Chuck Berry

The Chuck Berry falls ill during Chicago show; but refuses hospital

About an hour into a rapidly-deteriorating concert at the Congress Theater Saturday night, Chuck Berry slumped over an accompanist's keyboard before being helped offstage.

The 84-year-old rock and roll legend and a backing band of 3 Chicago musicians attempted to resume the show for a packed house about 15 minutes later, but Berry almost immediately was taken off again to be checked by paramedics who had been called to the scene.

After being examined, Berry returned one last time to thank the fans who had waited in hopes for the show to continue, but he left the stage -- using a bit of his signature "duck walk" -- without playing again. Shortly afterward, he walked out of the theatre's stage door on his own into an awaiting limousine. Berry signed a release saying he was OK, and he was not taken to a hospital, according to Fire Department spokesman Joe Roccasalva.

"All I know is he felt faint, he felt weak, and I was told to call 911," said Michael Petryshyn, the concert's promoter, backstage after Berry's departure.

Berry had been active in recent days: He had performed 2 shows in New York City the night before. Although Berry performs regularly in his hometown of St. Louis, he infrequently gives concerts elsewhere.A message left with Berry's management Sunday was not returned.

The show had started promisingly. Taking the stage in a red sequined shirt, black slacks and a white sailor hat, Berry began with "Roll Over Beethoven," one of his many 1950s hits, which formed the foundation for guitar-based rock and roll.

Although Berry played this and following songs - "Sweet Little Sixteen" and "School Days" -- at slower tempos than the original recordings, he filled them with his classic guitar riffs and sang them with weathered authority. Drummer Steve Gillis and bassist Bill Stephens kept the songs swinging steadily, and Vijay Tellis-Nayak added jubilant boogie piano.

Things then quickly began going off the rails. Berry played snippets of blues songs and an unsteady version of " Memphis Tennessee," before taking an extended pause to try to retune his guitar, complaining that it was out of key with the piano. He made several unsuccessful attempts at "Let It Rock," in part seated at the piano, and performed disjointed bits of "Carol" and "Johnny B. Goode."

Berry revived to lead the crowd in a sing-along of "My Ding-a-Ling" and acknowledged things weren't going well, telling the crowd he'd try to do better at entertaining them. It was not to be. After a version of "Reelin' and Rockin'" they found the band gamely following his inconsistent tempo, Berry made his way to the piano, where the show came to an end completely at odds with the joy in his music.

"Obviously, something was off," said Petryshyn, the promoter. "Fifteen minutes into the set it went from fine to something wasn't right. He was starting songs mid-song, playing 15 seconds of a song."

"I'm sorry to see his health be in that shape," Tellis-Nayak said. "He obviously loves performing. The music is still there. It's hard to see his health deteriorating. He may be working harder than he should."

The Day The Music Died

Today, we remember the death of Buddy Holly, Ritchie Valens and Big Bopper. This day is commonly known as "The Day the Music Died." It is the inspiration for the song "American Pie." This is the 50th anniversary of this event.

In 1959, Buddy Holly, Ritchie Valens and the Big Bopper made what ended up being their last public appearances at the Surf Ballroom in Clear Lake, Iowa. They died in a plane crash the next day.

Charles Hardin Holley (September 7, 1936 – February 3, 1959), known professionally as Buddy Holly, was an American singer-songwriter and a pioneer of rock and roll. Although his success lasted only a year and a half before his death in an airplane crash, Holly is described by critic Bruce Eder as "the single most influential creative force in early rock and roll." His works and innovations inspired and influenced both his contemporaries and later musicians, notably The Beatles, The Beach Boys, The Rolling Stones, Don McLean, and Bob Dylan, and exerted a profound influence on popular music.



Holly was in the first group of inductees to the Rock and Roll Hall of Fame in 1986. In 2004, Rolling Stone ranked Holly #13 among "The Fifty Greatest Artists of All Time".

Buddy Holly released only three albums in his lifetime. Nonetheless, he recorded so prolifically that Coral Records was able to release brand-new albums and singles for 10 years after his death, although the technical quality was very mixed, some being studio quality and others home recordings. Holly's simple demonstration recordings were overdubbed by studio musicians to bring them up to then-commercial standards.

The best of these overdubbed records is often considered to be the first posthumous single, the 1959 coupling of "Peggy Sue Got Married" and "Crying, Waiting, Hoping", produced by Jack Hansen, with added backing vocals by the Ray Charles Singers in simulation of an authentic Crickets record. "Crying, Waiting, Hoping" was actually supposed to be the "A" side of the 45, with the backup group effectively echoing Buddy's call-and-response vocal. The Hansen session, in which Holly's last six original compositions were overdubbed, was issued on the 1960 Coral LP TheBuddy Holly Story, Vol. 2. But the best "posthumous" records were the studio recordings, which included "Wishing" and "Reminiscing".

Buddy Holly continued to be promoted and sold as an "active" artist, and his records had a loyal following, especially in Europe. The demand for unissued Holly material was so great that Norman Petty resorted to overdubbing whatever he could find: alternate takes of studio recordings, originally rejected masters, "Crying, Waiting, Hoping" and the other five 1959 tracks (adding new surf-guitar arrangements), and even Holly's amateur demos from 1954 (where the low-fidelity vocals are often muffled behind the new orchestrations).

The last newBuddy Holly album was Giant (featuring the single "Love Is Strange"), issued in 1969. Between the 1959–60 Jack Hansen overdubs, the 1960s Norman Petty overdubs, various alternate takes, and Holly's undubbed originals, collectors can often choose from multiple versions of the same song.