On retirement, Dennis Marrison (Economics,1967, Bowland) decided to write up his life story for the family, including some details of his time at Lancaster and how the band, The Flowerpot Men, came into being.

"In my book of stories, written for our daughters, there’s the tale of how the group was formed. It might jog a memory or two.

In the first few weeks following registration in September 1964, the effort to form “Clubs” was extraordinary. I wanted to form a beat group as they were rather quaintly referred to in the 60s; a band that would play blues, country and rock ’n’ roll music and stay true to those American roots. It would need musicians, instruments, equipment, a play list, rehearsals, gigs, transport, management – the list was formidable and most of these things needed money; a lot of money! I had no idea how this might come together, but there seemed nothing to be lost by posting a notice. It produced two replies. Paddy O’Sullivan, from Devizes, a talented folk singer and guitarist, fancied being in a band; so did Dave Pierce from Essex. Two rhythm guitarists and a vocalist wasn’t much of a start. In the Shakespeare pub, by chance, I met John Charters, from Ashington, and discovered that he played drums. John was a wonderful character with a Geordie accent so rich, I could barely understand him. When he told me a “north eastern” story about “Moses” I was in fits. He seemed keen to have a go. When the four of us met for a chat, the conclusion was that without a lead musician it wouldn’t work. By the start of October, the project seemed dead.

I’ve always liked the classic piece, “St Louis Blues.” When I wandered into the Shakespeare for a pint early in October, I could hear someone playing it on George’s piano. As I supped, he played several rock songs and a couple of blues tunes. This boy could play! Even on George’s knackered old upright, this sounded very good. What if our lead musician was a rock and blues pianist? He closed the piano lid, stood up and came to the bar. I bought him a pint. Phil Howard from Oldham had played since he was five years old. He liked the idea of being in a group because he loved to play. Yes, he liked to play the piano. Did we need a lead guitarist? He’d led The Sandstorms in Oldham and played with The Dakotas in Manchester, among many others. I’d found our lead musician and so began a friendship that has endured to this day; the prelude to some remarkable experiences.

Under Phil’s guidance, the boys spent a morning at Stan Milson’s music shop to estimate how much money we would need to buy equipment. They returned with a daunting list of kit, instruments and a budget of £500: a year’s income for many working class families in 1964! But John had told his story about “Moses” and the whole gang was in fits. From that day on, Phil christened our drummer “Moses” and it stuck. (Just as an aside; whenever I show the 1965 photo of us opening for The Who, someone always asks, “who’s the cool dude playing the drums?”)

Now I had to persuade the Student Union Committee to give us a grant! Without much conviction, I wandered into its unkempt office and got lucky. There were a lot of people hard at work. Paul Bucci and Carole Barker liked the idea of the University having its own rock band. John Skitt and John Scott were also keen. I was told to bring a copy of the constitution, the names of the officers and a grant justification and did so three days later. Chris May agreed to be Treasurer and Sue Veale, the Secretary. The three of us spent many hours writing down lyrics from their record collection. Shortly after, there was a note in my pigeon hole asking me to call in to the office. When I arrived, the two Johns, Dick Wycherley and several others were enthused but rather apologetic (Dick was from Liverpool and surely, with that name, had to be related to Billy Fury. No, he wasn’t but he did like rock music and had heard Phil play in The Shakespeare.) Just as I was expecting a rejection, John Skitt said that the application had been approved but the Committee had felt it right to make it subject to some conditions. The band didn’t yet exist and they felt there was some risk. The equipment would have to be acquired on Hire Purchase to ease the effect on cash flow -back then I had no idea what that meant!. The contracts would have to be signed by two post grads, Geoff and Joe, because we were all too young. The social committee would be planning many events in the future. It would want first call on the band’s services which would have to be provided without charge. A student dance was being organised in two weeks at the ballroom of the Alexander Hotel and we would be expected to play. Finally, the Committee felt that it would help the band to have someone organise and manage its affairs. Given the magnitude of the grant, the Committee thought we might like to consider one of its members to take on the role. We asked John Skitt to do it. Even with the benefit of decades of hindsight that was a remarkable decision and a very generous support package.

There’s nothing like having a deadline to meet to focus the mind. In the space of two weeks Phil Howard taught rhythm man Dave Pierce to play the electric bass. Well, Buddy Holly had taught Waylon Jennings to play the bass in just ten days prior to the Winter Dance Party tour five years earlier! I did not think it possible but Dave was very good! The five of us chose around fifty songs which Phil arranged. His three part harmonies were particularly effective on doo-wop numbers like “So Fine,” “Chains” and “I Can Tell.” Selections from Chuck Berry, The Isley Brothers, Muddy Waters, Howling Wolf, Buddy Holly, Eddie Cochran, Carl Perkins, Elvis Presley, Jerry Lee Lewis and the like, and we were ready to go. The dance was a sell out and, although the Band had a lot of rough edges, the event was a great success. We played the Alex many times during the next two years.

John Skitt stayed with the group long enough for us to realise that having someone to organise us was essential. When he left we decided to have a manager. Jack Fillingham had been at school with Phil. He was learning to play the bass, we all knew him and there was a bluntness about him that we liked. “Look, you guys need a bit of sorting out. Phil and Den are the guts of this band: brilliant musician; terrific rock and roll voice. They love you other three to bits so the band is really together. Two things; you can get better gigs and more of them and you have got to have some transport.” We liked Jack from the start. For the next two years the six of us had a ball playing some of the nation’s best venues and with some of its best known bands.”

For more stories of The Flowerpot Men, contact dennis.marrison@hotmail.co.uk