Tulsa’s favorite sons Pilgrim return with their tongue-in-cheek offering No Offense, Nevermind, Sorry. If you’re hunting for excuses, then you won’t find them here. This is an unashamed nod and authentic forage into the undergrowth of the Tulsa sound made popular by J.J. Cale with its mix of country, rockabilly and blues.
It’s a grueling thought even trying to pin this album to a specific genre, but it never falls far from the Oklahoma tree, or to be even more to the source – its main root. Frontman and guitarist, Beau Roberson is blessed with an incredibly diverse set of influences ranging from Willie Nelson and Aretha Franklin to Bob Dylan and War. The respective ‘Greatest Hits’ collections of the latter two artists were the first two CDs he ever bought, again both renowned for their rich and varied back catalogues.
Recorded at Leon Russell’s former Paradise Studio at Grand Lake in Tia Juana, Oklahoma, the album brings together a string of high-caliber musicians to create just short of a dozen eloquent songs. Profound tales of atonement, treachery, grief, and love provide the emotive canvas for Roberson to power home his passionate vocals.
The second single “Darkness Of The Bar” kicks off proceedings with that trademark Tulsa honesty about the struggles that come with addiction and trying to find a sense of acquiescence with the truth. The suffering continues into “Out Of Touch” as Roberson whines about becoming an outsider in this romantic betrayal that drips with anguish and some beautiful accordion playing by John Fullbright.
“Down” is driven by an up-beat tempo, melodious chorus, and Fulbright’s atmospheric keyboards, which come to the fore for what could easily be the record’s hit single. “Pray For Me” captures the wealth of veneration that one feels at the birth of a newborn baby, while “Katie” is super sweet like an overindulgence at the pick ‘n’ mix.
Album standout “Lefty” flaunts a wonderful and whispy guitar tone from Roberson, along with some star-spangled saxophone thrown in for good measure. Stomping blues rocker “High On The Banks” completes the one-two punch that transports No Offense, Nevermind, Sorry to another podium.
The lack of originality may not be enough of an apology for some, but if it’s a sincere and delicately crafted set of short musical stories true to the Tulsa sound that you crave, you will find it difficult to unearth better justification elsewhere.
The Review: 7.5/10
Can’t Miss Tracks
– Darkness Of The Bar
– High On The Banks
The Big Hit