Artist:Charley Crockett Hometown: San Benito, Texas / Austin, Texas Song: “Run Horse Run” Album:Welcome to Hard Times Release Date: July 31, 2020 (album) Label: Son of Davy/Thirty Tigers
In Their Words: “I remember seeing the races at Louisiana Downs in New Orleans when I was a kid. I remember the tension in people’s hands while they waited to see who would win. Like a coin flipping in the air. The dirt flying behind those horses as they ran. They looked like they were running as if they’re life depended on it. I’d say it did.” — Charley Crockett
Artist:Charley Crockett Hometown: San Benito, Texas / Austin, Texas Song: “Welcome to Hard Times” Album:Welcome to Hard Times Release Date: July 31, 2020 (album) Label: Son of Davy/Thirty Tigers
In Their Words: “‘Welcome To Hard Times’ is about the viewpoint of society from an outcast’s perspective. The hobo who prefers to skirt by Sin City taking it in as he passes by its outskirts. Inevitably we are compelled to play the game. In America today everyone understands the casino and that when you’re in it you have to play by the house rules. I’m a nameless drifter at the end of the day. Forced to roll the dice and get that money, but the dollar doesn’t own me. I think anybody can relate to that hustle.” — Charley Crockett
I had never met Charley Crockett before, though a list of our mutual friends would be long — and would span the country. I first heard his music on NPR a year or so back and was struck by his style and voice.
I figured I was picking up a soon-to-be new friend as I drove up to meet him at the Basement East in Nashville. Within moments we took off towards our location, knowing the rain would begin to fall at any moment. However when on tour and just passing through a town, that one day is often all you have for the photoshoot — rain or shine. Naturally, we got straight to work.
I count it a very lucky thing that Charley happened to have the perfect two suits to completely match the color palettes I was working with. We started with any shots we could outside, and then the rain fell just in time to fog the car windows for our interior shots. I most definitely had to stand in the rain and cover my gear to protect it all from the elements, but it was so worth it to make these images. We talked about photography, working hard, tour, and life. It was nothing short of a wonderful start to a new friendship. Charley is such a world-class person and artist, and it was such a pleasure to finally befriend him and photograph him for this piece. — Laura Partain
Charley pictured in a custom Fort Lonesome suit, vintage Stetson Rancher hat, vintage bolo, and ’70s era Champion boots.
Details of custom Fort Lonesome suit and custom CC ring by Scott James Jewelry.
Charley pictured wearing a Rockmount custom suit from Pioneer House in Knoxville, TN, ’60s Texas Imperials cowboy boots, vintage Stetson Rancher hat, and his 1930s Le Domino parlor guitar.
Detail of the Rockmount suit, chain stitching by Union Western Clothing. A custom belt by Vincent Neil Emerson, CC ring by Scott James Jewelry, and a vintage ancient falcon necklace from Dolly Python.
Vintage ancient falcon necklace from Dolly Python, CC ring by Scott James Jewelry.
Charley wearing the Rockmount custom suit, ’60s Texas Imperials cowboy boots, and vintage Stetson Rancher hat with his 1930s Le Domino parlor guitar.
Yes, even in this digital era, albums still matter, in particular in the genres covered by the team here at BGS, where storytelling is revered. Throughout 2019, we covered hundreds of new releases in folk, bluegrass, Americana, TV and film soundtracks, and really anything that had a roots feeling that rang true to us. Here are our eleven favorite albums we heard this year.
