FROM SAX to STACKS - The Terry Marshall story

Terry Marshall, son of the legendary Jim Marshall, might have grown up surrounded by amplifiers, but his own musical journey began with the soulful sounds of the saxophone. In this exclusive interview with Stephen Harrison, Terry reflects on his life in music—from his early days as a saxophonist to his pivotal role in the creation of the iconic Marshall amplifier. Along the way, he shares stories of rock and roll legends, innovation, and his enduring love for the blues.

Words: Stephen Harrison

Terry’s musical career began when he was just 14 years old, already earning money as a musician. By the age of 16, he had turned professional, playing the saxophone in a band called The Flintstones, although copyright issues with the TV show meant they had to record under the alias “The Stone Age Men.”

“I bought my saxophone when I was 16,” Terry recalls. “I still use it to this day. If the house caught fire, I’d save that sax before anything else.” That saxophone has been his constant companion through decades of musical exploration, from blues to rock and roll.

Terry’s first recording experience was under the guidance of the innovative producer Joe Meek, known for his unconventional methods. “Joe Meek was a genius,” says Terry. “He made me record in a bathroom with different levels of water in the bath to get the right reverb. He even had our bass player use a matchbox and a paperclip to create the clicking sound he wanted. It was incredible.”

THE BIRTH OF MARSHALL AMPLIFIERS

While Terry’s personal love for music re-mained strong, it was his father’s business— Marshall Amplification—that would soon take centre stage. Jim Marshall’s drum shop in Hanwell, London, was a meeting point for musicians like Pete Townshend of The Who, and it wasn’t long before they were asking for more powerful amplifiers.

“Pete wanted something bigger, something more,” Terry explains. “We started by using an RCA circuit similar to the Fender Bassman, but we boosted it from 35 watts to 45 watts. The result was the first Marshall amplifier.”

This creation revolutionised rock music. The signature Marshall sound became synonymous with the growing rock scene in the 1960s and beyond. “We had regulars like Ritchie Blackmore, Eric Clapton, and Big Jim Sullivan coming into the shop. They knew what they wanted, and it was my job to make sure they got it.”

LISTENING TO THE LEGENDS

Terry’s success with Marshall Amplifiers came from his ability to listen to what musicians needed. “I’d listen to how they played and then design the amps to match their sound. It’s the art of listening, really,” he says.

The demand for Marshall amps skyrocketed, turning them into a defining feature of rock and roll. Soon, the iconic Marshall stack became a visual and sonic backdrop for the biggest bands in the world. “I was lucky to be part of that,” says Terry. “It was like a domino effect—one band used them, and then everyone else wanted them.”

JAMMING WITH ROCK LEGENDS

As Marshall Amplification grew, so did Terry’s network of rock legends. His connections with musicians such as Mitch Mitchell (drummer for Jimi Hendrix) brought him into the heart of the rock and roll scene. “Mitch and I jammed together when I was 18, and it just worked. He was 16, but we clicked.”

Terry recalls attending Cream’s first gig at the Marquee Club with Clapton, Jack Bruce, and Ginger Baker. “We met at the pub beforehand, and we all walked across to the venue together. It was an electric atmosphere. Everyone had their supporters—Eric’s fans, Jack’s fans, and Ginger’s fans. It was something special.”

But his fondest memories are perhaps the informal jam sessions. “Eric and Jack used to come down to the shop and grab acoustic guitars. I heard them play together long before they were in Cream. They were already something else.”

ALICE ARMSTRONG AND KRISSY MATTHEWS ON THE ALBUM

Adding depth and diversity to the album are singers like Alice Armstrong and Krissy Matthews, both of whom joined Terry for this unique project. Reflecting on their experience, Alice and Krissy shared their excitement in an interview with Stephen Harrison.

“It was surreal,” Alice said, still processing the previous night’s performance. “There was so much love, community, and support in that room.”

Krissy added, “It wasn’t about competition. Music isn’t a competition. It was a night filled with every bit of ourselves.” The camaraderie that pervaded the recording process helped shape the album into something special. When asked how they got involved, Alice recalled, “Terry invited me to jam, and you know, you don’t say no to Terry.”

The spontaneous approach to recording surprised them both. Krissy remembered calling Terry a week before, asking what to prepare. “He just said, ‘Don’t worry about it. We’ll figure it out when you get here.’” That’s exactly how it unfolded, with the two artists pairing up for an electrifying duet of Hoochie Coochie Man.

Alice and Krissy loved the live recording experience, even with the pressure of capturing the performance in one take. “There’s an element of ‘red light fever,’ but it keeps the music wild,” Krissy says. Alice adds, “It’s like a gig. It’s real, and that’s how it should be.”

FROM ROCK TO BLUES: IRON MAIDEN AND BEYOND

Terry’s adventures in music extended beyond rock and blues, even joining Iron Maiden on tour. “I flew with Bruce Dickinson to Moscow. He’s got a commercial pilot’s license, and it was surreal seeing him flying the plane and doing the safety instructions.”

Moscow was unforgettable for Terry and his wife, Lesley, who were invited on the tour as part of Iron Maiden’s inner circle. “It was a special trip,” Terry reflects. “The architecture, the food—everything was so different. But what stuck with me most was the music, always the music.”

THE SOUL OF THE BLUES

Despite his history with rock and roll, the blues remains Terry’s first love. His latest project, a live-recorded blues album, features musicians he has played with over the years. “We recorded it in four and a half days—no overdubs, no second takes. Just live performances. That’s why it’s called Live,” Terry explains.

The album, which captures the raw emotion of blues music, was a labour of love for Terry and his friends. “We didn’t rehearse too much. I let the singers choose their own songs because I wanted them to feel confident and to give their all.”

NURTURING THE NEXT GENERATION

Terry and Lesley are passionate about supporting young blues musicians. They sponsor the youth stage at various blues festivals and actively encourage the next generation. “There’s a young band I’m really keen on helping—the Blues Bandits. The drummer is just 12, and the guitarists are 13. They’re incredibly talented.”

Through sponsorship and mentorship, Terry hopes to keep the blues alive. “Young musicians are the future, and it’s our responsibility to give them the opportunities they need.”

BACK TO THE BEGINNING: THE SAXOPHONE AND THE BLUES

Though amplifiers and rock legends have defined much of his career, Terry’s heart still beats for the blues and his beloved saxophone. “I’ve played rock and roll, jazz, and blues, but the blues is where I belong,” he says.

Terry’s saxophone journey began with the big band sounds of Count Basie and saxophonists like Eddie “Lock-jaw” Davis. “I was drawn to their showmanship and the raw emotion in their playing,” Terry recalls. “That’s what inspired me to pick up the sax, and I haven’t put it down since.”

THE FUTURE OF MARSHALL AND THE BLUES

As the interview comes to a close, Terry reflects on his journey. “People ask me when I’ll retire, but my heart is in this. I’ll be part of Marshall Amplification and the

Blues until the day I die.”

Whether it’s crafting amplifiers for rock gods or playing saxophone with the next generation of blues musicians, Terry Marshall remains a vital figure in the world of music. His story is one of passion, innovation, and an enduring love for the art of sound.

In his own words: “The only drug I’ve ever taken is music. I have to play, and I’ll never stop.”