WEBVTT 00:00:00.000 --> 00:00:02.660 Well, let's unpack this. We are diving deep into 00:00:02.660 --> 00:00:06.339 the life and work of a man who was somehow both 00:00:06.339 --> 00:00:08.359 the rhythmic heartbeat and the hidden architect 00:00:08.359 --> 00:00:10.679 of one of the loudest, most spectacular bands 00:00:10.679 --> 00:00:13.220 in history. We are, of course, talking about 00:00:13.220 --> 00:00:16.539 John Deacon, the retired English musician born 00:00:16.539 --> 00:00:19.699 August 19th, 1951, who was somehow... all raised 00:00:19.699 --> 00:00:23.280 74 years young and completely invisible. It is, 00:00:23.300 --> 00:00:25.079 you know, it's a fascinating study and paradox. 00:00:25.500 --> 00:00:29.039 Deacon, known by the band as DX or DC, was the 00:00:29.039 --> 00:00:32.280 silent, steady anchor of Queen. Right. Yet our 00:00:32.280 --> 00:00:34.619 sources reveal that beneath that quiet demeanor 00:00:34.619 --> 00:00:37.920 was a genius electronic engineer who not only 00:00:37.920 --> 00:00:40.020 provided the band's grounding stability, but 00:00:40.020 --> 00:00:42.520 also wrote some of their most defining, enduring 00:00:42.520 --> 00:00:45.659 global hits. Absolutely. When you think of Queen, 00:00:46.079 --> 00:00:48.700 Your mind jumps to Freddie Mercury's explosive 00:00:48.700 --> 00:00:51.299 showmanship, Brian May's guitar, Roger Taylor's 00:00:51.299 --> 00:00:53.539 drumming. Yeah. You know, the flamboyant frontman. 00:00:53.579 --> 00:00:55.520 Yeah, but there'd be personalities. But our stack 00:00:55.520 --> 00:00:57.460 of sources shows that Deacon's contributions 00:00:57.460 --> 00:00:59.420 weren't just musical. They were, I mean, truly 00:00:59.420 --> 00:01:01.460 architectural. He was providing the structure, 00:01:01.539 --> 00:01:03.799 the sonic innovation. We are talking about the 00:01:03.799 --> 00:01:06.480 man who single -handedly wrote staples. Right. 00:01:06.500 --> 00:01:09.519 Like, you're my best friend, the massive global 00:01:09.519 --> 00:01:12.420 dance anthem, another one bites the dust, and 00:01:12.420 --> 00:01:14.980 the iconic, I want to break free. He was a hit 00:01:14.980 --> 00:01:18.069 factory in stealth mode. And that's exactly the 00:01:18.069 --> 00:01:20.030 mission of this deep dive for you, the listener. 00:01:20.189 --> 00:01:23.269 For anyone who only associates Queen with spectacle 00:01:23.269 --> 00:01:27.469 and maximalism, this is a shortcut to understanding 00:01:27.469 --> 00:01:30.209 the foundation, the technical and compositional 00:01:30.209 --> 00:01:32.909 grounding that allowed that spectacle to even 00:01:32.909 --> 00:01:35.829 exist. We are going to reveal how Deacon provided 00:01:35.829 --> 00:01:39.189 both the harmonic stability and the inventive 00:01:39.189 --> 00:01:42.250 custom -built sound sculpting that really defined 00:01:42.250 --> 00:01:45.090 Queen. And we have a fantastic stack of sources 00:01:45.090 --> 00:01:48.269 for this. life from his origins in Oadby, Leicestershire, 00:01:48.329 --> 00:01:50.189 all the way through to his remarkably intentional 00:01:50.189 --> 00:01:53.930 and absolute retirement back in 1997. The full 00:01:53.930 --> 00:01:56.510 story. I'm genuinely intrigued to dig into the 00:01:56.510 --> 00:01:58.549 technical side of The Invisible Man because it's 00:01:58.549 --> 00:02:01.129 so rare in rock music. How did that background 00:02:01.129 --> 00:02:03.170 in electrical engineering translate directly 00:02:03.170 --> 00:02:05.150 into Queen Sound? Well, this is where it gets 00:02:05.150 --> 00:02:08.050 really interesting because the technical background 00:02:08.050 --> 00:02:11.069 actually comes before the musical career. Right. 00:02:11.169 --> 00:02:14.180 And it informs everything that came after. His 00:02:14.180 --> 00:02:16.039 whole approach to the bass was fundamentally 00:02:16.039 --> 00:02:19.360 different because he saw sound as like circuit 00:02:19.360 --> 00:02:22.280 architecture first and performance second. Let's 00:02:22.280 --> 00:02:24.039 start at the very beginning then. Section one, 00:02:24.199 --> 00:02:27.020 the foundation. John Richard Deacon was born 00:02:27.020 --> 00:02:31.020 on a Sunday. August 19th, 1951 at St. Francis 00:02:31.020 --> 00:02:33.319 Private Hospital in Leicester. Right. And we 00:02:33.319 --> 00:02:35.680 get some necessary family context from the sources. 00:02:35.960 --> 00:02:39.060 His father, Arthur Henry, worked at Norwich Union 00:02:39.060 --> 00:02:41.360 in the insurance industry. A stable background. 00:02:41.580 --> 00:02:44.240 A very stable background. The family moved to 00:02:44.240 --> 00:02:47.000 Oadby in 1960. He had a younger sister, Julie. 00:02:47.280 --> 00:02:49.800 And the sources also mention a really poignant 00:02:49.800 --> 00:02:52.460 detail about his older brother, Robert, who sadly 00:02:52.460 --> 00:02:55.340 died at the age of six. So he's growing up in 00:02:55.340 --> 00:02:57.629 this, you know, relatively stable. middle class 00:02:57.629 --> 00:03:00.629 environment in Leicestershire. Exactly. And crucially, 00:03:00.689 --> 00:03:03.169 those formative years were dominated not by music, 00:03:03.210 --> 00:03:06.349 but by a deep, almost obsessive interest in electronics. 