Charley Crockett, The Valley
From gospel-blues vocal cues to honky-tonkin’ steel guitar, Charley Crockett’s latest release, The Valley, has a little something for every roots music fan. His low croon makes an endearing vessel for deep lyrics — the album wrestles with mortality (likely a side effect of the two heart surgeries Crockett underwent in the weeks surrounding the recording sessions), love, and loneliness — but quick tempos, catchy melodies, and a hopeful takeaway keep the tone light. I have a feeling opener “Borrowed Time” will still be on loop in my head come 2030. – Dacey Orr
Maya de Vitry, Adaptations
Americana, especially its folkier, song-centered haunts, is remarkable in the way that it grapples with the realities of the millennial condition — granted, this most often occurs in a somewhat tactless, blinders-on, privilege unchecked sort of way. A deeper undercurrent is eroding that norm, though, a flow in which songwriters and music sculptors like Maya de Vitry thrive, reckoning not with the woes of this generation and this angst-filled time in history in saccharine, derivative ways, but by baring all, relinquishing shame, and believing the radical idea that human connection means seeing — and being seen. In Adaptations, de Vitry takes this unspoken mandate deeper still, not only lifting up whatever opaque barriers may obscure, but also shining a cleansing light on them, packaging her own (very relatable) internal and external debates in songs that are catchy, musical, intuitive, and craveable. – Justin Hiltner
Rhiannon Giddens with Francesco Turrisi, there is no Other
We talk about music cutting across borders, linking cultures, spanning eras. Few albums have embodied that as deftly, as enchantingly, as unforcedly as this set from folk-blues-and-beyond stylist Giddens and Italian percussionist Turrisi. On much of this, they mesh Southern traditions stretching back to music brought by enslaved peoples from Africa and immigrants from Europe with Mediterranean sounds echoing through the centuries back to the Crusades. It proves a natural mix, as much can ultimately be traced to common origins in the Middle East and North Africa — though you don’t have to know the musicology to be enraptured by the vibrant performances. And that goes for their Menotti opera piece (via Nina Simone) too. – Steve Hochman
Takumi Kodera, Sunset Glow
Japan’s flourishing bluegrass scene is little-known to most Americans, but it’s a community that has been developing in the shadows of Western-centered bluegrass for years. This past August we saw an example of the talent coming out of Japan with the release of Tokyo-based banjoist Takumi Kodera’s debut album, Sunset Glow. It’s a record rich with creative textures and thoroughly composed arrangements of both original tunes and bluegrass standards. Kodera is definitely an artist to follow going forward. – Carter Shilts
J.S. Ondara, Tales of America
In 2013, J.S. Ondara moved from his native Kenya to Minnesota (the home state of his hero Bob Dylan) seeking inspiration and musical opportunity. Six years later, he released his breakout record, Tales of America: a reckoning of the realities of romanticism that come with moving to a place you only knew in your mind, and the dichotomy of the failures and freedom of the modern “American Dream.” With veteran producer Mike Viola at the album’s helm (and supported by an impressive roster of guest artists like Andrew Bird, Dawes’ Taylor and Griffin Goldsmith, and Joey Ryan of the Milk Carton Kids), Ondara steps outside of the shadow of his idol’s influence and completely into his own. – Amy Reitnouer Jacobs
Joan Shelley, Like the River Loves the Sea
Shelley traveled all the way to Iceland to record this album, but that distance gave her a new perspective on the place she calls home. This is at heart a Kentucky album: She incorporates various strings of regional music, sings and plays with other Louisville musicians (including Will Oldham and Nathan Salsburg), and gains some perspective on a place often described as being five years behind the rest of the country. But her steady voice and imaginative melodies, her incisive words and deft picking all mean that songs like “Awake” (about the angst of being in a city) and “The Fading” (about the beauty of entropy) hit with a quiet, intense power even if you’ve never set foot in the Bluegrass State. – Stephen Deusner
Larry Sparks, New Moon Over My Shoulder
Larry Sparks makes bluegrass music to satisfy his own traditional leanings, yet New Moon Over My Shoulder would appeal to anyone who cares about emotion, vocal control, and eloquence in their music collection. His gospel songs shine, his guitar playing is exquisite, and his delivery of “Annie’s Boy” proves he’s one of the most expressive vocalists that bluegrass has ever known. – Craig Shelburne
Andy Statman, Monroe Bus
