SNEEZY WATERS continued from pg 17
Musical in France. Knowing that the music business
is a fickle mistress, Sneezy had the foresight to come up with a backup plan in the mid-70s. He earned his Union Stagehands
Card, so when the “Hank” show ramped down in 1981 he came back to Ottawa, settled into a more normal life and worked his butt off as a stagehand for most of the big shows at the Civic Centre and NAC. Music became more of a hobby
during that period, but Sneezy grew increasingly pressured by fans and friends to get back into it and share his gift. Sneezy Waters and his Excellent Band became familiar faces along the Canadian folk circuit, and he was a regular presence on CBC radio. He started playing more shows,
and now he’s actively performing mostly to raise money for worthy
local charities. You can see him from time to time at the NAC Fourth Stage, or jamming with his friends down at Irene’s. In 2012 Sneezy Waters
released his first album in 15 years. The self-titled disc earned him a Canadian Folk Music Award nomination for traditional singer of the year. Today, at 69, Sneezy is in
a very good place. He has his health, his friends, his music; and he’s sharing his musical gift with people who need help or just a nice tune to clap along to. He plays seniors’ homes,
hospitals, benefits and the occasional bar gig just to have some fun. “I think people should follow
what their gifts are, do what they love to do,” he says. “Follow your own heart. Music is what I have to do because I love it.” As we wind down our
conversation, I ask if there’s a
chance he might dust off the old Hank Williams white suit, which he still has, and give it another go. “Hank was 29 when he died,” he
says. “I’m 69. I’m done with it.” So Hank has left building, but Sneezy Waters plays on.
MUSIC REVIEW continued from pg 13
Gotta Stay Young with Wilson on
vocals features a short, lovely guitar break with him encouraging Linden on – like all the songs here, the democracy of the three is admirable. Riffs, leads, song writing, it is all shared, joined and intertwined. Every track on South is strong.
oasis
The versatility and strength of each of them makes for subtly diverse, harmonic listening pleasure. I’d Have To Be A Stone by Fearing and Wilson initially sounds maudlin and trite. Listen to it a few times, though, and the depth and feeling is amply conveyed, to say nothing of the tasteful guitar whisperings throughout. Fearing’s Everything I Am is a
personal favourite – the man is a fantastic songwriter (check out Vigil from Kings of Love; scary moving) – and the album closes on an absolute high note. Drifting Snow is a Bennett song
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they did on that long-ago tribute album. Here they reprise it with grace, majesty and stunning beauty. Great licks, superb vocals. It personifies the collective soul/gut of Blackie and the Rodeo Kings, and how they came to be. It’s a sublime tune – a powerful, moving tip of the hat to their inspiration and their beginnings.
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Photo By PETER WAISER
Her
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