00:03:06.810 --> 00:03:08.990 He was reading technical magazines, building 00:03:08.990 --> 00:03:12.349 small devices in his spare time. And this is 00:03:12.349 --> 00:03:14.849 the key, isn't it? This early aptitude is what 00:03:14.849 --> 00:03:17.189 defines his entire career trajectory. It really 00:03:17.189 --> 00:03:19.969 is. The sources specifically mention he modified 00:03:19.969 --> 00:03:23.090 a reel -to -reel tape deck just so he could record 00:03:23.090 --> 00:03:25.849 music directly from the radio. Which is not just 00:03:25.849 --> 00:03:28.840 listening. That's active manipulation. That's 00:03:28.840 --> 00:03:31.240 it. He wasn't satisfied with how the sound was 00:03:31.240 --> 00:03:33.120 being captured, so he took the equipment apart 00:03:33.120 --> 00:03:35.539 and rewired it to meet his own technical needs. 00:03:35.740 --> 00:03:38.159 That's a crucial nugget. It shows an innate drive 00:03:38.159 --> 00:03:40.500 to understand not just music, but the physics 00:03:40.500 --> 00:03:43.539 of music, the circuits, the impotence, the amplification. 00:03:44.039 --> 00:03:46.900 That technical mindset was fully formed long 00:03:46.900 --> 00:03:49.539 before he ever auditioned for Queen. And we should 00:03:49.539 --> 00:03:51.680 emphasize, he wasn't just a garage tinker. This 00:03:51.680 --> 00:03:54.080 guy was an academic powerhouse. Oh, completely. 00:03:54.280 --> 00:03:57.439 He went to Linden Junior School. Gartree High 00:03:57.439 --> 00:04:00.479 School, Beauchamp Grammar School, and he achieved 00:04:00.479 --> 00:04:04.419 eight GCEO level and three A level passes. And 00:04:04.419 --> 00:04:06.740 the sources specify he got a grade A in all of 00:04:06.740 --> 00:04:08.939 them. Which, for anyone unfamiliar with the UK 00:04:08.939 --> 00:04:11.979 system, that is top tier academic rigor. This 00:04:11.979 --> 00:04:15.000 was a brilliant analytical mind focused on precision 00:04:15.000 --> 00:04:18.040 and technical excellence. And he brought that 00:04:18.040 --> 00:04:20.759 precision into his music, which started surprisingly 00:04:20.759 --> 00:04:24.800 late in 1965 when he was 14. He formed a school 00:04:24.800 --> 00:04:27.740 band, The Opposition. Initially playing rhythm 00:04:27.740 --> 00:04:30.180 guitar, though, on a borrowed instrument. And 00:04:30.180 --> 00:04:32.540 then came that crucial shift, the moment that 00:04:32.540 --> 00:04:34.800 really launched his career. A moment of crisis, 00:04:35.100 --> 00:04:39.079 yeah. The original bassist was, to put it politely, 00:04:39.180 --> 00:04:42.399 fired for not getting any better. So Deacon, 00:04:42.560 --> 00:04:44.740 realizing the band needed a solid foundation, 00:04:45.160 --> 00:04:47.860 just switched to bass the following year. What 00:04:47.860 --> 00:04:50.160 a lucky forced career move for the history of 00:04:50.160 --> 00:04:52.519 rock music. It's incredible. And even then we 00:04:52.519 --> 00:04:55.060 see his organizational nature coming out. He 00:04:55.060 --> 00:04:57.740 becomes the band's archivist. Yes, meticulously 00:04:57.740 --> 00:05:00.139 collecting newspaper clippings, organizing photos, 00:05:00.439 --> 00:05:02.899 saving ads. It's that same analytical mind at 00:05:02.899 --> 00:05:05.319 work. This duality was always there. The quiet 00:05:05.319 --> 00:05:07.660 performer and the meticulous systems analyst. 00:05:08.350 --> 00:05:10.790 The band went through a few name changes, eventually 00:05:10.790 --> 00:05:13.209 called The Art, and he played his last gig with 00:05:13.209 --> 00:05:16.790 them in August 1969. And that set the stage for 00:05:16.790 --> 00:05:19.279 the next highly academic chapter. The London 00:05:19.279 --> 00:05:22.480 move. Driven entirely by education at first, 00:05:22.699 --> 00:05:25.220 he left the band to pursue a degree in electrical 00:05:25.220 --> 00:05:27.500 engineering at Chelsea College, which is now 00:05:27.500 --> 00:05:30.399 part of King's College London. And true to form, 00:05:30.480 --> 00:05:32.800 he didn't just get the degree. He achieved a 00:05:32.800 --> 00:05:36.420 first class honors degree in 1971. That's a mastery 00:05:36.420 --> 00:05:39.079 of his field. Circuit design, power systems, 00:05:39.519 --> 00:05:42.449 amplification. All knowledge he would later apply 00:05:42.449 --> 00:05:45.050 to devastating effect in the studio. So while 00:05:45.050 --> 00:05:47.730 he was buried in complex circuits and labs, was 00:05:47.730 --> 00:05:50.449 the music completely gone? Not at all. The sources 00:05:50.449 --> 00:05:52.850 confirm his musical interests were still very 00:05:52.850 --> 00:05:55.430 much alive, particularly his enjoyment of soul 00:05:55.430 --> 00:05:58.769 music. This is a subtle but vital point. How 00:05:58.769 --> 00:06:01.230 so? Well, most of the early Queen members were 00:06:01.230 --> 00:06:04.750 steeped in hard rock, progressive rock. Deacon 00:06:04.750 --> 00:06:07.949 was listening to Motown, to American Soul. A 00:06:07.949 --> 00:06:10.509 different rhythmic sensibility. Completely. He 00:06:10.509 --> 00:06:13.129 even went to see Deep Purple perform the concerto 00:06:13.129 --> 00:06:15.410 for group and orchestra at the Royal Albert Hall. 00:06:15.629 --> 00:06:18.129 So the desire to play was definitely simmering 00:06:18.129 --> 00:06:20.709 under the surface. Which sets the stage perfectly 00:06:20.709 --> 00:06:23.810 for Section 2. How he went from brilliant... 