Time and time again, as musicians with deep, unassailable bluegrass cred release albums that challenge absolutely every precept and entrenched tennant of the genre, a rule of thumb is made apparent: To be a “legit” bluegrass picker is to not give a shit about what is or is not bluegrass. With Monroe Bus Brooklyn-based mandolinist Andy Statman turns tradition on its ear — it’s still fully recognizable, just placed slightly out of reach, as a kind mother knowingly weans a petulant child, keeping the prize in sight as a security blanket. The album takes twists and turns through jazz, blues, bebop, klezmer, and yes, bluegrass, and it all feels right. So much so, a listener might not even blink at the title’s evocation of the Father of Bluegrass. – Justin Hiltner
Billy Strings, Home
Billy Strings is a force to be reckoned with. As a flatpicker, a singer, a writer, and a performer, the IBMA Award-winning guitarist has been storming the bluegrass scene, and 2019 was especially good to him. While continuing his seemingly endless tour, Strings released his highly-anticipated sophomore album, Home. The project hits all the right buttons — classic bluegrass styling, vibrant playing, and discerning songwriting. In its class of new releases in 2019, Home shines among the brightest. – Jonny Therrien
Tanya Tucker, While I’m Livin’
What makes this Tanya Tucker album so special? For me, it comes down to one word: personality. Nobody else sounds like her – the rasp, the catch in her voice, the way she phrases words like “Vegas” and “Texas” to make the story in a song her own. Her undiminished bravado is put to good use on “Hard Luck,” but very few vocalists can scale things back with equal power. Tucker does it every time. – Craig Shelburne
Yola, Walk Through Fire
Figure skating isn’t the first thing to come to mind when considering the year’s best albums, but Yola’s blazing debut, Walk Through Fire, reminds me of the glory days of the sport, before the scoring system changed, when judges would deliberately reserve perfect scores — the ever-elusive 10s — for athletes taking the ice toward the end of the competition. The terroir of Dan Auerbach’s production style met its match with Yola; they fashioned an album that’s transcendent, truly timeless, and an apt distillation of this exact moment in country and Americana. It’s fortuitous then, that at the end of the 2010s, we’ve reserved one last perfect score with which to declare this masterpiece not only one of the best albums of the year, but of the decade, too. – Justin Hiltner
Here at The Bluegrass Situation, we’re always eager to hear a new song. This year it’s likely that thousands of them drifted by, each with their own charms. Yet, rather than ranking our favorites, we decided simply to pick tunes that reached out and grabbed our attention in 2019 — listed here in alphabetical order. Take a look.
Brad Armstrong, “Carry Your Head High”
Formerly of the great Alabama art-folk outfit 13ghosts and more recently a member of the impossible-to-kill Dexateens, this Birmingham singer-songwriter has in the last few years emerged as a solo artist who can bend old musical forms into brand new shapes. “Carry Your Head High,” off his second album, I Got No Place Remembers Me, may be his most stunning composition yet, a churchly acoustic hymn of self-reckoning and survival that builds to a weird, intensely ecstatic climax. It’s the sound of a man shaking loose every last burden. – Stephen Deusner
Bedouine, “Echo Park”
Carrying on a long legacy of Eastside LA troubadours, Bedouine’s standout track from her brilliant sophomore album captures the essence of lackadaisical days in the Southern California sunshine by Echo Park Lake. On repeat all year long. – Amy Reitnouer Jacobs
Dale Ann Bradley, “The Hard Way Every Time”
An exquisite singer, Dale Ann Bradley has put her stamp on countless cover songs, but there’s something special about the way she interprets this 1973 gem written and recorded by Jim Croce. More than just singing it, she inhabits it. The poignant lyrics allude to lessons learned and dreams broken, but also the insistence that the narrator wouldn’t have done it any other way. Through Dale Ann’s perspective, it’s presented as a blend of nostalgia and fortitude, delivered by one of bluegrass’ most believable vocalists. Musical support from Tina Adair, Tim Dishman, Jody King, and Scott Vestal round out the good vibes. – Craig Shelburne
Tyler Childers, “All Your’n”
It was a banner year for Tyler Childers, whose seemingly endless run of sold-out tour dates gave way to a staggering sophomore album, Country Squire, that took his snarly Appalachian drawl and quick-witted lyrics to the top of the Americana charts (and to college football fans everywhere). From the sweeping piano at the outset to the final wail of affection, “All Your’n” elevates van-tour vernacular to a kind of love language — “loading in, and breaking down / my road dog, door-deal dreams” — with a grin of a chorus that conveys a confident, just-gets-better-with-time kind of intimacy, miles between be damned. – Dacey Orr Sivewright
