaccini and antique specialist freak-child James Harries. Reviewing Green Door, I wrote, “It doesn’t seem right that all Shakin’ Stevens needs to do is pick an old song and have a hit with it. Time to try harder, Mr Stevens!” Reviewing a Squeeze record, I wrote, “Squeeze have got two things, most other groups don’t have – Difford and Tilbrook. Squeeze deserve more than they’re getting.”

There was a certain symmetry in the idea of attempting to create a music publication out of chip paper. Being a music writer and running a chip shop have quite a lot in common. Just as you get sent promo copies of all the latest albums, reps from food manufacturers would ply us with products we might be interested in adding to The Kingfisher menu. They all got passed on to me: microwaveable Shepherds Pies, vacuum-packed heat-and-serve kebabs; extrusions of processed turkey on a stick. Everything was rejected, except for spring rolls (nee crispy pancake rolls) and something called a Dandy Burger. So called, presumably, because its contents were some distant relative of Korky The Cat, the Dandy Burger came in a box which depicted a Union Jack coloured bun. With McDonalds yet to shatter Wimpy’s stronghold in Birmingham, Dandy Burgers flew out of the shop – and at about 7pm, when the teatime rush had died down, so would my mother. If she hadn’t had a chance to prepare anything that morning, she would call and ask what I wanted bringing back. A Dandy Burger would be fine. Moussaka only got a look in at weekends.

Set amid middle-class residential Olton, with its name illuminated in chunky italicized 70s lettering, The Kingfisher was a step up, whichever way you looked at it. And yet, it was hard to get excited about it. The shop changed from being a source of recreation to a potential threat, something to fall back on if we decided not to stay on at school. Save for a sole Asteroids machine that constantly seemed to be in use, there were no “amusements” here. As Aki fast-forwarded to adolescence, I noticed he was being expected to work increasingly longer hours in the shop. But if his sullen demeanour and his spiky Ian McCulloch hairstyle portended anything, it was that he and his Echo & The Bunnymen 12-inches were going off to art school and out of reach at the soonest opportunity.

On the other hand, I wasn’t going anywhere for the time being. Straight after school on Friday and then Saturday teatimes, I would stay the extra three stops on the 37 bus and spend the hours between 4pm and 8.30pm spooning curry sauce and mushy peas into polystyrene cups and ferrying buckets of uncooked chips from the storeroom to the front of the shop. I did so on the proviso that the transistor radio above the deep freeze be tuned in to Radio 1. The memory of John Peel and Sheena Easton on Roundtable being rude about Supertramp’s It’s Raining Again means that I must have been there in the autumn of 1982. Serving was never an option. My parents deemed me too scruffy to look people in the eye and asked them if they wanted salt and vinegar, which suited me fine. I couldn’t imagine myself ever doing what my parents did – not least because, within their postcode, they were minor celebrities, on first name terms with over 90 per cent of the people who crossed the shop threshold. My mother always gave old people a few free chips if they asked for fish on its own. Word spread, and before long, half our custom on Tuesdays – my dad’s night off – was from pensioners asking for “just cod”.

At teatime on a Friday, the queue would snake right out of the shop. In quieter moments, my dad would explain why a tiny chippy in a residential area could do such a roaring trade. Quality was the bottom line. He favoured Maris Pipers over whites. Other chip shop owners would get their fish delivered in the mornings. Every other morning, he would make a point of going to the wholesale market, choosing his own fish and haggling the best price – “fresh from Aberdeen”, he would boast to his customers. And the more we sold, the better the deals he got. He’d pay more for better quality chickens, but we sold over five times more than our nearest competitor. Because more customers wanted breasts than legs, we used the surplus of legs to make a chicken curry. The currys did fine, but by the mid-80s an irreversible sea change had swept across the chip shops of the West Midlands. Kebabs. Everyone wanted kebabs.

We saw them appear, one by one, through the window of every rival establishment – The Dolphin, The Seaspray, The Happy Plaice – until, finally, The Kingfisher was the only chip shop in the vicinity not to yield to the sweaty rotating elephant’s foot of indeterminate provenance. For all we knew, Bolt, Ranjo and Bic were still flipping flippers in a parallel 70s that never ended. The next generation of young Brummies spilt out from the pub across the road. They seemed lairier than their predecessors. Their lustrous mullets hung down to meet the collars of their pink Pringles. They were all after the same thing. “When are you gonna do kebabs, Chris? I thought you were Greek, weren’t you? Well, where’s the kebab machine?”

“Actually, the kebabs you’re referring to are Turkish. The Greek version of the kebab is actually called a souvlaki.”

“What about kebabs? What are they called?”

“Well, they’re just called kebabs. That’s their name.”

“Right! Kebabs! Get one of them!”