00:06:23.980 --> 00:06:26.959 unassuming engineering student to becoming Queen's 00:06:26.959 --> 00:06:29.720 final, and you could argue, most essential member. 00:06:29.920 --> 00:06:32.420 It's a very reluctant return to music if you 00:06:32.420 --> 00:06:35.000 look at the timeline. Despite this phenomenal 00:06:35.000 --> 00:06:38.259 degree, despite leaving his bass and amp back 00:06:38.259 --> 00:06:40.699 in Oadby, he still felt the pull. Less than a 00:06:40.699 --> 00:06:42.879 year into his studies in London, he decided he 00:06:42.879 --> 00:06:45.420 wanted to join a band again. He was in London, 00:06:45.620 --> 00:06:48.560 he was free, and he needed that creative outlet. 00:06:48.839 --> 00:06:51.019 The sources even say he briefly formed a band 00:06:51.019 --> 00:06:54.730 in 1970 called Deacon. Which made one live appearance 00:06:54.730 --> 00:06:56.350 at Chelsea College. Like the universe was telling 00:06:56.350 --> 00:06:58.689 him he couldn't escape it. Right. The engineering 00:06:58.689 --> 00:07:01.250 studies just couldn't extinguish that fire. But 00:07:01.250 --> 00:07:03.730 then comes the famous audition story in early 00:07:03.730 --> 00:07:06.790 71. And the ultimate irony is that he'd actually 00:07:06.790 --> 00:07:10.329 seen Queen perform in October 1970. And he was, 00:07:10.410 --> 00:07:13.480 quote. Not immediately impressed. A great lesson 00:07:13.480 --> 00:07:15.600 in not judging a band too early. Definitely. 00:07:15.839 --> 00:07:18.139 He was later introduced to Roger Taylor and Brian 00:07:18.139 --> 00:07:20.879 May by a friend at a disco, a wonderfully mundane 00:07:20.879 --> 00:07:23.519 origin story, who knew the band had just lost 00:07:23.519 --> 00:07:25.759 their latest bassist. So the audition happens 00:07:25.759 --> 00:07:28.199 in a lecture room at Imperial College London. 00:07:28.680 --> 00:07:32.220 places. And he becomes the last and youngest 00:07:32.220 --> 00:07:35.600 member to join. And we absolutely have to address 00:07:35.600 --> 00:07:37.680 the persistent legend that he was the seventh 00:07:37.680 --> 00:07:39.560 bassist they auditioned. Right. It makes for 00:07:39.560 --> 00:07:41.860 a good story, but it's not quite accurate. The 00:07:41.860 --> 00:07:43.980 sources clarify the actual predecessors were 00:07:43.980 --> 00:07:46.560 Mike Gross, Barry Mitchell and Doug Bogey. So 00:07:46.560 --> 00:07:49.259 he was the fourth. The point is, Queen had a 00:07:49.259 --> 00:07:51.759 serious stability problem in the rhythm section. 00:07:52.040 --> 00:07:57.120 They needed someone reliable, fast. So what clinched 00:07:57.120 --> 00:08:00.639 it? Why Deacon? You have these three huge theatrical 00:08:00.639 --> 00:08:04.120 artistic personalities. Why did they settle on 00:08:04.120 --> 00:08:06.379 this quiet engineer? The sources are pretty clear 00:08:06.379 --> 00:08:08.839 on this. It was a combination of his raw musical 00:08:08.839 --> 00:08:11.959 talent, his remarkably quiet grounding demeanor. 00:08:11.980 --> 00:08:14.139 A counterbalance of the egos. A necessary one. 00:08:14.220 --> 00:08:16.860 And crucially, his aptitude in electrical systems. 00:08:17.240 --> 00:08:19.439 May and Taylor were very aware of the technical 00:08:19.439 --> 00:08:21.600 limitations of their gear. They were struggling 00:08:21.600 --> 00:08:24.579 with monitor feedback. Poor amps. So they basically 00:08:24.579 --> 00:08:27.079 hired a brilliant bassist who came with a built 00:08:27.079 --> 00:08:29.860 -in tech support system. Precisely. He wasn't 00:08:29.860 --> 00:08:31.759 just selected for his fingers. He was selected 00:08:31.759 --> 00:08:35.639 for his brain. He was a practical, problem -solving 00:08:35.639 --> 00:08:38.559 mind in a band full of visionary dreamers. A 00:08:38.559 --> 00:08:41.200 utility player. The ultimate utility player in 00:08:41.200 --> 00:08:44.190 rock history. Now, before he settled in... There 00:08:44.190 --> 00:08:46.629 was that brief moment of confusion over his name 00:08:46.629 --> 00:08:50.429 on the first album, Queen, in 1973. That's right. 00:08:50.450 --> 00:08:53.450 He was credited as Deacon John. And the explanation 00:08:53.450 --> 00:08:56.110 for management is just hilarious in retrospect. 00:08:56.129 --> 00:08:58.870 They said it sounded more interesting. Wow. It 00:08:58.870 --> 00:09:00.970 just highlights the early disconnect between 00:09:00.970 --> 00:09:03.789 Deacon's grounded personality and the management 00:09:03.789 --> 00:09:06.370 trying to create a theatrical rock identity for 00:09:06.370 --> 00:09:08.649 everyone. And how did he react to that? He put 00:09:08.649 --> 00:09:11.720 a stop to it. Quietly but firmly, he requested 00:09:11.720 --> 00:09:14.059 to be credited under his real name, John Deacon, 00:09:14.139 --> 00:09:17.059 from Queen II onwards. It's an early assertion 00:09:17.059 --> 00:09:19.559 of his preference for reality over gimmickry. 