Charley Crockett, “The Valley”
A life story set to music, “The Valley” recounts the bumps along the way for this Texas musician, who somehow overcame the obstacles — from tough family situations to open-heart surgery — to create an exceptional album of the same name. Echoing his own experiences, the instrumentation on “The Valley” is a pendulum of highs and lows, yet sits squarely in classic country territory, thanks to Crockett’s magnetic voice and the through line of superb steel guitar. – Craig Shelburne
Maya de Vitry, “How Do I Get to the Morning”
This earworm caught me after seeing Maya de Vitry at The Basement in Nashville a few months before the release of her album, Adaptations. If you’re not familiar, The Basement is essentially that – a small club below the former location of Grimey’s Records. It’s dark, intimate, and sports a max capacity of about 50, but de Vitry lit the place up with this one. It’s funky, soulful, positive, and it’s bound to leave you humming the chorus for weeks after your first listen. – Carter Shilts
J.S. Ondara, “American Dream”
A kid from Kenya, obsessed with Bob Dylan, wings his way to Minneapolis, starts playing music and, a few years later, has a deal with Verve Records and an acclaimed, highly affecting debut album. American Dream, indeed. But his song of that title is full of unsettling images — guns, beasts, ghosts — the darkness at once belied and deepened by his sweet, accented voice and lilting jazz-folk settings, echoing Van Morrison as much as the Bard of Hibbing. If you see him perform or talk with him (read our BGS feature from February), though, his hope and optimism beam through. – Steve Hochman
Our Native Daughters, “Black Myself”
Though watching a majority-white audience gleefully shout along to this righteously vengeful, imposing, empowered anthem by Amythyst Kiah might justifiably raise an eyebrow or two, this phenomenon is a testament to those Black musicians and creators who lead the way in actively un-writing myths that claim Black experiences and Black stories — especially those of Black women — are not relatable to the mainstream and its consumers. Recorded with Rhiannon Giddens, Allison Russell, and Leyla McCalla on Songs of Our Native Daughters, this track demonstrates that talking about our shared history, telling our truths without censorship or defensive reflexes, is key to moving forward with healing and intention. And just a dash of raisin’ hell, too. – Justin Hiltner
Tanya Tucker, “Wheels of Laredo”
For an album with a largely decentralized creative process — Tucker herself has been quoted in numerous interviews describing having to warm up to the songs, the recordings, and the entire project — While I’m Livin’ is a perfect distillation of the persona, the vim and vigor, and the pure X-factor that makes Tanya Tanya. (Read our Artist of the Month feature from August.) “The Wheels of Laredo,” written by Brandi Carlile and Tim and Phil Hanseroth, remarkably sounds as if it’s been plucked directly from the subconscious and lived experiences of Tucker herself. A haunting refrain, “If I was a White-crowned Sparrow…” reminds us that the human barriers by which we allow ourselves to be thwarted are just that. Human. No one stops a sparrow at the border of a not-so-distant land. – Justin Hiltner
Yola, “Faraway Look”
You know an album is special when a deluxe edition is released in the same year of its debut. Yola’s Walk Through Fire is just that kind of record. (Read our interview.) The opening track, “Faraway Look,” sets up the album with a soaring chorus and vintage vibe, paving the way for what’s to come. And with four Grammy nominations, including Best New Artist, it’s sure to continue its relevance well into 2020. — Chris Jacobs
That’s the first line of “The Valley,” the autobiographical title track of Charley Crockett’s newest album and perhaps the best entry point into his true-to-life twist on traditional music. Not only do those lyrics reference the rougher times of his story so far, the jaunty arrangement underscores his fascination with blues and classic country music — but without treading the same fertile ground as everybody else. BGS caught up with Crockett by phone on his way to the Pacific Northwest.
BGS: At the end of the song “The Valley,” your closing line is, “May your curse become a blessing. There ain’t nothing else to do.” Tell me about the message you were trying to convey with that line.
CC: Man, I think people are born into struggles that we don’t have a lot of control over. I know for me, I dealt with different adverse situations that I never saw them coming and got forced into at a young age. Just with my own story I had a lot of issues over the years with getting in trouble and family stuff, siblings going to prison and losing my sister to some of the vices of the modern world. My mother was struggling, working 80 hours a week, to take care of me, and that whole deal.
