À 72 ans, John Deacon confirme ENFIN ce que nous pensions depuis le début | La célébrité
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Queenworld.fr est le premier site francophone amateur, exclusivement consacré à l'univers du groupe Queen. Vous y trouverez: biographie, photos, videos, goodies ainsi que l'intégralité de la discographie du groupe. Merci et bon surf sur Queenworld.fr. Louis Goncalves
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john deacon
Freddie Mercury est la raison pour laquelle Queen n’a AUCUN contact avec John Deacon
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Queen est revenue triomphalement au sommet de la culture populaire au cours des dernières années. Le film Bohemian Rhapsody a battu des records au box-office et a présenté aux nouvelles générations la magie de Freddie Mercury et la majesté de la musique du groupe. Cela a amplifié la popularité de la dernière incarnation du groupe dirigé par Adam Lambert. Mais où est John Deacon. pourquoi n’est-il pas dans le groupe s’il est à nouveau en tournée? Roger Taylor a admis sans détour: « Nous n’avons aucun contact avec John. »
Deacon a toujours un engagement financier avec le groupe puisque les redevances de Queen sont réparties de quatre manières entre les trois membres survivants et les bénéficiaires de Freddie Mercury. Brian May a confirmé qu’ils tiennent Deacon informé de tout projet ou développement, mais il ne répond jamais.
May et Taylor prennent son silence pour acquiescement: « C’est son choix. Il ne nous contacte pas. John a toujours été assez délicat. »
Lorsque le film Bohemian Rhapsody est sorti, Taylor a déclaré: « Je n’ai pas entendu un grincement de John, pas un seul grognement guttural. »
Mais pourquoi? Qu’est-il arrivé?
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L’ami de collège de Deacon, Robert Ahwai a dit; « Peut-être qu’il a pensé, ‘Freddie était le groupe, alors à quoi ça sert? Il a souffert de dépression après la mort de Freddie et je ne suis pas sûr qu’il en soit jamais sorti.' »
May a déclaré au magazine Rolling Stone que Deacon ne prend plus aucune part active à l’héritage de Queen ou à des projets potentiels: « John ne veut pas être (impliqué). Il est dans son propre espace et nous respectons cela.
« C’est dommage, parce que nous aimerions l’avoir dans les parages mais il ne veut plus être dans cette arène … il ne veut tout simplement pas marcher sur ces routes. »
John lui-même a déclaré: « En ce qui nous concerne, c’est tout. Il ne sert à rien de continuer. Il est impossible de remplacer Freddie. »
Cependant, les commentaires de May indiquent clairement que toute connexion avec le groupe a intensifié le chagrin de John après avoir perdu Freddie.
Alors que les deux membres restants du groupe célèbrent Freddie en perpétuant son héritage, John a construit une vie tranquille loin du showbusiness.
Il vit toujours avec sa femme, Veronica Tetzlaff, dans la même maison à Putney qu’il a achetée avec ses toutes premières redevances au groupe et où ils ont élevé leurs six enfants.
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Why Queen's John Deacon is a true bass hero
Queen’s mighty bassist John Deacon is a true recluse, rarely appearing in public since the demise of his band’s iconic singer Freddie Mercury two decades and more ago. But that doesn’t stop us celebrating his body of work, saluting his hugely influential bass playing, revealing the secrets of his gear and pulling in a ton of stellar bass players to pay tribute…
We’re often asked about players that we should interview. Without exception, the one name that crops up time and again is John Deacon of Queen. In a reader’s poll in 2017, Mr Deacon came eighth in our list of the Top 40 Greatest Bassists, while two of his best known basslines, Under Pressure and Another One Bites The Dust, could be found in our Top 40 Coolest Basslines Ever poll, at numbers seven and two respectively.
Deacon took the decision to call time on his own musical endeavours following the recording of No-One But You (Only The Good Die Young)
The man is a huge bass influence and, although Queen’s legend continues to grow, it’s a shock when we realise that the musician who provided the group’s (fat) bottom end hung up his bass strap 21 years ago. Following Queen singer Freddie Mercury’s AIDS-related death in November 1991, Deacon struggled to come to terms with his loss - and despite occasional live and public appearances, and the posthumous final album, 1995’s Made In Heaven, it continues to look as though the final curtain has been lowered on Queen’s illustrious golden age.
More significantly for our purposes, Deacon took the decision to call time on his own musical endeavours following the recording of No-One But You (Only The Good Die Young), a 1997 single on which guitarist Brian May and drummer Roger Taylor shared the lead vocals. Although we’ve attempted to make contact with the great man through official channels for some time, we’ve been unable to coax him into giving an interview. Is that going to stop us celebrating his career and recorded output as a quarter of the ultimate rock band? Take a guess...
