Charles began merging gospel sounds and instruments with lyrics that addressed more secular issues. His first attempt was in the song "I Got a Woman", based either on the melodies of gospel standards "My Jesus Is All the World to Me" or an uptempo "I Got a Savior (Way Across Jordan)". It was the first Ray Charles record that got attention from white audiences, but it made some black audiences uncomfortable with its black gospel derivatives; Charles later stated that the joining of gospel and R&B was not a conscious decision. In December 1958, he had a hit on the R&B charts with "Night Time Is the Right Time", an ode to carnality that was sung between Charles and one of the Raelettes, Margie Hendricks, with whom Charles was having an affair. Since 1956 Charles had also included a Wurlitzer electric piano on tour because he did not trust the tuning and quality of the pianos provided him at every venue. On the occasions he would play it, he was derided by other musicians. Composition and recording According to Charles' autobiography, "What'd I Say" was accidental when he improvised it to fill time at the end of a concert in December 1958. He asserted that he never tested songs on audiences before recording them, but "What'd I Say" was an exception. Charles himself did not recall where the concert took place, but Mike Evans in Ray Charles: The Birth of Soul placed the show in Brownsville, Pennsylvania. Shows were played at "meal dances" which typically ran four hours with a half-hour break, and would end around 1 or 2 in the morning. Charles and his orchestra had exhausted their set list after midnight, but had 12 minutes left to fill. He told the Raelettes, "Listen, I'm going to fool around and y'all just follow me". Starting on the electric piano, Charles played what felt right: a series of riffs, switching then to a regular piano for four choruses backed up by a unique Latin conga tumbao rhythm on drums. The song changed when Charles began singing simple, improvised unconnected verses ("Hey Mama don't you treat me wrong / Come and love your daddy all night long / All right now / Hey hey / All right"). Charles used gospel elements in a twelve-bar blues structure. Some of the first lines ("See the gal with the red dress on / She