I parlayed all of those hardships together into making music, so quite personally I’m saying, hey, you can take those really hard things and turn them into something, because if you don’t, what’s the alternative? I had a guy tell me years ago on the street, I asked him how he was doing, and he said, “I’m doing great today. I have to be doing great ‘cause what’s the alternative?” That stuck with me for my whole life.
I thought, man, it really is all about how you see it. That line before it is, “And now you know my story, I bet you got one like it too.” I never really run across very many people that didn’t feel like they were fighting some kind of adversity. I feel like you got to take the lemons and make it into lemonade.
Do you consider yourself an optimist?
Oh, I’d say so, most definitely. I met a guy in Denmark, when I was over there recently, who had an Indian curry joint there in Copenhagen. We ended up going two days in a row. The first day I went in there and we had cowboy hats on, and he knew real quick we were doing music and the whole loud-mouthed Texan thing or whatever. We played up and had a good time in there, and he got my name and stuff, and we left.
We ended up going in the next day to eat again because we liked his curry so much. I come in there and he said, “Charley, man, I want to apologize to you. I looked you up and I read about your story.” He’s like, “I really judged you as being somebody that maybe hadn’t been through much, because you seem like you were so happy-go-lucky and so optimistic.”
I thought that was so strange, that because of my positivity, he thought that maybe I was privileged or something. I guess he read my circus of a biography and realized that I was a lot different than that. And that really struck me. It was sad to me in a way. I thought if everybody in this life wore their hardship on their sleeve and let it get the best of them, it would be really sad. But what’s really amazing about people, overall, is the resiliency in people.
Who were some of your early champions when you decided to take this music path?
Well, in the beginning, my mother was the one who got me this old Hohner guitar out of a pawn shop when I was 17, and told me that I could do this. Even when I sounded terrible. I remember saying, “Mama, I tried to write these songs. Am I any good?” Then she said, “Well, son, people will believe you when you sing.” [Laughs] She wasn’t going to lie to me and tell me I was good. She told me what I needed to hear and I understood what she was saying. She was talking about honesty. She was talking about integrity. She was talking about sincerity. That’s what I believe in.
On “The Way I’m Living (Santa Rosa),” you’re singing about Mendocino County, and that it’s taught you a few things. Was there a specific moment in California where you had an epiphany, or that something really struck you?
Yeah, man. I hitchhiked and rode trains and hoboed around for a really long time. I had hitched out there to Northern California when I was 22 or 23. I ran into cool people up there that would pick me up on the side of the road and let me sleep in their barns or in their pastures, and do work trade and all kinds of stuff. Even my record, A Stolen Jewel — my first one that I ever put out on myself — those people gave me the money to make that record and print 5000 copies of it.
I got them printed up in San Francisco, just a couple of hours south, and I drove in a truck that I’d gotten from those farmers up there that let me work their land. Then I drove back down to Texas and I handed them out on the street in DFW and Austin. That was how I first started getting my first publicity. I got written up in the Dallas Observer and the Fort Worth Star-Telegram, and I got a local guy to start booking me at Texas bars.
So yeah, the line is “Mendocino County bring me lots of joy. It’s opened up the eyes of this wanderin’ Texas boy.” And that’s exactly what happened. It was the first place that I’d ever been in my life where people said, “Man, all you got to do is help out on this farm and play music for us and you can live here in exchange. And we’ll feed you too! And we’ll take you out to the open mics at the brew pubs.”
I’d go to a gathering on people’s farm where you’d play music around the campfire and I’d never known anything like that, besides being down and out on the side of the highway in more shady situations. But then in Northern California, it was the first place where somebody in my position, my modest, kind of undeveloped artistic abandon, that people were like, “Hey, I see you as an artist and I respect you and your music. There’s something about you.” That’s why I have so much love for Mendocino County and continue to be a part-time member of that community there. Those people have always treated me like I had value.
Do you like bluegrass music?
Big time, man. Jimmy Martin, Ralph Stanley, I wear that stuff out. Actually I packed a banjo and brought it into my show. We have a bluegrass section in the show, right in the middle of the set, where we do a five-song bluegrass deal around the one mic. It’s just a lot of fun!
