Mountain Jam Saturday Setlists

Recap to come.

SISTER SPARROW & THE DIRTY BIRDS - 06.04.16 - MOUNTAIN JAM (56 minutes, 30 seconds)

SET -
Don't Be Jealous / Catch Me If You Can / We Need a Love / Stereo* / Mama Knows / Prison Cells > Diamonds on the Soles of Her Shoes > Prison Cells / Dr. Feelgood / Sugar > Wanna Be Startin' Somethin' (tease) / Bad Love

SON LITTLE - 06.04.16 - MOUNTAIN JAM (53 minutes)

SET -
Intro > Toes / Joy / Go Blue Blood Red / Doctor's In / O Mother / Cross My Heart / Alice / Lay Down / Band Intros > Your Love Will Blow Me Away / The River / Carbon

WARREN HAYNES - 06.04.16 - MOUNTAIN JAM (1 hour)

SET -
Is It Me or You / Spots of Time / Old Friend / It Hurts Me Too / Give Me Love (Give Me Peace on Earth) / Endless Parade / Beautifully Broken / Wanderlust / Patchwork Quilt / To Lay Me Down / One / Railroad Boy

NATHANIEL RATELIFF & THE NIGHT SWEATS - 06.04.16 - MOUNTAIN JAM (1 hour)

SET -
I Need Never Get Old / Look It Here / We've Got the Whole Night to Lose / Howling at Nothing / Wasting Time / Rhodes Intro > I've Been Failing / Shake / Out on the Weekend / I Do It* / Trying So Hard Not to Know / Band Intros > S.O.B. > The Shape I'm In > S.O.B.

BECK - 06.04.16 - MOUNTAIN JAM (1 hour, 37 minutes)

SET -
Devil's Haircut / Black Tambourine / Loser / Think I'm in Love / Soul of a Man / Ghettochip Malfunction (Hell Yes) > Put Your Hands Where My Eyes Could See (tease) > Ghettochip Malfunction (Hell Yes) / Go It Alone / Mixed Bizness / Sissyneck > Billie Jean > Sissyneck / Qué Onda Guero / Paper Tiger / Modern Guilt / Lost Cause / Blue Moon / Say Goodbye / Raspberry Beret / The New Pollution / Dreams / Girl / Sexx Laws / E-Pro

ENCORE -
Where It's At > Strawberry Fields Forever (tease) > Where It's At / Gratitude (tease) / China Girl (tease) / Computer World (tease) > 1999 / Where It's At

Sister Sparrow & the Dirty Birds Give Madison Square Park a Free Show to Remember

One of the primary reasons I've stuck around New York for so long is the seemingly endless amount of free concerts.  While some artists are content with providing a little background music for picnickers, some go that extra mile to satisfy their longtime fans as well.  Last night in Madison Square Park, Sister Sparrow & the Dirty Birds proved they have no interest in only being paired with hummus, grapes, and prosciutto; they exist to make you shake your ass.

I took a spot on the ground near the soundboard, surrounded by couples on blankets.  Arleigh "Sister Sparrow" Kincheloe, dressed entirely in white, bounced out onto the stage to the intro of "The Long Way."  I realized quickly that I was too far away.  The mix was only coming out of the speakers framing the stage, so the horns sounded thin.  I relocated to the standing section to the right of the stage, discovering that part of the reason for this was the absence of trombonist Ryan Snow.  I overcame my longing for trombone as soon as the Dirty Birds plunged into their second tune, a cover of "The Way You Make Me Feel" that sounded like the love child of MJ and Dr. Funkenstein.  Josh Myers was absolutely murdering it on the bass, and they even spiced it up with a pinch of "Kashmir."  Following a powerful "Freight Train," Arleigh encouraged the audience to come forward.  "I feel like you're afraid to get a little closer to the Dirty Birds.  They don't smell too bad," she confessed.  That's all it took for the crowd to sweep in like pigeons spotting breadcrumbs, nodding their heads to each "uh-huh" in "Don't Be Jealous."   "This is a song I wrote for my best friend.  It's kind of about troublemakers in your life," announced Arleigh before the groovy new summer track, "Prison Cells."  "Disappear," another fresh tune, came next, allowing for some raspy riffing by Kincheloe at its end.  Sister Sparrow-staple "Make It Rain" spotlighted an extended saxophone solo from Brian Graham, with Arleigh shaking a tambourine and giving a look to the crowd that she was also genuinely impressed by his sax skills.  The last Sister Sparrow show I'd been to was their Zeppelin IV cover concert, and a whole lotta Led must've rubbed off on new number "Catch Me If You Can," with Arleigh giving off serious '70s rocker vibes over the chunky blues of the Birds.  Myers let another fantastic bass bomb drop to kick off the final ditty, "Boogie Man."