00:09:19.679 --> 00:09:22.019 So he's a full member, but writing songs was 00:09:22.019 --> 00:09:24.340 a challenge with those heavyweights. His first 00:09:24.340 --> 00:09:26.500 writing credits come on the third album, Sheer 00:09:26.500 --> 00:09:29.419 Heart Attack. A crucial album for them. And his 00:09:29.419 --> 00:09:32.740 first solo writing credit was Misfire, a track 00:09:32.740 --> 00:09:35.759 with a distinct Caribbean feel. And here's a 00:09:35.759 --> 00:09:39.740 great detail. On Misfire, he played almost all 00:09:39.740 --> 00:09:42.120 the guitar parts himself. Showcasing his skills 00:09:42.120 --> 00:09:44.639 beyond the bass right away. And he also co -wrote 00:09:44.639 --> 00:09:47.679 the seminal thrash precursor track Stone Cold 00:09:47.679 --> 00:09:50.480 Crazy with the rest of the band. And there's 00:09:50.480 --> 00:09:52.440 another technical nugget from that period that 00:09:52.440 --> 00:09:55.299 often gets overlooked, showing as immediate importance 00:09:55.299 --> 00:09:57.840 as that technical safety net. Yes. He played 00:09:57.840 --> 00:10:00.399 guide guitar parts on Sheer Heart Attack because 00:10:00.399 --> 00:10:03.000 Brian May was hospitalized with hepatitis when 00:10:03.000 --> 00:10:05.200 recording began. So Queen couldn't just stop. 00:10:05.419 --> 00:10:07.820 Nope. Deacon stepped in, used his engineering 00:10:07.820 --> 00:10:09.740 knowledge to get the right tones, and filled 00:10:09.740 --> 00:10:12.460 the gap. From the very beginning, his multi -instrumental 00:10:12.460 --> 00:10:15.039 skills and engineering background were critical 00:10:15.039 --> 00:10:17.720 for keeping Queen functional. He was indispensable. 00:10:18.179 --> 00:10:21.419 Which moves us into section three. The engineer 00:10:21.419 --> 00:10:24.019 finds his role, but his ability to write pop 00:10:24.019 --> 00:10:26.559 classics cements his importance. The hitmaker. 00:10:26.779 --> 00:10:29.019 His breakthrough comes surprisingly early with 00:10:29.019 --> 00:10:31.059 You're My Best Friend on a Night at the Opera. 00:10:31.279 --> 00:10:34.889 That track is quintessential Deacon. It's clean, 00:10:35.110 --> 00:10:37.830 melodic, deeply romantic, perfectly structured. 00:10:38.049 --> 00:10:40.809 The sources confirm it was written for his fiancee, 00:10:40.809 --> 00:10:43.049 Veronica. And it became an international hit. 00:10:43.169 --> 00:10:45.570 It showed he could provide the necessary three 00:10:45.570 --> 00:10:48.370 -minute pop grounding to their operatic epics. 00:10:48.490 --> 00:10:50.970 And his songwriting philosophy was consistent. 00:10:51.480 --> 00:10:53.980 He wasn't trying to dominate, but he needed that 00:10:53.980 --> 00:10:56.860 creative outlet. He aimed for one or two songs 00:10:56.860 --> 00:10:59.740 per album. And he kept that up for over a decade. 00:10:59.960 --> 00:11:02.320 Right. Until the miracle and innuendo when they 00:11:02.320 --> 00:11:04.879 made the collective decision to just credit all 00:11:04.879 --> 00:11:07.759 songs to Queen. But he felt compelled to explain 00:11:07.759 --> 00:11:10.120 his motivation for writing. It wasn't about fame. 00:11:10.460 --> 00:11:13.059 Absolutely. He later said, if I had just been 00:11:13.059 --> 00:11:15.259 a bass player all my life with the band, I wouldn't 00:11:15.259 --> 00:11:17.360 be as satisfied. I only consider that as part 00:11:17.360 --> 00:11:20.279 of what I do. So he saw himself as a multifaceted 00:11:20.279 --> 00:11:23.120 creative. not just the rhythm guy. Exactly. The 00:11:23.120 --> 00:11:25.960 satisfaction came from the composition, the structure, 00:11:26.100 --> 00:11:28.919 realizing his full vision. And no discussion 00:11:28.919 --> 00:11:31.259 of Deacon's genius is complete without diving 00:11:31.259 --> 00:11:34.419 into the deep funk of Another One Bites the Dust 00:11:34.419 --> 00:11:37.820 in 1980. This track is a direct result of his 00:11:37.820 --> 00:11:40.539 specific musical tastes, rooted in that early 00:11:40.539 --> 00:11:43.740 love of soul and R &B. He wrote it explicitly 00:11:43.740 --> 00:11:46.799 as a dance song, pushing Queen into a genre disco 00:11:46.799 --> 00:11:49.419 funk that the others were, well, Pretty resistant 00:11:49.419 --> 00:11:51.580 to. I remember Freddie Mercury loved it immediately, 00:11:51.779 --> 00:11:54.200 but May and Taylor were skeptical. That's the 00:11:54.200 --> 00:11:56.840 story. Freddie was its strongest advocate, and 00:11:56.840 --> 00:11:59.340 it was reportedly Michael Jackson backstage at 00:11:59.340 --> 00:12:01.740 a Queen concert who urged them to release it 00:12:01.740 --> 00:12:04.879 as a single. And that bass line is just. It's 00:12:04.879 --> 00:12:07.299 one of the most recognizable grooves in history. 