What do you hope people take away from the experience of coming to see you play?
I hope the people that have come out before to see me will see that I’m true to what I promised — that I’m getting better every year. I’m really about the classic stuff and I think when you’re really rooted in the tradition, you’re never going to stop growing.
When I was playing in San Antonio the other night, I played “Nine Pound Hammer” on the banjo for these kids. … This mother had her two young children at the very front of the stage and they were hollering for “Nine Pound Hammer” as I got off stage after the encore, and I ended up playing it for them sidestage, because they were so sweet. These kids were young. The little girl was probably 8 and the boy was probably 10 or 11 at the oldest, and they knew every word to “Nine Pound Hammer.” That was really cool to me to see these young kids, who had no context of how old that dang song is, excited about something out of the nineteenth century like that.
I guess that’s one thing you could say, but for me it’s like I wear tradition on my sleeve and I think what’s radical in music today is to bring tradition up front. I think that’s what people like about me. Not that I’m some kind of preservationist, but that I’m doing tradition as a man of my times. I think that people can hear the tradition and they can also hear something new in what I’m doing. I hope that’s what people hear when they come out to see me.
Texas troubadour, modern-day drifter, and musical journeyman Charley Crockett brought his old-school sound to the DittyTV stage in Memphis. Now preparing for West Coast dates — after an international tour — Crockett just released his sixth studio album, a collection of story songs called The Valley.
The new project follows Crockett’s unique history of rambling and collecting some Forrest Gump-esque experiences, writing them into songs all along the way. Performing “5 More Miles” from the new release, here is Charley Crockett on DittyTV.
Charley Crockett has a story that’s difficult to imagine playing out in the 21st century – he’s hoboed around the country, lost loved ones, scuffled with the law, played on the streets for a decade.
And recently he endured open-heart surgery. At 35, he’s lived several of our lifetimes. And the thing is, he’s poured it all into his remarkable country blues, and he’s finally getting the renown he deserves. It’s what roots music is all about. Get ready for his September 20th release of The Valley with this conversation, which took place backstage, hours before his Grand Ole Opry debut in the WSM Room. Also in the hour, Nashville’s Lillie Mae is back on the program to discuss making her second album for Third Man Records at Studio A with super-producer Dave Cobb. It’s part of a longer conversation that will be posted soon by our friends at WMOT.org.
The Bluegrass Situation and BGS-UK return for a second year to The Long Road with the creation of the BGS Songwriters Cafe on Sunday, September 8. The three-day festival, set for September 6-8 in Leicestershire, England, takes place at Stratford Hall. (Ticket information available here.)
Continuing the long tradition of great listening room venues such as The Bluebird Cafe in Nashville, The Troubadour in Los Angeles, and The Gaslight in New York, BGS will bring together some of today’s best roots songwriters from the US, Canada, and the UK, culminating in a one-of-a-kind in-the-round session, swapping stories and songs. Artist lineup and more details will available soon on the BGS-UK Facebook page.
The Long Road Festival will feature performances by Rhiannon Giddens, Asleep at the Wheel (making their first full-band appearance in the UK in more than 10 years), The Cactus Blossoms, Charley Crockett, Sam Outlaw, The Steel Woods, and John Paul White, as well as some of the leading UK country, Americana and roots artists including The Hanging Stars, CoCo and The Butterfields, Jake Morrell and Peter Bruntnell. A number of mainstream country artists will also appear.
The Long Road’s Creative Director, Baylen Leonard stated, “I couldn’t be more excited to share what we have in store for year two of The Long Road. After such a warm embrace by Country and Americana fans in year one, we got straight to work on the line-up and experience for this year and it promises to be even better. Top notch artists, hands on experiences, and great food, all in a world created just for music fans really is something special. I can’t wait for the gates to open.”
In addition to BGS-UK, the following organizations are returning with festival partnerships: The Birthplace of Country Music, which showcases the role that Bristol, Tennessee and Bristol, Virginia played in the birth and development of country music; The Americana Music Association UK; and independent UK label Loose Records. These organizations will bring artists to the festival to showcase the broad array of talent across the global country, Americana and roots music scene.
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