Less than a minute after their departure, Arleigh ran back onto the stage and let out a guttural scream into the microphone.  Sister Sparrow then turned her tail to the crowd for a photo op.  "You ready, boys?" she said after the Kodak moment, gathering her flock for the encore.  The band tore into their "Bulls on Parade/Rock & Roll" mashup to finish it out, with Jackson Kincheloe serving up a positively wicked harmonica solo.

Requests for a podcast interview have been made, so look out for that later this year.  SSDB will return to NYC for a two-night stand at Bowery Ballroom the Friday and Saturday after Thanksgiving.  Arleigh's advice?  "Come on out. Work off that turkey."

SISTER SPARROW & THE DIRTY BIRDS - 08.06.14 - MADISON SQUARE PARK (1 hour, 17 minutes)

SET -

The Long Way / Sugar > The Way You Make Me Feel > Kashmir (tease) > The Way You Make Me Feel / We Need a Love / Freight Train / Don't Be Jealous / Prison Cells / Disappear / Borderline / Make It Rain / My House / Horn Section Solo > Crawdaddies / Catch Me If You Can / Boogie Man

ENCORE -

Bulls on Parade/Rock & Roll

Sister Sparrow & the Dirty Birds Fly with Zeppelin at Brooklyn Bowl

In December, Sister Sparrow & the Dirty Birds invited their fans to vote on ten classic albums, ranging from Aretha Franklin's Lady Soul to Superunknown by Soundgarden.  The winning LP would be covered in its entirety at the band's January 31st Brooklyn Bowl concert.  A few weeks ago, Led Zeppelin's IV was announced as the victor, and the band got to work arranging and rehearsing for last night's show.

The event was opened with a long set from Brooklyn's Zongo Junction, a 9-piece Afrobeat outfit made up of the whitest-looking dudes possible.  I'd never seen or heard of them before, so I was pleasantly surprised to learn that they were real deal, not just a group of pale imitators.  As they made their way through their instrumental tunes, crowdmembers spun in joyous circles around the dance floor.  I was even more impressed when the band deviated away from the standard Afrobeat rhythms, with bassist David Lizmi (a dead ringer for Frank Zappa) taking one jam into the depths of the ocean as keyboardist Ross Edwards layered in some decaying vocal effects.  I noticed that a stand in the center of the stage held an unused vocal microphone, and I joked with my friend that I was going to join them.  I began to improvise lyrics about a mosquito and malaria.  Fortunately for everyone, I didn't jump onstage, and Zongo Junction received another credibility boost when they introduced Abena Koomson, who had served as vocal captain for Broadway's Fela!  Koomson led a crowd chant on the militantly catchy "T.D.D. (Tear Dem Down)," dancing as the boys kept the groove going.  Imagine my shock when she started singing "Elephant & Mosquito," which contained lines about a mosquito and malaria.  I spent the rest of the set convinced that I was some sort of Afrobeat psychic, smiling as I listened to the ghostly sounds of the Farfisa organ and watched percussionist Morgan Greenstreet wildly contort his mouth as he banged away on the congas.

Having seen the Dirty Birds three times last year, I'd grown accustomed to them opening with an instrumental barrage before Sister Sparrow hopped out to sing the first number.  It was obvious this was going to be a different kind of show, as Arleigh Kincheloe emerged right at the beginning to sing "The Way You Make Me Feel."  (Michael Jackson's Bad was also in the cover album poll.)  They proceeded with five of their own songs, highlights including "The Long Way" and "Make It Rain."  Following a killer "Crawdaddies," the stage went dark for a tad longer than usual.  It was time.

