Author: seraja

You’re My Best Friend’ by Queen peaked at #16 on the USA charts

31 July 1976 – ‘You’re My Best Friend’ by Queen peaked at #16 on the USA charts 🇺🇸

This enduring, heartfelt song was written by John Deacon for his lovely wife Veronica Tetzlaff and it remains one of Queens best-selling singles of all time.

This song was actually written using an electric piano, a Wurlitzer, and when John was wanting to incorporate the instrument with his lyrics. Freddie, did not want to play it, he said, “I refuse to play that damn thing. Why play that horrible, tiny thing when you have a lovely superb piano.”

“Well, Freddie didn’t like the electric piano, so I took it home and I started to learn on the electric piano and basically that’s the song that came out, you know, when I was learning to play piano. It was written on that instrument and it sounds best on that, you know, often on the instrument that you wrote the song on.”

  • (John Deacon 1977, BBC Radio One)

“John didn’t write that many songs but when he did – as with ‘Another One Bites the Dust’ and ‘I Want To Break Free’ – they were big, big hits. ‘You’re My Best Friend’ became one of the most-played tracks on American radio. John was a dark horse, generally the quiet guy in Queen. We would ask him sometimes, ‘Have you got anything, John?’ and he was very self-effacing about what he had written. ‘You’re My Best Friend’ was about his lovely lady wife.” ~ Brian May

“You’re My Best Friend” is such a cool song, obviously with a complex bass line. John Deacon wrote it about his wife Veronica. Looking back on it, here’s a guy, very understated, writes a song about his wife and it turns out to be one of Queen’s biggest singles ever. And, then after Freddie’s death, he decides not to continue with Brian and Roger and leaves the business, it’s too much. He chooses to stay home with his best friend, his wife. So, in a way, that song sums up who John Deacon is…” ♥️
(David Ellefson, Bassist for Megadeath)

I really love the last quote and it’s absolutely true!

👉👉 https://youtu.be/HaZpZQG2z10

The more and more I worked for Queen and got an opportunity to be around Freddie Mercury

The more and more I worked for Queen and got an opportunity to be around Freddie Mercury

“The more and more I worked for Queen and got an opportunity to be around Freddie Mercury, it just became an extraordinary thing for me. I didn’t know it prior to finishing the tour, but it ended up being , musically, the best tour that I had ever been on. I mean, The Rolling Stones tour was awesome, but the Queen tour was so incredible theatrically, music-wise, and vocally, and the light show was second to none. It was like some kind of….I don’t know, I don’t even have the right words for it. Every time I try to come up with the right words for what a Queen show was like, my vocabulary fails me. I can’t do it.

All I can tell you is, if you ever had a chance to see a Queen show back in the day, then you had an opportunity to see something very special, because Freddie Mercury is an incredible vocalist and an incredible showman. He could take a crowd in the palm of his hands and make them do whatever. We’d have shows where he’d be singing and people would be crying.

I said it then, and I’ll say it now, if there are five people who can sing and perform better than Freddie Mercury could, show them to me. As a matter of fact, if there’s even one, I’d be surprised, because when it came to singing, performing, and theatrics-the whole shebang-he was just incredible!”

Victor “Vic” Robinson – “Never Say Never”

Personal Security Detail for Freddie Mercury during the 1982 “Hot Space North American Tour”

July 1986 – Freddie shopping with Mary and entourage

July 1986 – Freddie shopping with Mary and entourage

July 1986 – Freddie shopping with Mary and entourage

“It was funny to see how things really go. We organised a trip to Szentendre for Freddie in the greatest secrecy. We went there by three cars: I was in one with Freddie and two friends of mine, who offered to guide him through the antique shops, while there were guards in the other two.

We arrived to Szentendre with three enormous black vehicles. We needed fifteen people to go anywhere with him, so we entered the antiques shops in a small crowd. The news spread with light speed in the town.

By the time we exited the shop, there were at least three hundred fans outside waiting for Freddie, who gave a few autographs. This happened 3 or 4 times until the end of our visit: there was a great excitement around him, although he just went to buy some relics.

However, he came with me to the Great Market, he disguised himself with a baseball cap only and nobody recognised him; and he was just looking around, acting like any other tourists.”

László Hegedűs

He organized the event

Source: Hungarian Daily News

Gallery update Sheer Heart attack Netherlands

Gallery update Sheer Heart attack Netherlands

8 December 1974, Queen performed @ Congresgebouw, The Hague, Netherlands 🇳🇱 “Sheer Heart Attack” Tour

This is Queen’s first show in the Netherlands. The Dutch band “Kayak” played before Queen, but perhaps not as the traditional opening act. Some members of Kayak have claimed that it was a ‘double bill’ organised by EMI records to promote both bands.