Born in Leicestershire in 1951, John Deacon began his career in 1965 as a guitar player for the Opposition, before switching to bass in 1966 when a new rhythm guitarist was recruited. He left the band in 1969 following his move to London. While studying electronics at Chelsea College, he auditioned for Mercury, May and Taylor in 1971 and was accepted into Queen, who had formed the previous year.
The group subsequently signed to EMI in the UK and their debut album, a self-titled soon-to-be classic, appeared in ’73. Deacon was portrayed as the ‘quiet one’ of the group, but in reality he was far from shy within its inner workings and was more than happy to fight his corner where decision-making was concerned. However, he didn’t court the public eye and preferred the security of home life away from the cameras.
Only one Queen
Queen were unique in several ways. They were one of very few bands who would take on any musical genre; all of their individual members contributed as songwriters and lyricists; and they produced hit singles that sent radio stations into meltdown and left record stores unable to keep up with demand. With Mercury and May dominating much of the songwriting in the early years - Misfire from 1974’s Sheer Heart Attack aside - it wasn’t until A Night At The Opera (1975) that he delivered a chart smash in the form of You’re My Best Friend, a song that remains a radio staple the world over.
Deacon cemented his songwriting ability with a 24-carat, solid gold hit in the form of Another One Bites The Dust from The Game in 1980. The song was never meant to be a single, but some gentle nudging from Michael Jackson and airplay on black radio stations in the US sent the song rocketing to the top of the charts,
sealing Queen’s reputation in the US. It’s ironic, then, that the video for another Deacon track, I Want To Break Free, relegated Queen to the American sidelines from 1984 onwards as a result of audiences there failing to appreciate its cross-dressing humour.
From 1989’s The Miracle through to Made In Heaven six years later, the band decided to share the songwriting credits equally, so it isn’t clear who contributed which song ideas, but the band worked more solidly as a unit than it had ever done in the light of Mercury’s HIV diagnosis. The fact that in 2018 the band are still riding high and touring the world with Adam Lambert on vocals is a clear indication of how integral those classic songs remain, all these years later.
Let’s turn to Deacon’s bass gear, about which rumours have always abounded - some of which we’re glad to clarify. His first bass was a second-hand Broadway Solid, followed by an EKO purchased for £60 from a music shop in Leicester - but by the time he joined Queen in 1971, his weapon of choice was a sunburst Fender Precision. Early photos and clips exist of John with black and jetglo Rickenbacker 4001s, as well as natural and sunburst Fender Jazz basses. Neither of the latter lasted long, as they weren’t used or seen again. The sunburst Precision remained in favour up until the A Night At The Opera period, when Deacon was seen with a pair of natural-finish P-Basses.
Following the launch of the Stingray bass by Music Man in 1976, Deacon adopted one for Queen shows, and the following year the new active circuitry pushed his melodic lines to the fore. In the same period, he used several other basses both for recording and on the road. These included a 1950s Precision with a single-coil pickup, and a second sunburst Precision with a fretless maple fingerboard that appeared on tracks such as Dreamer’s Ball and My Melancholy Blues.
Upright citizen
In the 80s, as Fender started to dabble with active electronics and expand their portfolio, Deacon’s new basses included a grey/pewter Precision Special with a matching headstock, and a red Precision Elite I with white Elite model pickups, as seen in the One Vision, I Want It All and Headlong videos. A Kramer Custom DMZ4001 could be seen in the Play The Game video, while a natural Warwick Buzzard appeared for the Friends Will Be Friends clip and Montreux ’86 appearance.A rare appearance with an upright bass took place at the Who Wants To Live Forever shoot; he also used one to record ’39 on A Night At The Opera. He was also seen sporting a Wal Pro Mark 1 at a jam session in 1982 or ’83 - although it’s unclear if he actually owned the bass - and for the Magic Tour of 1986, Deacon’s Precision was now a sporty-looking black model with
gold hardware. From 1986 onwards, John commissioned a custom bass from the British luthier Roger Giffin, along the lines of his Precision but with a natural walnut top and a P/J pickup configuration.
However, this is where we earn our stripes as investigative bass journalists… following confirmation from Deacon and Mercury’s tech Peter Hince, we can confirm that the sunburst fretted Precision, one of the natural Precisions and the black model were in fact the same bass, simply given a makeover when John decided to do so. The royalties may have rolled in, but our man was obviously happy with his tone!