They roared into "Black Dog" to kick off Zeppelin IV, Arleigh modifying the lyrics to "a skinny-legged woman ain't got no soul" to fit her petite frame.  Guitarist Sasha Brown blew my mind when he tore into the riff from "Bulls on Parade" to start "Rock & Roll."  He weaved the motif in and out of the song, which Arleigh finished by turning her back to the crowd and screeching higher than Robert Plant ever could.  I was intrigued to see how they'd handle the Lord of the Rings-themed "The Battle of Evermore," a nerd fantasy that just doesn't do it for me on record.  Sasha locked into a sinister groove that bent towards industrial with the addition of a grating harmonica ostinato from Jackson Kincheloe.  The packed house began to get a little chatty during the number, which continued into "Stairway to Heaven."  If there's ever a time to shut up at a concert, it's during "Stairway," but silence didn't come until the song's powerful conclusion.  Brown's guitar should have been louder in the mix from the start of the show, so maybe that would've helped.  "Misty Mountain Hop" got the floor moving again as expected.  The beat gradually began to slow until the Birds pulled a 180° and dropped into "Diamonds on the Soles of Her Shoes" (Graceland was also a candidate.) for a bit before returning to the "Hop."  The last time I saw Sister Sparrow, it was in a sweaty basement for the Fight EP release party.  Unfortunately, Arleigh's vocals were a little strained that evening.  Last night, she'd never sounded better.  The prime example was "Four Sticks," where you could hear every drop of joy and pain that she harbors in that soulfully stirring voice.  While Josh Myers traded his bass for an acoustic and Sasha doubled his string-count, Arleigh grinned widely at the audience.  "You asked for it!  We're so, so happy that this is the album you chose for us to play," she gushed.  "Playing music is fun, but playing Zeppelin is a whole 'nother thing."  Again, talking covered up a lot of the delicate "Going to California," but when you could hear the intricate notes of Brown's 12-string, it was beautiful.  This was a Zeppelin show, however, so people wanted to rock.  They got their wishes with "When the Levee Breaks."  Assisted by three of Zongo Junction's horn players, the Dirty Birds had everyone in the Bowl bouncing until its end.  "Brooklyn, we love you so fucking much!" yelled Arleigh as the the Birds flew the coop.  The sold-out crowd roared their approval.  Less than a minute later, the band reclaimed the stage to finish up with another Zeppelin tune: Houses of the Holy track "D'yer Mak'er."  The reggae ditty was the icing on the cake, likely a rum cake, as Sister Sparrow snuck in the liquor-soaked chorus from her own "Vices."

It was definitely a night to remember for the band and everyone sober enough in the crowd.  Let's hope Sister Sparrow & the Dirty Birds make an album cover show an annual tradition, so we'll have even more memories in the years to come.

SISTER SPARROW & THE DIRTY BIRDS - 01.31.14 - BROOKLYN BOWL (1 hour, 23 minutes)

SET -

The Way You Make Me Feel / The Long Way / Don't Be Jealous / Make It Rain / Borderline / Crawdaddies / Black Dog > Rock & Roll/Bulls on Parade / The Battle of Evermore / Stairway to Heaven > Misty Mountain Hop > Diamonds on the Soles of Her Shoes > Misty Mountain Hop > Four Sticks / Going to California / When the Levee Breaks

ENCORE -

D'yer Mak'er > Vices > D'yer Mak'er

Sister Sparrow & the Dirty Birds Get Sweaty in the Jam Room

In the bowels of Milk Studios lies a secret venue known as the Jam Room. Neon sex shop signs illuminate a maze of pipework suspended from the ceiling.  The vibe is basement house party, right down to the partygoers sipping from Solo cups and beer cans.  While the basement is typically the coolest part in the house, the Jam Room was sweltering, packed to the pipes with press, friends, and contest-winners all there to celebrate the release of Sister Sparrow & the Dirty Birds' latest EP, Fight.

The show began like the other times I've seen them, the Dirty Birds firing off their horn-drenched intro jam.  Arleigh "Sister Sparrow" Kincheloe usually remains backstage before her swaggering entrance, but with no place to hide, she joined the boys, spiritedly banging on a cowbell.  Arleigh approached the mic and asserted, "I need y'all to clap your hands with me now," before launching into "The Long Way," the EP's hard-hitting single.  They followed it with a new tune, "Don't Be Jealous," which proved a nice springboard for some squealing interplay between guitarist Sasha Brown and harmonica-player Jackson Kincheloe. "We're only three songs in; I'm sweating my ass off," admitted Arleigh, grabbing a towel.  Where many would've taken the chance to cool things down with a slower song, the band cranked up the temperature with one of their most fiery numbers, "Make It Rain."  "Mama Knows" brought things to a soulful simmer, Arleigh powering through a hint of laryngitis.  Her cousin Bram drumrolled into the night's standout, "Boogie Man," which culminated in Arleigh clanging her tambourine against the pipes above.  "Borderline" was another vehicle for Jackson's freight train harmonica, and trombonist Ryan Snow transported us to New Orleans for a steaming serving of "Crawdaddies."  "I want y'all to please be advised, it's a low hanging ceiling. You too, Dirty Birds," admonished Arleigh.  About to embark on a clockwise tour of the US, the band fittingly charged into a "Road Trip" that had everyone chanting and clapping against their Solo cups.  Fight may be a misnomer for the EP.  Your ears will welcome it without hostility.