00:12:07.419 --> 00:12:10.440 A master class in simplicity and funk. And the 00:12:10.440 --> 00:12:13.200 commercial success was phenomenal. It got radio 00:12:13.200 --> 00:12:15.460 play on both black and white U .S. stations, 00:12:15.659 --> 00:12:17.700 a rarity at the time, and became one of their 00:12:17.700 --> 00:12:20.519 best -selling singles ever. This era really defined 00:12:20.519 --> 00:12:23.080 his collaboration with Mercury. A powerful unit. 00:12:23.200 --> 00:12:26.179 Pushing Queen towards a lighter, more disco or 00:12:26.179 --> 00:12:29.320 funk -influenced sound, Deacon provided the groove 00:12:29.320 --> 00:12:32.279 and Mercury embraced the dance floor. This collaboration 00:12:32.279 --> 00:12:34.919 reached its peak, maybe controversially, with 00:12:34.919 --> 00:12:38.470 the 1982 album Hot Space. That's right. Hot Space 00:12:38.470 --> 00:12:41.110 is a fascinating, if commercially unsuccessful, 00:12:41.429 --> 00:12:45.429 document of Deacon's influence. It was a stylistic 00:12:45.429 --> 00:12:47.909 divergence that made them retreat back to their 00:12:47.909 --> 00:12:50.610 rock roots later on. And this is where the quiet 00:12:50.610 --> 00:12:53.789 man really stops being quiet. The tension around 00:12:53.789 --> 00:12:57.029 his compositions led to serious internal conflict, 00:12:57.269 --> 00:13:00.820 specifically about his track, Back Chat. This 00:13:00.820 --> 00:13:03.580 detail is crucial. It was an acrimonious argument, 00:13:03.740 --> 00:13:06.720 specifically with Brian May, because Deacon was 00:13:06.720 --> 00:13:10.059 aiming for a very specific, non -rock, Motown 00:13:10.059 --> 00:13:12.600 -influenced sound. He played rhythm guitar on 00:13:12.600 --> 00:13:15.580 Staying Power, but on Backchat, he insisted on 00:13:15.580 --> 00:13:17.879 complete control. That's the key Fristian point. 00:13:18.059 --> 00:13:20.200 He insisted on playing the guitar parts himself, 00:13:20.419 --> 00:13:22.620 and specifically not allowing May to play a guitar 00:13:22.620 --> 00:13:25.500 solo because, as he argued, May's signature style 00:13:25.500 --> 00:13:27.659 wouldn't fit the funk aesthetic. That's an incredible 00:13:27.659 --> 00:13:29.740 level of artistic authority from the usually 00:13:29.740 --> 00:13:32.090 - silent member. It was fierce. It shows how 00:13:32.090 --> 00:13:34.409 seriously he took his compositions. When he had 00:13:34.409 --> 00:13:36.809 a Klee technical or stylistic vision, he was 00:13:36.809 --> 00:13:39.629 absolutely unyielding. It's remarkable. Quiet 00:13:39.629 --> 00:13:41.750 until precision and integrity were on the line. 00:13:41.870 --> 00:13:44.509 Let's list his other key singles. We have I Want 00:13:44.509 --> 00:13:46.710 to Break Free from The Works, of course, famous 00:13:46.710 --> 00:13:49.490 for its video, and his crucial co -written hits 00:13:49.490 --> 00:13:53.490 Under Pressure with Bowie and the band, Friends 00:13:53.490 --> 00:13:56.629 Will Be Friends, One Vision, and Pain Is So Close 00:13:56.629 --> 00:13:59.360 to Pleasure, co -written with Mercury. He was 00:13:59.360 --> 00:14:01.500 consistently supplying that commercial melodic 00:14:01.500 --> 00:14:04.240 glue. And beyond Queen, he was also active in 00:14:04.240 --> 00:14:06.039 session work in the mid -80s. He wasn't just 00:14:06.039 --> 00:14:08.460 in a bubble. Right. He performed on Picking Up 00:14:08.460 --> 00:14:11.379 Sounds by Man Friday and Jive Jr., a kind of 00:14:11.379 --> 00:14:13.980 rock supergroup with members of Thin Lizzy and 00:14:13.980 --> 00:14:16.659 Bad Company. He also played on the theme for 00:14:16.659 --> 00:14:20.419 a forgotten movie, Biggles. Adventures in Time. 00:14:20.620 --> 00:14:22.639 And his reputation stretched into the highest 00:14:22.639 --> 00:14:25.240 tiers of pop. Yes, he was a trusted player. He 00:14:25.240 --> 00:14:27.080 worked with Elton John, with Hot Chocolate's 00:14:27.080 --> 00:14:29.299 Errol Brown, and significantly, he played bass 00:14:29.299 --> 00:14:32.000 on Freddie's powerful single with Montserrat 00:14:32.000 --> 00:14:34.379 Cabelli, How Can I Go On. Which brings us to 00:14:34.379 --> 00:14:37.480 section four, his core identity, his musical 00:14:37.480 --> 00:14:40.100 style, and the technical legacy of the DC amp. 00:14:40.460 --> 00:14:42.899 The sources call him one of his rock generation's 00:14:42.899 --> 00:14:46.049 most able musicians. That's high praise. from 00:14:46.049 --> 00:14:49.529 a 1975 Circus Magazine review. He was praised 00:14:49.529 --> 00:14:52.070 for his technique, his ability to hold the rhythm 00:14:52.070 --> 00:14:54.409 despite the chaos around him. What defined that 00:14:54.409 --> 00:14:57.250 technique? Primarily, playing with his fingers, 00:14:57.309 --> 00:15:00.309 not a plectrum. That gives a warmer, more rounded, 00:15:00.429 --> 00:15:03.669 percussive tone, perfect for funk and soul. But 00:15:03.669 --> 00:15:06.090 the real trademark was his bass runs. Can you 00:15:06.090 --> 00:15:08.210 unpack that for the listener? Certainly. Most 00:15:08.210 --> 00:15:11.149 rock bassists lock down the root notes. Deacon, 00:15:11.309 --> 00:15:13.509 influenced by players like Chris Squire and John 00:15:13.509 --> 00:15:15.889 Entwistle, often allowed his bass line to act 00:15:15.889 --> 00:15:17.809 as a counter melody. So it wasn't just rhythm, 00:15:17.909 --> 00:15:20.570 it was harmony. Exactly. His bass was actively 00:15:20.570 --> 00:15:22.750 harmonizing with the melody. That's what made 00:15:22.750 --> 00:15:24.990 Queen's sound feel so uniquely full, like there 00:15:24.990 --> 00:15:27.710 were five musicians, not four. And his influences 00:15:27.710 --> 00:15:31.009 reflect that synthesis. Chic, Michael Jackson, 00:15:31.230 --> 00:15:34.580 Stevie Wonder. but also the complexity of Chris 00:15:34.580 --> 00:15:37.139 Squire from Yes and the power of John Entwistle 00:15:37.139 --> 00:15:39.259 from The Who. That's his approach in a nutshell, 00:15:39.480 --> 00:15:42.059 the rhythmic precision of soul married to the 00:15:42.059 --> 00:15:44.620 harmonic ambition of progressive rock. We have 00:15:44.620 --> 00:15:47.620 to stress his studio contribution went far beyond 00:15:47.620 --> 00:15:51.539 four strings. He was Queen's secret multi -instrumentalist. 