7. Rocket Man (Elton John - Live In Osaka: 11/12/2001)

As I’ve been getting a few requests to upload something from the year 2001, I figure that uploading a show from the Japanese 2001 run of shows would be a good option. This show from Osaka hasn’t really been circulating on UA-cam so I think a proper upload of the recording would be a bit of a treat. The recording is in excellent quality with a very “warm” sound to the mix and this really highlights Bob Birch’s bass work and why he was such an important key to Elton John’s sound during the time he was with him. While this show is shorter than the Tokyo shows by quite a few songs, this sort of “warm-up” show is still of very high quality and shouldn’t be skipped.
The high-fidelity recording brings out the subtleties of Elton’s band and why this era of shows often is talked about in a highly positive way. Every band member is in great form tonight with not only the chemistry with each other and Elton being showcased, but they play the songs with extra spice and flavors in which Elton responds by playing and singing with a ton of passion throughout. After getting his voice warmed up a few songs into the set, Elton delivers strong and consistent vocals at this show with vocal flourishes and experiments with softer and lighter singing being on the menu tonight. This is among Elton’s more underrated shows from this time period and shouldn’t be skipped. Now… time to dive into the performances…
“Love Lies Bleeding” is slightly rough vocally from Elton as some notes aren’t sung cleanly, but he shakes off the coarseness as the performance progresses and Bob Birch’s melodic bass playing is a key stand out. “Someone Saved My Life Tonight” features Elton lightening up his tone in places and delivers a strong vocal as his confidence grows throughout the song. The band harmonies are also worth noting as they sound excellent. “Bennie And The Jets” contains Elton pushing his voice for a more overdriven approach and he also plays some tasty licks on the piano which helps reflect the mood on stage. “Philadelphia Freedom” is full of melodic vocal cadences from Elton and the rest of the band perform the hit single with an energetic edge. “Ballad Of The Boy In The Red Shoes” is a passionate version with Elton giving an excellent vocal performance which contains added embellishments. “The Wasteland” has some aggressively sung sections, fiery piano playing and excellent band work which elevates this version to being one of the elites of the era. “Rocket Man” has a very dynamic improvisational section that varies in moods, flavors, and the contrast between the softer and louder moments is amazing. “Daniel” is a rock-solid rendition with both Elton’s vocal delivery and the band performance sounding strong and full of energy. “I Guess That’s Why They Call It The Blues” contains some interesting phrasing choices from Elton early on and he throws in some embellishments later on for good measure. The general performance also has a fun and lively edge to it which makes it definitely worth a listen. “This Train Don’t Stop There Anymore” features Elton singing with a powerful and open sound during the chorus sections which sounds excellent and Guy Babylon’s keyboard work is wonderful to hear. Concluding this section, “I Want Love” is a remarkable performance with the chemistry between Elton and his band being reflected throughout.
“Mona Lisas And Mad Hatters” highlights Davey Johnstone’s intricate mandolin work and why he’s such an important part of Elton’s music. Elton also delivers a sincere and robust vocal performance. “Birds” is an incredible version that surpasses the studio take as the band sound powerful and Elton gives a strong and commanding take on the vocals. “Take Me To The Pilot” has some nice piano work during the introduction and Elton and the band rip through the performance with great vigor. “Tiny Dancer” shows off a softer edge to Elton’s voice during the opening verse and while he slightly flubs lyrics in the second verse, his general singing throughout the performance is great and the band harmonies are in fine form. “Original Sin” has some nice softer and dynamic singing from Elton and he also belts with a very strong tone in his middle range that’s full of resonance. “I’m Still Standing” features some fun changes to the vocal phrasing and Elton even throws in some heavy growl during the last chorus. “The Bitch Is Back” has some guitar issues from Davey (broken string?), but Elton is right there to make up for things by displaying manic piano licks, embellishing random lines, and overdriving his voice in a similar way to earlier decades. “Saturday Night’s Alright For Fighting” has Elton pushing his voice to the limit with a ton of overdriven singing and the last chorus has a unique take on the vocal melody. “Your Song” contains some really nice phrasing that highlights Elton’s natural tone. Lastly, “Crocodile Rock” is a lively rendition and Elton gives a strong vocal effort!
ENJOY!!!