SISTER SPARROW & THE DIRTY BIRDS - 10.03.13 - MILK STUDIOS JAM ROOM (48 minutes, 27 seconds)

SET -

Intro > The Long Way / Don't Be Jealous / Make It Rain / Mama Knows > Boogie Man / Borderline / Crawdaddies / Road Trip

Brooklyn Bowl's Governors Ball Afterparty with Sister Sparrow & Hollis Brown

This weekend's Governors Ball Music Festival turned into a Beale St. situation after a rainy Friday left the ground perpetually soggy.  Despite the mud, Sunday's weather and lineup looked like the perfect combination for festivalgoers, and what better way to cap off the day than to trade in your muck boots for bowling shoes at a rockin' official Governors Ball afterparty with Sister Sparrow & the Dirty Birds and Hollis Brown at Brooklyn Bowl?

Roughly six months ago, I discovered Hollis Brown middling at Deer Tick's Brooklyn Bowl residency.  In March, I went to their record release show at Mercury Lounge.  And the dependable band from Queens just keeps getting better.  Last night's opening trifecta was one for the books, beginning with the chugging "Ride on the Train" before slowing the tempo on the beseeching "When the Weather's Warm," and culminating with the bluesy "Down on Your Luck" that featured the best "ooh" backup vox I've heard from the band.  "We're going to keep the blues going for a bit," said lead singer Mike Montali as they embarked on "Meet Me in the Morning," which was followed by fan-favorite "Gypsy Black Cat."  Don't let Montali's eyeglasses fool you; he's not some Rivers Cuomo clone churning out nerd rock for teenagers.  He's the real deal.  If you need proof, just look where he keeps his guitar, slung low almost to his knees, so he can trade Crazy Horse-style riffs with bearded lead, Jon Bonilla.  "We're gonna play a new song that we've never done live.  Thank you guys for being our test audience," Mike announced.  "You Deserve It All" is definitely a step in the right direction for Hollis Brown.  It's a bit poppier than the rest of their canon, yet it still retains that classic rock sound.  And the decision to go up an octave on the "ooh ooh ooh"s on the last go-round is a commendable one.  Good news for a band that can avoid being pegged as a revival act as long as they continue with the stylistic expansions.

In nature, the male birds are the flashy ones, brightly colored to both attract mates and settle territorial disputes between competitors. Arleigh Kincheloe, also known as Sister Sparrow, is definitely the exception to the rule. The initial shock of hearing such a powerful, smoky voice coming out of such a young, skinny woman was spoiled for me having seen them at Bowlive, but that didn't affect the experience in the least because Arleigh is such an electric performer.  Strutting around the stage, whipping around her blouse's cotton cat o' nine tails with every shake of her hips ("This shirt may be the most dangerous thing I've ever worn."), Kincheloe gave it everything she had.  When she quenched her thirst, she gulped from a pitcher of water.  She made you understand why they refer to certain entertainers as magnetic.  It was as if there were tiny magnets in everyone's eyes, and she was a flurry of opposite poles.  You couldn't help but stare at her even if one of the DBs was soloing.  It took maybe two seconds after she took the stage for the venue to erupt into a full-blown dancefloor.

I saw the Main Squeeze earlier in the week, and they classified themselves as post-funk. It was my first time hearing of such a genre, which I suppose they use to describe their incorporation of prog-rock jamming into upbeat R&B numbers. The label could be more accurately applied to Sister Sparrow. The Dirty Birds are definitely a funk band, but they are not exactly a revival group like the Dap-Kings. In the 1980s, rap music was birthed when funk records were sampled as background beats for emcees to rapidly rhyme over.  Though not explicit, the hip-hop influence can be found in the sheer speed and ferocity with which Arleigh spits her lyrics.  And when she slowed things down, like on "Another Ride," you could really hear the richness of that voice.  Listening to her sensually pleading "I want to go on another ride," I had no doubt she was referring to the Mothership of Funkadelic folklore.  Another simmering stunner was the new Joss Stone-esque number, "Mama Knows," which contained a somewhat strange spoken-word section extolling the virtues of family: "I think my mama's the only woman in the world that knows what a pineapple upside-down cake is."  Family is obviously important to the singer, who enlists her brother on harmonica and her cousin on drums. 