00:15:51.659 --> 00:15:54.879 He really was. Guitar, keyboards, piano, when 00:15:54.879 --> 00:15:57.679 the band needed it. That famous clean single 00:15:57.679 --> 00:16:00.919 -coil Telecaster sound on Hot Space. That was 00:16:00.919 --> 00:16:03.500 Deacon. He also played the Wurlitzer electric 00:16:03.500 --> 00:16:06.080 piano on You're My Best Friend. We do need one 00:16:06.080 --> 00:16:08.899 small clarification, though. Yes. In the Spread 00:16:08.899 --> 00:16:11.059 Your Wings video, you see Deacon playing the 00:16:11.059 --> 00:16:13.779 grand piano. But the sources confirm Freddie 00:16:13.779 --> 00:16:16.139 played it on the actual recording. His role was 00:16:16.139 --> 00:16:18.820 always support, filling the gaps. Precisely. 00:16:18.820 --> 00:16:22.460 Now for the crucial aha moment, the definitive 00:16:22.460 --> 00:16:25.480 link between his first -class honors degree and 00:16:25.480 --> 00:16:29.070 Queen Sound, the DC amp. This is the pinnacle 00:16:29.070 --> 00:16:31.870 of the John Deacon technical legacy. This homemade 00:16:31.870 --> 00:16:35.070 amp, built in 1972 from, well, from pieces of 00:16:35.070 --> 00:16:37.230 electronic equipment he literally salvaged from 00:16:37.230 --> 00:16:39.289 a skip. From a dumpster. It sounds like junk, 00:16:39.370 --> 00:16:41.730 but its importance is gargantuan. It was built 00:16:41.730 --> 00:16:43.750 around a small amplifier circuit board from a 00:16:43.750 --> 00:16:46.350 transistor radio, powered by a 9 -volt battery. 00:16:46.570 --> 00:16:48.929 And what made it so revolutionary? Deacon understood 00:16:48.929 --> 00:16:51.409 circuits well enough to create this unique non 00:16:51.409 --> 00:16:53.990 -linear compression and sustain effect at low 00:16:53.990 --> 00:16:56.549 volumes. And Brian May used this tiny scavenged 00:16:56.549 --> 00:16:59.460 box for what? Its importance cannot be overstated. 00:16:59.860 --> 00:17:02.720 May would run his guitar through a treble booster 00:17:02.720 --> 00:17:06.119 into the DC amp and then mic the tiny speaker. 00:17:06.380 --> 00:17:08.980 Yeah, that created... That created the famous, 00:17:09.039 --> 00:17:12.880 dense, multi -layered guitar orchestras that 00:17:12.880 --> 00:17:15.579 define the Queen sound, particularly on tracks 00:17:15.579 --> 00:17:18.640 like Procession. So Queen could truly say no 00:17:18.640 --> 00:17:21.740 synthesizers on their album covers because Deacon's 00:17:21.740 --> 00:17:23.859 engineering provided the sonic flexibility without 00:17:23.859 --> 00:17:26.420 keyboards. He basically built them a synthesizer 00:17:26.420 --> 00:17:28.579 using a guitar. That is the perfect summary. 00:17:28.799 --> 00:17:31.039 The engineering student who modified a tape deck 00:17:31.039 --> 00:17:34.019 was now building bespoke, essential sound architecture 00:17:34.019 --> 00:17:36.500 for one of the biggest bands in the world. Let's 00:17:36.500 --> 00:17:38.740 quickly detail his primary bass equipment for 00:17:38.740 --> 00:17:41.539 the enthusiasts. He started with an Eco, then 00:17:41.539 --> 00:17:45.039 a Rickenbacker 4001, but his true mainstay was 00:17:45.039 --> 00:17:47.299 a Fender Precision bass for most of his career. 00:17:47.680 --> 00:17:50.259 Later, he used a custom bass by Roger Giffen 00:17:50.259 --> 00:17:52.940 and occasionally live an Ernie Ball Music Man 00:17:52.940 --> 00:17:55.079 Stingray. And a quick note on his vocal role. 00:17:55.259 --> 00:17:58.000 Unlike the other three. He didn't sing lead or 00:17:58.000 --> 00:18:01.039 prominent vocals on records, but he did provide 00:18:01.039 --> 00:18:04.059 essential, though often low -mixed, backing vocals 00:18:04.059 --> 00:18:07.920 live and on a few studio recordings, always supporting 00:18:07.920 --> 00:18:10.900 from the background. Section 5 is where the narrative 00:18:10.900 --> 00:18:14.720 pivots dramatically, the vanishing act. Everything 00:18:14.720 --> 00:18:18.140 changed after Freddie Mercury's death. The sources 00:18:18.140 --> 00:18:21.180 confirm the profound impact. Deacon was absolutely 00:18:21.180 --> 00:18:23.339 distraught. The emotional trauma was intense 00:18:23.339 --> 00:18:26.220 and it caused a deep, significant reduction in 00:18:26.220 --> 00:18:28.400 his musical activity. He felt the band was over. 00:18:28.539 --> 00:18:31.160 And he made a definitive, powerful statement 00:18:31.160 --> 00:18:33.259 that explains everything that followed. What 00:18:33.259 --> 00:18:35.319 did he say? He said, as far as we are concerned, 00:18:35.539 --> 00:18:37.700 this is it. There is no point carrying on. It 00:18:37.700 --> 00:18:40.119 is impossible to replace Freddie. That quote 00:18:40.119 --> 00:18:42.660 just encapsulates his view perfectly. The band, 00:18:42.759 --> 00:18:45.599 as an entity, died with its lead singer. And 00:18:45.599 --> 00:18:48.000 his total retirement becomes entirely understandable 00:18:48.000 --> 00:18:50.240 when you view it through that lens of loyalty 00:18:50.240 --> 00:18:53.180 and artistic integrity. Given that, the few times 00:18:53.180 --> 00:18:55.660 he did perform afterward feel more like duty 00:18:55.660 --> 00:18:58.599 than enthusiasm. That's probably right. He only 00:18:58.599 --> 00:19:00.640 performed live with them three times after the 00:19:00.640 --> 00:19:03.680 Freddie Mercury tribute concert in 92, a small 00:19:03.680 --> 00:19:06.920 charity gig in 93, and then at the Bajart Ballet 00:19:06.920 --> 00:19:10.380 opening in Paris in January 1997. Where he performed 00:19:10.380 --> 00:19:14.079 Only the Show Must Go On with Elton John on vocals. 