Despite a major snowstorm in Nashville, Ralph made the short drive to RCA Studio B on that first night. “There were police cars, flashing lights, and over a hundred girls screaming in the freezing cold outside the building,” he remembers. Inside, Ralph joined his colleague Rufus Long, the principal flutist at the Nashville Symphony. They were the only wind players in the room. When Elvis finally arrived, an hour late but dressed impeccably in a blue suede suit, rehearsals began. The musicians learned there would be no sheet music. Instead, they listened to older recordings that the film’s songs were
the session musicians were,” Ralph adds. “The pianist, Floyd Cramer, could improvise flawlessly and insisted on perfection. I remember him stopping a session because he played one wrong note.” Each night ended in the early morning hours. And each time, the police cars and fans were still there — unwavering in their devotion to the King of Rock and Roll.
based on and wrote down the chord progressions and melodies by ear.
“Elvis was not prepared,” Ralph recalls with a chuckle. “He kept forgetting lyrics and rhythm, cussing every time he messed up. We didn’t even play a note that first night but were paid well just for being there.” Over the next two nights, the sessions became more efficient. Elvis, having practiced, breezed through five songs each night. Ralph and Rufus finally got to play on tracks that required flute and oboe, transcribing their parts as they listened to the original recordings. “It was remarkable how skilled
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