You may have seen a clip on YouTube of Queen’s final show with Mercury at Knebworth in August 1986; as the final chords of We Are The Champions die out, Deacon takes off his bass and throws it at his amplification. Was this sheer exuberance or a delayed reaction to the singer’s recent announcement that he “might not be terribly well”, and “can’t do this any more”? We can’t say. As it turned out, Mercury was right.
In amp terms, Deacon’s requirements changed over the years. He began his career with an HH Electronics IC 100-watt amp, an Orange OR120 head and an Orange 4x12 cabinet, but this was superseded by three Acoustic 370/371 amps driving three Acoustic 301 reflex cabinets, plus an extra HiWatt amp atop two Sound City 4x12 cabs.
String things
The latter speakers were eventually replaced with Peavey 4x12 cabs, with one stack placed on May’s side of the stage. Deacon then moved onto Sunn amplification, followed by the HH rig for the tours through the 80s, while his final appearances, including the Freddie Mercury Tribute Concert at Wembley Stadium in 1992, saw him in front of SWR SM-900 heads and Goliath cabinets.
When recording, he would usually DI the bass but also mic up an Acoustic 301 cabinet and a 4x12 cabinet, the final signal being a combination of all three - making for a rich, thick tone. Deacon’s background in electronics led to him providing May with the ‘Deacy Amp’, a piece of equipment responsible for several of the guitarist’s classic tones.
For the bulk of his career, John furnished his basses with Rotosound RS77 LD steel flatwounds (45-105 gauge) and the odd foam mute from time to time, although once Queen reached the 80s, the extra bite and crispness of roundwound strings was required. By 1985, he was using both string types, as confirmed in The Complete Works box set from 1985, which featured a copy of the band’s touring carnet. By the late 80s, he had followed May in using Maxima gold strings.
Deacon is predominantly a fingerstyle player, although he is adept with a pick when required. He rarely employs slap, although you can certainly hear the occasional thump and pop on record (Cool Cat) and live (Dragon Attack and Another One Bites The Dust). If you want more examples of his genius, the single No-One But You, his swansong with the band, and the lost track from the Forever compilation, Let Me In Your Heart Again, feature bass moments to cherish. If you take bass playing seriously, there is much to learn from John’s output.
It seems unlikely that we’ll ever see John Deacon grace a stage again, according to quotes from Doctors May and Taylor - but we would like to thank him and salute his contribution to the world of bass guitar. As you can see from the contributions of our esteemed friends above, his influence lingers. As Freddie Mercury sang: Who Wants To Live Forever? Well, we’re pretty sure those basslines are immortal.
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La fausse(mauvaise) nouvelle du décès de John Deacon.
| La fausse nouvelle du décès de John Deacon, dimanche après-midi sur Twitter a provoqué un emballement médiatique. Mais pas de panique, le bassiste est bien vivant. Depuis hier, une rumeur lancée sur Twitter, concernant la mort de John Deacon, enflamme le réseau social. Tout est parti du message : « John Deacon vient de nous quitter. RIP. », publié sur le site Twitter dimanche 22 septembre vers 13h30. La rumeur se propage comme une traînée de poudre. Nouveau tweet une heure plus tard : « Décès de John Deacon, les proches du musicien confirment ». L'entourage aurait « démenti formellement » la mort du musicien La fausse information est ensuite reprise par quelques radios britanniques puis par des médias du monde entier. Ce n'est que tard dans la soirée de dimanche que le porte-parole du musicien se serait fendu d'un communiqué laconique qui « dément formellement le décès de John Deacon ». Les fans sont rassurés. |
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Top 10 John Deacon Queen Songs
| Queen are one of the few classic-rock bands in which all four members individually participated in the songwriting process. Even though bassist John Deacon set himself apart as the group’s least visible and vocal participant (literally — he’s the only one who did not sing), this most private of rock stars was responsible for composing some of Queen’s biggest global hits. Just read on and you may find yourself amazed, as we delve into the Top 10 John Deacon Queen Songs. 1-Another One Bites the Dust From 'The Game' (1980) 2-You’re My Best Friend From 'A Night at the Opera' (1975) 3-You and I From: 'A Day at the Races' (1976) 4-I Want to Break Free From: 'The Works' (1984) 5-Spread Your Wings From: 'News of the World' (1977) 6-One Year of Love From: 'A Kind of Magic' (1986) 7-Misfire From: 'Sheer Heart Attack' (1974) 8-Need Your Loving Tonight From: The Game (1980) 9-Who Needs You From: 'News of the World' (1977) 10-In Only Seven Days From: Jazz (1978)
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LES COMPOSITIONS DE JOHN DEACON.