00:19:14.589 --> 00:19:17.049 And his final official appearance, the definitive 00:19:17.049 --> 00:19:22.069 cutoff, was in October 1997. For what? He joined 00:19:22.069 --> 00:19:25.009 them to record the last Queen song, No One But 00:19:25.009 --> 00:19:27.569 You, Only the Bid Die Young, for the Queen Rocks 00:19:27.569 --> 00:19:30.450 album. After that, his retirement became total. 00:19:30.750 --> 00:19:33.089 And he's been remarkably successful at staying 00:19:33.089 --> 00:19:35.069 out of the public eye. Though he has broken his 00:19:35.069 --> 00:19:37.470 silence on occasion, usually to issue a pointed 00:19:37.470 --> 00:19:39.789 critique. Like the Robbie Williams cover of... 00:19:39.930 --> 00:19:41.849 We are the champions. He described it simply 00:19:41.849 --> 00:19:45.029 as rubbish. The quiet man speaking volumes. His 00:19:45.029 --> 00:19:47.750 commitment to retirement is unwavering. He didn't 00:19:47.750 --> 00:19:49.690 even show up for Queen's induction into the Rock 00:19:49.690 --> 00:19:52.190 and Roll Hall of Fame in 2001. And crucially, 00:19:52.230 --> 00:19:54.309 he refused to participate in the band's continued 00:19:54.309 --> 00:19:57.289 life. He didn't join the Queen plus Paul Rogers 00:19:57.289 --> 00:19:59.349 collaboration, where he was replaced by Danny 00:19:59.349 --> 00:20:01.789 Miranda. But the retirement isn't total isolation 00:20:01.789 --> 00:20:04.809 from the business side. Not at all. May and Taylor 00:20:04.809 --> 00:20:07.690 confirmed in 2014 they have little personal contact. 00:20:08.170 --> 00:20:10.549 but it's almost exclusively about finances and 00:20:10.549 --> 00:20:13.450 business approvals. Roger Taylor said he's completely 00:20:13.450 --> 00:20:15.950 retired from any kind of social contact. But 00:20:15.950 --> 00:20:17.990 Brian May clarified the financial oversight, 00:20:18.349 --> 00:20:20.529 showing Deegan is still the protective system 00:20:20.529 --> 00:20:23.109 administrator of the Queen empire. May confirmed. 00:20:23.430 --> 00:20:26.369 He still keeps an eye on the finances. We don't 00:20:26.369 --> 00:20:28.390 undertake anything financial without talking 00:20:28.390 --> 00:20:31.190 to him. So the meticulous engineer is still protecting 00:20:31.190 --> 00:20:33.930 the business integrity of Queen. He provides 00:20:33.930 --> 00:20:37.170 approvals, signs auction items for charity. And 00:20:37.170 --> 00:20:39.750 he approved the biopic, Bohemian Rhapsody, where 00:20:39.750 --> 00:20:41.670 he was played by Joseph Mazzello. And we know 00:20:41.670 --> 00:20:44.589 this retirement isn't likely to end. No. May 00:20:44.589 --> 00:20:47.549 confirmed in 2022 that Deacon repeatedly declines 00:20:47.549 --> 00:20:50.150 invitations to rejoin. He explained it would 00:20:50.150 --> 00:20:52.349 be incredibly difficult for him to return to 00:20:52.349 --> 00:20:55.069 the modern live world. Before we move on, we 00:20:55.069 --> 00:20:57.369 have to mention the lasting tributes. He was 00:20:57.369 --> 00:20:59.170 inducted into the Rock and Roll Hall of Fame 00:20:59.170 --> 00:21:01.829 and the Songwriters Hall of Fame. But perhaps 00:21:01.829 --> 00:21:04.130 the most delightful and surprising honor connects 00:21:04.130 --> 00:21:07.980 back to his scientific background. In 2013, a 00:21:07.980 --> 00:21:10.440 newly discovered species of Brazilian damselfly 00:21:10.440 --> 00:21:14.640 was named Heteragrion jondikoni. Only John Deacon 00:21:14.640 --> 00:21:17.339 could have a career defined by silence and an 00:21:17.339 --> 00:21:20.240 honorary legacy defined by a delicate, newly 00:21:20.240 --> 00:21:23.420 discovered insect. It's so fitting. It perfectly 00:21:23.420 --> 00:21:26.160 synthesizes the technical precision and quiet 00:21:26.160 --> 00:21:29.200 artistic contribution he represented. Let's use 00:21:29.200 --> 00:21:31.579 Section 6 to wrap up with some personal details 00:21:31.579 --> 00:21:34.660 and a deeper look at his discography. The recurring 00:21:34.660 --> 00:21:37.720 theme is always the quiet man. Absolutely. The 00:21:37.720 --> 00:21:39.400 rest of the band found him to be the essential 00:21:39.400 --> 00:21:42.200 element of balance. The sources confirm he barely 00:21:42.200 --> 00:21:44.440 spoke in rehearsals and avoided arguments. The 00:21:44.440 --> 00:21:46.880 grounding center. Both rhythmically and temperamentally. 00:21:46.960 --> 00:21:50.180 And his personal life is remarkably stable. He 00:21:50.180 --> 00:21:52.059 lives in Putney with his wife, Veronica, whom 00:21:52.059 --> 00:21:54.920 he married in 1975. They have six children. He 00:21:54.920 --> 00:21:57.680 chose domesticity over the rock and roll lifestyle 00:21:57.680 --> 00:22:00.660 from day one. And this focus on family leads 00:22:00.660 --> 00:22:03.750 to a brilliant critical anecdote about the band's 00:22:03.750 --> 00:22:05.650 business history. Yes, the Trident anecdote. 