Showing a peculiar purism that made absolutely no sense, given where we were, my mother decided that if we were going to sell kebabs, she was going to make them herself, using only the best incredients. With all the self-sacrifice that seems to define all Greek matriarchs, my mother decided to make them herself, to her own recipe. During 2pm and 4.30pm when the shop was closed, she mixed together two loaves of minced lamb with bread, finely-chopped onions, parsley, pepper, a pinch of cinnamon and ground cumin. Then she left them in the oven for two hours. I got the first taste. They were sensational. She wrapped them in silver foil and put them in the steamer to stay warm throughout the day. Deploying tried and trusted marketing practices, she then she folded over a sheet of chip paper and wrote “LOOK!” with a green marker, eyes and everything. “KEBABS! £2!!” But this wasn’t Moro; this was Birmingham in 1986. Our customers simply couldn’t reconcile the promise of kebabs to the visible absence of the revolving rotunda which spawned them. As far as they were concerned, if it wasn’t shaved off the side of a warm dribbling edifice and shoved into some pitta bread to make a big meaty mouth organ, it wasn’t a kebab.

Perhaps I would have had more sympathy for my parents’ perfectionism if I hadn’t been expected to take the reins later on in life. The venus flytrap of familial obligation was closing in. At 18, I passed my driving test only to be congratulated with the news that I was no qualified to do two extra jobs. I could drive to the cash and carry and buy supplies for the shop – then, on the way back, I could stop off at the remote industrial estate where my dad’s friend “Uncle” Kostas ran a saveloy factory. I’d handled saveloys for the best part of eight years, at this stage, but I was no clearer about what was contained within their luminescently pink casing.

As I pulled up to the saveloy plant for the very first time, in my mother’s Vauxhall Astra, Kostas was waiting for me. This wasn’t just a saveloy-fetching errand. This was a rite of passage. “Your dad tells me you’re going to run the chip shop one day!” His wig bore as much resemblance to real hair as his saveloys did to anything that the EEC would ever allow you to call a sausage.

“Actually,” I said, “I’m hoping to study philosophy at university. His features fell – presumably out of sympathy for my poor parents – leaving his hair behind as they did so. If I told him I was going to hitch to Piccadilly Square and frot strangers for loose change, I couldn’t have hoped for a more crestfallen reaction. After a couple of seconds, Kostas merely decided to disregard anything I had told him.

“Let me tell you Kostas’s philosophy!” he said, placing a friendly arm around my shoulder. “You’ll earn a lot more money running your dad’s business than being a philosopher.”

As if to formally commence our business relationship, he took me on a tour of the shop floor: a dense network of machinery which spat out a ceaseless succession of saveloys. Mounds of pink sludge littered the floor. Our long and fruitful relationship extended to just two more visits. My exam results came through and it was time for me to go. A year later into my degree in rural Wales, my parents cashed in their chips, and proceeded never to feel quite at home in Greece, Cyprus or Birmingham. In the union common room, I no longer needed to stand on a chair to play pinball. But I was still impossible to beat. Once in a while, I’d stagger into the town and buy a kebab. But I never told my parents about that. Somehow, it seemed disrespectful.

“A half-dressed black boy chomping on a slice of melon whilst, three bananas stick out of his ill-fitting trousers.” The Dandy relaunch, 2005.

Doesn’t it just suck so badly when a grown-up takes the time to ask you what you’d like for Christmas – thereby raising your hopes to hitherto unraised levels – only to crap up the execution? I’ve still got the rare Captain America comic that my aunt got me in 1980. Cooler kids would have been thrilled, but I didn’t understand the cult of superheroes. To paraphrase Chuck D out of Public Enemy, Superman and his toned, talented pals didn’t mean s*** to me”. Why would I identify with some strong geezer who could fly when I could go page three of Whizzer & Chips and read about Sweet Tooth – bell-bottomed infant lover of sugar-based snacks – and the pupils at Strange Hill, a school that was a bit like mine, but stranger?

So I filed away my 1965 rarity and continued to nurture my already burgeoning comic collection: Whizzer & Chips, Whoopee! and Krazy on a Saturday; The Dandy on a Monday; and The Beano on a Wednesday. No-one thought me cool for being into these comics, and that was fine. It meant that I could get the bus to the Midlands’ only dedicated comic shop – Nostalgia & Comics – and buy old issues for next to nothing. I devoured them, put them in boxes and there they lay until last week when my parents happened upon them in their loft: a cache of 1946 Beanos and Dandys which have now survived on this planet for 23 years longer than their current owner.

For Dora, weaned on a steady diet of Sparkle World and Angelina Ballerina’s Adventures, the culture shock was almost too much to take in. “Daddy, I don’t like that scary chicken,” averred my eldest, referring to Big Eggo – the ghoulish turkey who adorned the cover in those pre-Dennis The Menace days. She had a point. For some reason, comic artists hadn’t mastered the art of making animals look cuddly. Big Eggo was very much drawn from the viewpoint of someone who saw turkeys as meat-in-waiting. Personally, I was rather more spooked by The Beano’s then-mascot – a half-dressed black boy chomping on a slice of melon whilst, three bananas stick out of his ill-fitting trousers. I should have taken this as some kind of warning, but I was a fool. With night-time approaching, it seemed like a novel idea to replace a tale from one of Dora’s usual reads with a story from “when daddy’s grandparents were little.” Dated October 12th, 1946, issue no. 329 of The Dandy yells, “10-FOOT SCHOOLBOY TURNED INTO A DWARF.”

