AMG Review of Steppin Across the U.S.A., Vol. 7

Jason Ankeny
All Music Guide

"Steppin is not just a dance, it's a culture -- it's the way we live," intones R&B superstar R. Kelly at the beginning of his 2003 masterpiece "Step in the Name of Love [Remix]" -- and as a native of Chicago, Kelly understands as well as anyone the critical role Steppin plays in the city's African-American nightlife and music. Steppin originated in Chicago during the late '50s as the Bop -- a singularly elegant and serene dance typified by gliding, dipping, and striding, it was most distinguished by what participants called the Walk, which embraced all other elements of the dance but pushed them to new extremes of slow-motion grace and pinpoint precision. The Bop fell out of favor during the late '60s and resurfaced in accelerated form during the disco era -- only with its evolution into Steppin during the mid-'80s did the culture achieve critical mass. The music favored by the Steppin scene's impeccably dressed dancers boasted lush, swelling arrangements and smooth-as-glass rhythms, and little has changed in the years since, with crowd-pleasing vintage and modern urban grooves notable for their heartfelt vocals, simple yet sophisticated melodies, and slinky, sensuous beats. The seventh volume of the series is notable for its uncommon stylistic and atmospheric consistency -- the ebb and flow of these mellow soul tracks seems perfect for an extended prowl on the dancefloor. Highlights include Leroy Hutson's "Cool Out," an instrumental reading of Alexander O'Neal's "All True Man," and Steve Arrington's "Sugar Mama Baby."