00:22:05.869 --> 00:22:07.369 Let's really pause here on the human element. 00:22:07.589 --> 00:22:10.329 Right. Queen's original management, Trident, 00:22:10.410 --> 00:22:13.069 was financially stifling them. And one of the 00:22:13.069 --> 00:22:15.569 reasons Queen eventually split from them, a massive 00:22:15.569 --> 00:22:18.849 business decision, was precipitated by a remarkably 00:22:18.849 --> 00:22:22.609 mundane personal slight. They refused to lend 00:22:22.609 --> 00:22:25.849 John Deacon money for a deposit on a house. Exactly. 00:22:26.650 --> 00:22:29.150 The one guy who was quiet enough to ask for a 00:22:29.150 --> 00:22:31.890 practical, reasonable loan for his family was 00:22:31.890 --> 00:22:34.450 denied by the management company, taking enormous 00:22:34.450 --> 00:22:37.509 sums from their success. Wow. So Queen's entire 00:22:37.509 --> 00:22:40.130 future success was triggered by management refusing 00:22:40.130 --> 00:22:42.309 to help the one guy who was asking for a family 00:22:42.309 --> 00:22:45.089 home, not a new car. And the rest of the band 00:22:45.089 --> 00:22:47.269 rallied behind him to resolve that injustice. 00:22:47.549 --> 00:22:49.910 It underscores the profound trust and loyalty 00:22:49.910 --> 00:22:52.089 they had for him. In terms of financial success, 00:22:52.390 --> 00:22:54.940 his retirement is extremely comfortable. The 00:22:54.940 --> 00:22:57.519 2019 Sunday Times Rich List reported his net 00:22:57.519 --> 00:23:00.559 worth at a staggering 130 million pounds. There 00:23:00.559 --> 00:23:04.079 was one small legal blip, a 1985 drink driving 00:23:04.079 --> 00:23:07.259 ban, a very minor note in a career defined by 00:23:07.259 --> 00:23:09.680 stability. Finally, let's revisit the discography 00:23:09.680 --> 00:23:12.420 nuggets. Beyond the massive singles, he consistently 00:23:12.420 --> 00:23:14.799 contributed meaningful tracks to every major 00:23:14.799 --> 00:23:17.819 release. His consistent presence is vital. We 00:23:17.819 --> 00:23:20.019 have the lovely You and I from A Day at the Races. 00:23:20.059 --> 00:23:22.759 On News of the World, he contributed the upbeat 00:23:23.210 --> 00:23:25.630 Who Needs You, adding a subtle Latin flavor. 00:23:25.890 --> 00:23:28.210 For the jazz album, he gave them the hard -driving 00:23:28.210 --> 00:23:31.049 If You Can't Beat Them and the melodic In Only 00:23:31.049 --> 00:23:34.150 Seven Days. Showing his versatility, yeah. On 00:23:34.150 --> 00:23:36.950 Hot Space, he co -wrote Cool Cat with Mercury. 00:23:37.490 --> 00:23:40.890 Later, Rain Must Fall and My Baby Does Me on 00:23:40.890 --> 00:23:43.190 The Miracle. And his contribution extended even 00:23:43.190 --> 00:23:45.970 after he stopped recording. My Life Has Been 00:23:45.970 --> 00:23:48.710 Saved was on the posthumous Made in Heaven album. 00:23:48.910 --> 00:23:51.150 His tracks span the entire length and breadth 00:23:51.150 --> 00:23:53.170 of Queen's creative output. So what does this 00:23:53.170 --> 00:23:55.910 all mean? Our deep dive reveals the definitive 00:23:55.910 --> 00:23:59.329 aha moment. He wasn't just the bassist, he was 00:23:59.329 --> 00:24:01.750 the technical and harmonic anchor, the synthesis 00:24:01.750 --> 00:24:03.970 of the engineer who built the DC amp from trash, 00:24:04.170 --> 00:24:06.289 and the soulful songwriter who delivered hits 00:24:06.289 --> 00:24:09.420 like Another One Bites the Dust. I agree completely. 00:24:09.559 --> 00:24:12.460 His dual expertise, technical precision, and 00:24:12.460 --> 00:24:15.819 melodic stability was utterly essential. It provided 00:24:15.819 --> 00:24:18.440 the stable ground and unique sonic elements that 00:24:18.440 --> 00:24:20.859 created the space for Freddie's spectacle and 00:24:20.859 --> 00:24:23.180 Brian's guitar arrangements to flourish without 00:24:23.180 --> 00:24:26.099 collapsing into noise. Without Deacon's engineering 00:24:26.099 --> 00:24:28.880 mind and his steady rhythm, Queen might have 00:24:28.880 --> 00:24:31.720 simply dissolved into chaos. Or failed to find 00:24:31.720 --> 00:24:33.799 their commercial footing in the 80s. Here's a 00:24:33.799 --> 00:24:35.759 provocative thought for you to mull over as we 00:24:35.759 --> 00:24:39.059 conclude this deep dive. Though he remains financially 00:24:39.059 --> 00:24:42.079 involved, John Deacon is arguably the most successful, 00:24:42.259 --> 00:24:44.660 fully retired major rock star of his generation. 00:24:45.400 --> 00:24:48.059 He chose complete withdrawal, an intentional, 00:24:48.240 --> 00:24:50.960 sustained choice of quiet, domestic normalcy 00:24:50.960 --> 00:24:53.880 over continued fame and fortune. What does that 00:24:53.880 --> 00:24:55.880 tell us about the ultimate cost of rock stardom 00:24:55.880 --> 00:24:57.920 and the true definition of creative fulfillment? 00:24:58.240 --> 00:25:00.440 In the history of rock and roll, having secured 00:25:00.440 --> 00:25:03.259 his family, his fortune, and his legacy, is the 00:25:03.259 --> 00:25:05.259 Invisible Man truly the one who won?