In the course of the set, the band performed all four tracks from their Randy Jackson-produced EP, Fight, due this fall.  The first single, "The Long Way" was a lively Ike & Tina-inspired romp that was so fun that I forgave the horn players' chanting at the end that might've been a little too reminiscent of Justin Timberlake's "Rock Your Body."  Barrelling out the gate with a trombone solo from Ryan Snow, "Crawdaddies" was a gritty gumbo of Janis Joplin fronting a NOLA brass band, and Arleigh's guttural howls in "Boogie Man" would've frightened the monster himself.  The sound mix in the room could've been improved with more from Arleigh's mic, the harmonica, and the bari sax, which was especially evident on the closer, "Road Trip," where they took a trip around the stage, each Dirty Bird soloing the distinct birdcall of his instrument.  The hand-clapping breakdown found its way nicely into the post-set encore break applause.  The band returned to the stage once more, Arleigh proclaiming, "We're gonna bring it back real old school" before turning in a soulful rendition of "Roxanne" to bring the evening to its close.  Am I upset I didn't go to Governors Ball?  Not really.  As they say, the afterparty is always better than the party.

HOLLIS BROWN - 06.09.13 - BROOKLYN BOWL (44 minutes, 23 seconds)

SET -

Ride on the Train / When the Weather's Warm / Down on Your Luck / Doghouse Blues / Meet Me in the Morning / Gypsy Black Cat / Faith & Love / Walk on Water / You Deserve It All* / Revolution Blues

SISTER SPARROW & THE DIRTY BIRDS - 06.09.13 - BROOKLYN BOWL (1 hour, 35 minutes)

SET -

Intro > Millie Mae / No Rest / Eddy / Make It Rain / Freight Train / Another Ride / Hollow Bones > Back in Black / The Long Way / Mama Knows > Lasso / Dirt / Crawdaddies / Boogie Man / Fight / Bulldozer / Too Much / Road Trip

ENCORE -

Roxanne

Robert Randolph, Lee Fields, & Some Very Special Guests Drop in for Night 2 of Bowlive IV

Celebrating their fourth Bowlive residency at Brooklyn Bowl, Soulive definitely set the bar high with Friday's mammoth show.  After two sets of jamming with special guests Robert Randolph and Lee Fields, the trio embarked on a surprise third set featuring two members of the Allman Brothers Band.

Sister Sparrow & the Dirty Birds kicked things off with a lengthy set of soulful rock 'n' roll.  After an opening salvo from the seven-piece band, singer Arleigh Kincheloe sauntered out from backstage to lead them on "The Long Way."  At first glance, Kincheloe recalled Carly Rae Jepsen, with her petite frame and brunette bangs.  The comparison stopped as soon as she opened her mouth.  Her bluesy vocals accented by howls and shrieks assured that she would never be caught dead singing "Call Me Maybe."  There is no "maybe" in that voice.  Tugging at her sheer blouse and gold necklaces, Sister Sparrow gyrated her narrow hips as she sang every song like it was her last, including a cover of "Back in Black."  Kincheloe is not the only musical member of her family though.  Her cousin Bram manned the drumkit, and her brother Jackson impressed everyone with his harmonica solo, "Bulldozer."  The Dirty Birds closed with "Road Trip," which ended with an a cappella and handclap breakdown.  Without the blast of the horns, Arleigh's amazing voice was spotlighted even more.  After almost an hour onstage, Arleigh informed the crowd, "We're all in for a treat tonight.  I cannot wait to be on the dance floor with all of y'all."

I had no idea how big the treat would be.  I'd seen Soulive with Karl Denson in Central Park, and even caught Krasno's solo show at the Slipper Room, so I figured I should go to at least one of the eight Bowlive shows this March.  I decided on Friday's show with Lee Fields and Robert Randolph because I'd never been in town for Randolph's annual Thanksgiving shows at the Bowl.

The trio hit the ground running with the deeply funky "El Ron," which they followed with a sparkly "Dig."  Listening to the tunes in this order, with "El Ron" unearthing its nasty groove and "Dig" priming the rockets for space exploration, the songs should have swapped names.  But what are titles to instrumental music, anyway?  "Dig" dug right into "Rudy's Way," with Krasno making that pained bulldog puppy face he does when he's really feeling it.  Another Get Down! track, "Uncle Junior," came next, culminating in some keyboard sounds from Neal that resembled the Psycho shower scene.  Soul singer Lee Fields then joined the band, along with Dave Guy on trumpet (I don't know that he sleeps; just goes from show to show every night.) and Mike Buckley on tenor sax.  Looking sharp in a silver suit, Fields showed off each aspect of his wonderful voice over the course of three songs: his power in the black anthem "We Fought for Survival," his sensitivity in "You're My Weakness," and his melodic soul in a cover of Otis Clay's "Trying to Live My Life Without You."  I can't wait to see a whole show from him.

"We're really glad you didn't go home," remarked Alan when the band returned almost forty minutes later.  "So glad you could join us for set 2 of 3," he added, holding up three fingers for all to see.  This was going to be a long night.  After Soulive played one of their classic cuts, "Aladdin," Robert Randolph, donning a Mardi Gras mask, took a seat behind his pedal steel guitar beside the drums.  He charged right into the intro of "Foxey Lady," with Alan taking vocal duties.  Randolph's high-energy "Ain't Nothing Wrong with That" came next, forcing the crowd to dance and clap along.  Lee Fields returned for a medley that included "Sex Machine" and Funkadelic's "I Got a Thing," but the real highlight of the set was a stretched-out "Papa Was a Rollin' Stone" that had Randolph playing his guitar with his tongue.  Talk about tasty licks.  Mike Buckley also dropped a furious sax solo in the song's second half.  As they continued to jam, the hip-hop elements moved to the forefront, and Randolph took the opportunity to spit some Das EFX lyrics.  "They Want EFX" led into an instrumental "Crosstown Traffic," a track on which they'd collaborated for the Break Out album.

Now almost 1:30am, Soulive started their third set with "One in Seven."  After they'd established the blueprint of the song, an unannounced Derek Trucks appeared to help them build it into something really special.  All the evidence could be found in the smile on Neal's face as he watched Eric and Derek trade lines during the song's final section.  But Trucks split that cab he took from the Allman Brothers' gig at the Beacon.  Warren Haynes emerged from backstage, and took the reins for a soul-drenched "Thrill is Gone" and his own "Everyday Will Be Like a Holiday."  Robert Randolph came forth yet again, this time accompanied by trombonist Saunders Sermons, for blues standard "The Sky is Crying," which saw all four guitarists creating a gumbo with each of their distinct flavors. Neal even conducted Alan to lessen his volume so they could listen to the four at work.  At its end, Alan stated, "We've got one last song.  Gotta go home and get some rest.  We've got shows to play tomorrow."  Perhaps it was the tease of "Them Changes" in Sister Sparrow's "Too Much" that inspired the final number, but whatever the reason, Buddy Miles' infectious ditty got the full, funky treatment here, with smiles gleaming on every band member.

My weekend schedule has been screwed up immensely by the late night, but what a way to screw it up.  Let me know how the remaining nights go.  Friday's will be hard to top.

SISTER SPARROW & THE DIRTY BIRDS - 03.08.13 - BROOKLYN BOWL (57 minutes, 36 seconds)

SET -

Intro > The Long Way / Why Did You Do It* / Make It Rain / Every Road / Another Ride > Back in Black > Dirt / I Want to Take Ya* / Bulldozer > Too Much > Them Changes (tease) > Too Much / Road Trip

SOULIVE - 03.08.13 - BROOKLYN BOWL

SET ONE (47 minutes, 44 seconds) -
El Ron / Dig > Rudy's Way / Uncle Junior / We Fought for Survival / You're My Weakness > Trying to Live My Life Without You

SET TWO (1 hour, 18 minutes) -
Aladdin / Foxey Lady / Ain't Nothing Wrong with That / Instrumental* / It Sure Feels Good* > Get Up (I Feel Like Being a) Sex Machine > I Got a Thing, You Got a Thing, Everybody's Got a Thing > Get Up (I Feel Like Being a) Sex Machine / Instrumental* / Papa Was a Rollin' Stone > Instrumental* > They Want EFX > Crosstown Traffic > Previous Instrumental*

SET THREE (1 hour, 3 minutes) -

One in Seven / The Thrill is Gone / Everyday Will Be Like a Holiday / The Sky is Crying / Them Changes

*I need help with the names of these.  Full review with photos to come later.