SAN JOSE — Love was in the air Friday at SAP Center for the Valentine’s Super Love Jam, featuring the Isley Brothers and a slate of R&B and funk acts that followed the iconic family group in the ’70s, ’80s and ’90s.

The Isley Brothers—81-year old vocalist Ronald Isley and 71-year old guitarist Ernie Isley—led a large ensemble that included two backup singers, guitarists, bassist, two percussionist, two keyboardists and several dancers.

The iconic brothers’ attire matched the occasion, with Ronald resplendent in a red and black silk suit and fedora, and Ernie in a shiny red shirt. The band entered to the theme from “The Godfather.” The brothers walked out last, and the band immediately started with “Fight The Power” as black-clad dancers punched out a hip-hop-style routine.

Next, they launched into “Who’s That Lady.” Ernie Isley was featured on the first of several guitar solos of the night, flexing impressive lead guitar skills while a dancer gyrated around him. “Between The Sheets” followed with Ron Isley rapping lyrics to the Notorious B.I.G.’s “Big Poppa”—which samples this song—before starting the song in earnest.

These first few songs had Ron Isley leaning on his background singers, as he seemed to struggle a bit to catch his breath. Next, a mashup of “Footsteps In The Dark” and Ice Cube’s “It Was A Good Day” again highlighted how the groups’ songs have been sampled countless times. A dancer stepped up to rap Ice Cube’s lyrics.

As the pace of the performance slowed, a crew member brought a red barstool out for Ron, who began a medley. He started off with “Hello It’s Me” and the chorus of Sam Cooke’s “Don’t Know Much About History,” before continuing with the hooks from “It’s Your Thing” and “Smooth Sailing.” The band continued with Rufus and Chaka Khan’s “Sweet Thing,” sung as a duet with the backup singers.

Attendees stood as Ernie launched into the mournful guitar solo intro to “Choosy Lover.” For “Say It Again,” Ron invited the backup singers to cover Beyonce’s part while he sang the newer duet version of the song.

During a short pause in the songs, a white baroque-style gilded couch was brought out as the video screen played a montage of Ronald Isley’s famous alter ego, “Mr. Biggs.” Ron then returned in character, as he wore a white, floor-length fur coat, held a gold-capped cane and dusted with one of his backup singers on “Busted.” He then sat on the couch and belted out “Contagious.”

The Isley Brothers followed with a shortened version of “For The Love of You” before launching into “Voyage to Atlantis,” which featured another amazing Ernie Isley guitar solo accompanied by a dancer swirling around in a blue outfit. Ron remained seated as they continued with “Summer Breeze,” which featured another extended Ernie Isley guitar solo. At one point, he was playing with his teeth, Hendrix-style. Equally prolific in songwriting, Ernie had penned many of the songs they played through the night like “Fight The Power,” “Voyage To Atlantis,” “At Your Best (You Are Love)” and “Footsteps In The Dark.”

Several of the acts, such as Color Me Badd and Blackstreet, featured revamped lineups and struggled to fill the shoes of their original members. Tongan R&B group The Jets has also splintered, but this version of the band delivered the other highlight of the night.

Sisters Elizabeth, Moana and Kathi Wolfgramm now perform with their brother Eddie, while the other brothers have their own thing going.

Even short a few members, the Jets still brought out ’80s nostalgia, led by the strong singing of Elizabeth and Moana. The group powered through its set, displaying choreography and a warm, familial way of relating to the audience. Known to be talented musicians and singers, this time they sang to a backing track while Eddie Wolfgramm played saxophone. Many in the audience sang along to hits like “Crush On You,” “You Got It All” and “Make It Real.”

Chauncey Black led the show’s version of Blackstreet, which featured Mark Middleton, Eric Williams and Levi Little. They were missing original members Teddy Riley and Dave Hollister, who perform separately as another version of the group.

The group performed classics like “Before I Let Go,” “No Diggity” and “Joy” in matching silver sequined jackets and black pants to backing tracks, and passed out roses to female attendees, even bringing one woman on stage for her birthday. However, the replacement members struggled to deliver some of the parts written for the original members.

Color Me Badd also disappointed with a lackluster performance. The group, which began the show, has only one original member left, Marc Calderon. The rest of the group appeared to be nothing more than background players, dancing and lip-syncing to backing tracks while Calderon struggled to keep pace with the choreography and singing lead. Color Me Badd covered popular tunes like “All For Love” and “I Adore Mi Amor” before ending their set with “I Wanna Sex You Up.”

The show also included Ginuwine and Deniece Williams, while Evelyn “Champagne” King was scheduled to appear but did not.

Known lately for his memeable dance routines, Ginuwine showed he still has what it takes to keep the crowd going. Appearing in a red Versace sweater, black T-shirt, ripped acid wash jeans, black trucker hat and a diamond pendant, watch and bracelet, he was heavily supported by two backup singers. He darted across the stage, dancing and singing hits like “Same Old G,” “Differences” and “So Anxious.” He climbed down from the stage and into the audience—after first removing his diamond jewelry—as fans traced his steps with their phones.

Deniece “Niecy” Williams started her set with a bit of improvised gospel music. Wearing black leather pants and a flowing caftan-like jacket, she took a sip of wine, calling it her communion. She then launched into “It’s Going To Take A Miracle.” Her voice sounded more mature as she soulfully belted out higher notes, growling at times. Though her voice is different than it was in her prime, it was still beautifully recognizable. The audience appeared to mostly enjoy her performances of “Free” and “Silly.” After talking for a few minutes about “good men,” Williams ended her set with her best performance of the night, “Let’s Hear It For The Boy.”

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