Mercury is timid after the first song. “Thank you and good evening, and welcome to the show. This is our first time in Holland, and I know you’re going to like it. Yes? It’s really nice to see you all. It really is. Right now we’d like to carry on with a number from Queen II; that’s our album. And this is ‘Ogre Battle.’” He delivers the song convincingly. After the audience quickly quieten down afterward, he remarks, “It’s so quiet; you can hear a pin drop, you know, one of those things.” They warm up to him a bit when they confirm they’ve heard of Queen II upon his asking.

“We’d like to do a sad number. A very sort of delicate, sad number, so you’d better get your handkerchiefs out. You know those things?” He then introduces White Queen, the third song in a row from their second album.

After the medley, he says (referring particularly to the musical complexity of ‘Bring Back That Leroy Brown”): “I hope that took you by surprise. I thought you thought we were a pop group. You know, pop.” He says ‘pop’ in an almost condescending way towards the disposable nature of pop music, light years away from the overtly pop songwriter he’d purport to be in a decade. He continues, “We’d like to do something from our first album. Would you like that?” Someone in the audience promptly shouts out for ‘Liar.’ “No, ‘Liar’ will come later on. We won’t go away without that. Right now we’d like to do ‘Son And Daughter.’”

‘God Save The Queen’ is now being used as the exit music.

Pain Is So Close To Pleasure

20 August 1986 – Queen release ‘Pain Is so Close to Pleasure’ bw ‘Don’t Lose Your Head’ (from Queen’s twelfth studio album, ‘A Kind Of Magic’) on Capitol Records (USA).

The song began with a riff idea by Brian, then John and Freddie turned it into a song, with Deacon playing rhythm guitar. The song attempts to fuse together R&B with programmed pop, onto which Freddie added a distinct, beautiful falsetto vocal (this will be the last time he will ever sing a Queen song completely in falsetto).

As with most Freddie Mercury songs, the track has prominent keyboards and like all other John Deacon Songs, a prominent bass line. John originally got involved with this song after Brian, Freddie’s contributions were so significant that John insisted he also receive authorship credit.

“There’s a song called ‘Pain Is So Close To Pleasure’ which I started off, and I think again John and Freddie worked together on it. That’s really sort of a motown sounding track, very unusual for us.” – Brian May 1986 Interview

Unfortunately, the song didn’t chart in the US but it peaked #26 on Dutch Top 40 charts and #56 on German charts

The B-Side track, “Don’t Lose Your Head” a song composed by Roger Taylor and features British singer-songwriter and guitarist, Joan Armatrading in a vocal cameo. The song takes its name from a line spoken in Highlander.

This particular track further confirms that, while the singles on ‘A Kind of Magic’ are outstanding, the remaining songs will remain unknown for a reason. The majority of the song is repetitive, especially the lyrics, which are directly related to the ‘Highlander’ film.

Both Brian and John have been pushed aside in favour of a tinny- sounding synthesizer, while the programmed drums threaten to overpower a strong vocal performance by Freddie.

The line, “Don’t drink and drive my car / Don’t get breathalysed” was inspired by a drunk driving incident in 1985 which involved John and his Porsche. John normally preferred a Volvo, but he bought the Porsche for himself and went to visit Phil Collins of the Genesis at one of his London concerts. The two went out to enjoy a celebration afterwards, and John was pulled over on his way home. He failed his sobriety test and received a very expensive ticket.

Source: ‘Queen – The Complete Works’ by Georg Purvis

Here’s the clip for ‘Pain Is So Close To Pleasure’ https://youtu.be/L2W2mU8R7-A

The wonderful picture is Freddie and John working on ‘One Year of Love’ (another single from ‘A Kind of Magic’) in the control room at Townhouse Studio

Gallery update  Live killers tour 1979

Gallery update Live killers tour 1979

24 January 1979, Queen performed @ Deutschlandhalle, Berlin, Germany 🇩🇪 “Live Killers” Tour

Freddie’s uses his voice to the best of its ability during this show and delivers great versions of ‘Somebody To Love,’ ‘Death On Two Legs,’ and ‘It’s Late.’ Their vocal harmonies are beautiful throughout the show.

Brian, before ‘Somebody To Love’: “Good evening, good folks of Berlin. Welcome to a night of Queen music. We hope you enjoy it.”

Freddie, before the medley: “We have a lot of music for you tonight from all our various albums, and the next song comes from an album called ‘A Night At The Opera.’ The song in question is dedicated to one of our managers. He was a real motherfucker. Do you know what that means?” Quite a few audience members indicate that they do. “Alright! You can call him anything you want. We call him ‘Death On Two Legs.’”

The front of house guy is asleep at the switch tonight, as the echo is not turned off in ‘Get Down Make Love’ on time. Roger’s whistle and his snare fill leading into the final chorus also echo twice before it’s finally turned off.

After Freddie does a few nice vocal adlibs in the intro to ‘Dreamers Ball’ (which Brian calls “self-amusement”), Roger does one an octave above his. Freddie jokingly calls him a “show off!”

Post Archive: