Stro Elliot is best known as Stro the 89th Key from the Procussions. Since the group dissolved, he has continued to work, both as a producer and vocalist, but still remains mostly known as someone behind the scenes. Hopefully this will change in the near future, because Stro’s Old Beat Farm demonstrates that he has clear talent as a beat maker.

The album is a collection of instrumental tracks that were recorded between of 2004-2010, but if I was told that this was recorded as an album in one session, I’d believe you. That’s how well the tracks come together and flow from beginning to end. This isn’t to say that all his beats sound the same - far from it. The album is quite varied, which is what keeps it interesting. There are some characteristics that shine through, such as his penchant for putting crisp snare hits in the forefront. It’s mixing in his different influences that really makes this record worthwhile. “Miles Funk” sounds like it would be at home on an early Galactic record, whereas “Smile” could have been produced for Cypress Hill. These juxtapositions work really well against each other, and nothing is out of place. Elliot does a nice job of tying tracks together with a few short audio samples of people talking about beets/beats to give the record a theme. Most clips feature the Food Network’s Alton Brown, which finally put him in a context I actually can enjoy, imagining he’s talking about hip hop beats instead of being smug about his knowledge of food.

One thing I have to call out Elliot on is the use of obvious classic rock samples that appears three times on the album. The first time, with Queen’s “Bicycle Race,” it is a fun re-working of the song and I have no qualms with how it was used as a stand alone recording. The second time this occurs is with Chicago’s “25 or 6 to 4.” It’s not nearly as well done, and it seems much more like a novelty, especially since the drums are also lifted from Outkast’s “So Fresh, So Clean.” That song is immediately followed with “Yesterday’s Chop Suey,” which is actually the most interesting use of a reworking of a classic rock sample, putting the Beatles’ “Yesterday” in a nice somber and melancholy tone with some really intricate chopping and layering over a mid tempo beat. I think that separately all three tracks would be fine, but putting them all together makes them seem more novel than they should.

Stro’s Old Beat Farm accomplishes a lot for a simple collection of instrumental tracks made over the years. It establishes his artistic style, and it flows effortlessly. It provides a wide range of songs that will take you from a somber experience that should be listened to on headphones on a cloudy day to tracks that are sure to get people on the dance floor. On the strength of this collection, I can’t wait to see what else Elliot is capable of producing.