In fairness, the cautionary tale of Danny Longlegs hits the ground running. Tired of getting into trouble on account of his incredibly long legs, Danny falls prey to the claims of a circus “sorcerer” who promises to make make him a normal size. As far as both Danny and I were concerned, the problems only begin in the frame where the fake sorcerer hires “two burly negroes” to kidnap him and turn him into part of the freakshow. As it happens, it wasn’t so hard to bluff through this part of the story, the artist had made the “negroes” look so much like apes that I was merely able to tell Dora that they were scary apes without Dora suspecting a thing.

Of course, the Dandy doesn’t do that sort of thing any more. Even by 1976 when I started buying comics, it had long since dispensed with the antics of Ah Sing, Hi Jumper and the rest of The Cheery Chinks. Beano favourite Polly Wolly Doodle (“Never mind Pongo! I hab a plan to pay dat nasty old farmer back!”) is ancient history. This much I know because I’ve just bought the new-look Dandy, featuring Dreadlock Holmes – whose defining characteristics are his dreadlocks and his frustrated attempts to become a detective. Is this a good thing? Even if people more commonly refer to dreadlocks as dreads these days, it’s a step forward, isn’t it? Alas, if only I could say the same about the rest of the comic. Maybe, it’s over 20 years since you last looked at The Dandy too – in which case, I have more news to report. At some point Desperate Dan was given a Texan accent – and being “gross” now seems to be the main thing obsessing children. Hence the “FREE! GROSS TONGUE!” in last week’s relaunch issue, billed as the “GROSSEST FREE GIFT EVER!” This week, you get a “FREE! DISGUSTING TOMATO SPLAT!”

If that’s is what The Dandy has had to do to survive in the 21st century, I guess it’s better than the colonial-era yarns that graced its pages over fifty years ago. People always think that these things were at their best “in my day” – and I’m no exception. It’s just that on this occasion, I happen to be right. And now that I think of it, it wasn’t the grossness that disappointed me. The problem is that in throwing out the colonial bathwater of yore, the storytelling tradition disappeared too. In those pre-focus group days, it didn’t seem to matter that I’d never seen a school like the Winker Watson went to – less still that I knew why he was called Winker or how he came to be known as “the world’s champion wangler.” The thing to remember is that it took longer to read a single one of those strips than it takes to read an entire issue of the new Dandy. Can’t we have some marriage of the 1970s comic and 21st century filth? Wouldn’t that be the idea comic for our children? Let me just go read Dora a copy of this month’s Viz and I’ll get straight back to you.

Racey: “A Showaddywaddy lacking a waddy.”

I remember pretty clearly the day that Racey changed my brain so that from that day on, a little bit of my brain would be forever Racey. As a treat for being patient whilst going shopping with my mother, she took me and my brother Aki to Debenhams’ record department. We were allowed a single each. Aki bought Cool For Cats by Squeeze. I plumped for Lay Your Love On Me by Racey. To Aki, my choice embodied everything that sucked about having a younger brother. Punk had happened and, by virtue of being “new wave”, Squeeze were briefly affiliated to it.

With hindsight I can now see what Racey were. They were one last hurrah by RAK’s in-house songwriting magicians Nicky Chinn and Mike Chapman. A dud Mud. A Showaddywaddy lacking a waddy. At least that’s how they’re fated to be remembered.

Thirty years later though, with that bit of my brain that will forever be Racey, I am not most people. I hear Lay Your Love On Me, with Richard Gower’s oddly pleading vocals and an organ hook that begs to be sampled and a Proustian avalanche ensues. Kept from the number one spot by Bright Eyes, Some Girls (originally intended for Blondie, triviaholics) remains probably their best known hit – and where, for most people, the story ends.

But my loyalty knew no bounds. I bought their only album Smash And Grab and remember feeling moved by the valedictory self-written rallying cry We Are Racey (“We are Racey,” it claimed, “And we move with the speed of sound”). But, as Racey’s stock plummeted, so did my local record shop’s stock of Racey records. I had to get them ordered in – although in pre-internet times, I’m not sure how I even knew that they were coming out at all. In theyears that followed, I tried to get into cooler music, but throughout this time, I showed unerring loyalty to Racey.

And, indeed, continue to do so. Written by Gower, their 1981 b-side Let Me Take You Home Tonight lives in the special box I keep in the kitchen where all my best sevens live – Fats Domino woozily reconfigured by a lovelorn pygmy from Weston-super-Mare. Bob Stanley likes it and he’s in Saint Etienne, so there. Convinced that their 1981 non-hit Rest Of My Life still had “legs” if covered by the right person, I sent an MP3 of my scratchy vinyl copy to Ronan Keating’s A&R man, and received precisely the sort of reply that A&R men send to lunatics. Fair enough, really. He probably passed my email around the office to general hoots of merriment. You’re probably laughing too, aren’t you? I know I’m not cool. But I am Racey. And that’s enough for me.