| Deacon composait aussi pour Queen et comme le reste des membres du groupe il possède aussi son single classé n° 1. Ses compositions sont très variées. Elles vont du pop rock au funk. Il a été l’auteur de quelques-uns des plus grands succès de Queen comme par exemple : You're My Best Friend, chanson composée pour sa femme Veronica avec laquelle il venait de se marier, Another One Bites the Dust, le single le plus vendu de Queen, et I Want to Break Free. Il a coécrit Friends Will Be Friends avec Freddie Mercury et coécrit les accords de The Miracle avec Mercury toujours. Tous sont sur le Greatest Hits II. C’est lui qui est à l’origine du riff d’Under Pressure. Il a aussi composé: Misfire, You And I, Spread Your Wings, Who Needs You, If You Can't Beat Them, In Only Seven Days, Need Your Loving Tonight, Execution Of Flash, Arboria, Back Chat, Cool Cat (avec Freddie), One Year Of Love, Pain Is So Close To Pleasure (avec Freddie), Rain Must Fall (avec Freddie), My Baby Does Me (avec Freddie), My Life Has Been Saved (signé Queen). |
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BIOGRAPHIE COMPLETE DE JOHN DEACON
| Mise à jour du contenu biographique de notre (rare) ami John Deacon. Pour la consulter c'est ICI! |
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DVD LIBRARY BASS LEGENDS JOHN DEACON
Apprenez 5 titres de John Deacon (Queen) note à note avec Phil Williams. Ce DVD vous enseigne les plans de basse du répertoire de Queen et vous montre comment jouer les parties Basse de 5 de leurs titres. Bohemian Rhapsody Crazy Little Thing Called Love Tie Your Mother Down, Now I'm Here, Hammer To Fall .
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JOHN DEACON - COMPOSITIONS & TECHNIQUES
John Deacon composait aussi pour Queen et comme le reste des membres du groupe il possède aussi son single classé n° 1. Ses compositions sont très variées. Elles vont du pop rock au funk. Il a été l’auteur de quelques-uns des plus grands succès de Queen comme par exemple : You're My Best Friend, chanson composée pour sa femme Veronica avec laquelle il venait de se marier, Another One Bites The Dust, le single le plus vendu de Queen, et I Want To Break Free. Il a coécrit Friends Will Be Friends avec Freddie Mercury et coécrit les accords de The Miracle avec Mercury toujours. Tous sont sur le Greatest Hits II. C’est lui qui est à l’origine du riff d’Under Pressure.
Il a aussi composé: Misfire, You And I,Spread Your Wings, Who Needs You, If You Can't Beat Them, In Only Seven Days, Need Your Loving Tonight, Execution Of Flash, Arboria,Back Chat, Cool Cat (avec Freddie), One Year Of Love,Pain Is So Close To Pleasure (avec Freddie), Rain Must Fall (avec Freddie), My Baby Does Me (avec Freddie), My Life Has Been Saved (signé Queen).
En tant que bassiste, ses meilleurs performances se trouvent sur les chansons Another One Bites The Dust, Father to Son, Liar, Dragon Attack, Brighton Rock, The March of the Black Queen, You're My Best Friend, The Millionaire Waltz, We Are The Champions, Crazy Little Thing Called Love, Body Language et Under Pressure. Le style de Deacon fut rarement rencontré dans des groupes de rock des années 70. En effet, il utilisa sa basse comme un instrument principal et comme instrument rythmique. La basse est l’instrument principal dans Dragon Attack, Another One Bites The Dust, Body Language ou A Kind of Magic.
Certaines de ses lignes de basse sont très complexes et difficiles à jouer, telles que The Millionaire Waltz, I'M Going Slightly Mad ou You're My Best Friend.
En live, Deacon montra une très grande technique avec de nombreux runs, des walking bass line et un rapide changement de note.
Il a souvent utilisé ses doigts pour jouer, mais parfois il se servit d’unmédiator. Deux de ses marques de fabrique sont de lécher ses doigts lorsqu’il joue et de coincer deux médiators sous sonPickguard.
A la guitare, il fit quelques rythmes remarquables dans des chansons telles que Staying Power, Another One Bites The Dust et Misfire. Il composa et joua de la guitare espagnole sur Who Needs You.
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JOHN DEACON - THE OPPOSITION (1965 - 1970)
The Opposition est un groupe de musique amateur britannique provenant de Leicester. C'était le premier groupe de John Deacon, bassiste de Queen.Le groupe était composé de Richard Young (chant), Clive Castledine (basse), Nigel Bullen (batterie) et John à la guitare rythmique.Ils donnèrent beaucoup de concerts à Leicester et ses alentours, lorsqu’en avril 1966, un nouveau membre, nommé Pete Bart, remplaça le bassiste Clive Castledine. Le groupe pensait que Clive avait un niveau en dessous des autres. John Deacon, qui avait acheté une basse EKO, reprit le poste immédiatement. Et comme le groupe avait changé de formation, ils adoptèrent le nom de The New Opposition.En janvier 1967, le groupe changea de nouveau son nom, il redevint The Opposition, puis Art en mars 1968.
Aout 1965 - Avril 1966
Richard Young (chant, lead guitar)
John Deacon (guitare rythmique)
Nigel Bullen (batterie)
Clive Castledine (basse)
Mai 1966 - Janvier 1967
David Williams (chant, guitare)
John Deacon (basse)
Nigel Bullen (batterie)
Richard Young (clavier)
Ronald Chester (guitare)
Pete "Pedro" Bartholomew (chant)
Richard Frew (guitare) - Guitariste pendant 1 mois, remplacer aprés par Ronald Chester
Carl (chant) - Chanteur principal pendant 2 mois, il quite le groupe courant de l'année 1967.
janvier 1967 - mars 1968
David Williams (chant, guitare)
John Deacon (basse)
Nigel Bullen (batterie)
Richard Young (clavier)
Ronald Chester (lead guitar)
Pete "Pedro" Bartholomew (chant)
Richard Frew (guitare) - Guitariste pendant 1 mois, remplacer aprés par Ronald Chester
Carl (chant) - Chanteur principal pendant 2 mois, il quite le groupe courant de l'année 1967.
Concerts - The Opposition
| 25.09.1965 | Clive Castledine's house, Leicester, UK |
| October 1965 | Gartree School, Leicester, UK |
| 04.12.1965 | Co-operative Hall, Enderby, UK |
| 17.12.1965 | Gartree School, Leicester, UK |
| 31.12.1965 | Market Harborough Youth Club, Leicester, UK |
| 15.01.1966 | Co-operative Hall, Enderby, UK |
| 05.02.1966 | Village Institute, Countersthorpe, UK |
| 11.02.1966 | Youth Club, Narborough, UK |
| 05.03.1966 | Constitutional Hall, Wigston, UK |
| 11.03.1966 | Village Hall, Evington, UK |
| 30.04.1966 | Co-operative Hall, Enderby, UK |
| January 1967 | USAF Base, Molesworth, UK |
| 12.02.1967 | Boys Club, New Parks, UK |
| 25.02.1967 | Antiquity Club, Churchgate, UK |
| 10.03.1967 | Roundhills Youth Centre, Thurmaston, Leicester, UK |
| 18.03.1967 | Boys Club, New Parks, UK |
| 31.03.1967 | Kirby Lane Community Centre, Melton Mowbray, UK |
| 23.04.1967 | Beaumont Keys, UK |
| 30.04.1967 | Boys Club, New Parks, UK |
| 01.07.1967 | Royal Oak, Wigston, UK |
| 04.11.1967 | Club, Evington, UK |
| 10.11.1967 | Boys Club, Witterworth, UK |
| 11.11.1967 | Zodiac 67 Club, Leicester, UK |
| 21.12.1967 | Raven Youth Club, Thurnby Lodge, UK |
| 06.01.1968 | Dog & Gun, Thurlaston, UK |
| 12.01.1968 | Casino Ballroom, Leicester, UK |
| 27.01.1968 | Country Arms, Blaby, UK |
| 09.02.1968 | Royal Oak, Wigston, UK |
| 16.02.1968 | Youth Club, Lutterworth, UK |
| 17.02.1968 | Dog & Gun, Thurlaston, UK |
| 23.02.1968 | Roundhills Youth Center, Thumaston, UK |
| 24.02.1968 | Youth Club Hall, Kibworth, UK |
| 01.03.1968 | Royal Oak, Wigston, UK |
| 02.03.1968 | Country Arms, Blaby, UK |
Concerts - The New Opposition
| 21.05.1966 | Village Hall, Countersthorpe, UK |
| 14.06.1966 | Co-operative Hall, Enderby, UK |
| August 1966 | Co-operative Hall, Enderby, UK |
| October 1966 | Casino Ballroom, Leicester, UK |
| 06.11.1966 | Monsell Youth Club, Eyres, UK |
| 11.11.1966 | Monsell Youth Club, Eyres, UK |
| 31.12.1966 | Market Harbour Youth Club, Leicester, UK |
| 13.01.1967 | Tennis Club, Leicester, UK |
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