[3][4] By 1973, Smith had become increasingly dissatisfied with RCA Victor and ultimately left the label after her contract was not altered to her specified needs.

However, Columbia dismissed Davis from the label and Smith began working on her first album with producer Billy Sherrill.

However, the pair disagreed on religion, Smith being more religious than Sherrill: "The first time we met after I signed, we had an argument.

[7] Biographer Barry Mazor found the album to be crafted in a "Countrypolitan Sound", that featured a "lush chorus and string embellishments".

Smith herself feared the new pop approach would shy away her fans but agreed to try it because she found "good songs".

Another new track was "The House Where Love Shines", which was penned by Smith's friend and songwriter, Dallas Frazier.

Among these recordings was the track "Soul Song", which was penned by George Richey[9] and was a number one country single by Joe Stampley in 1972.

[10] As promised by Columbia, Smith was allowed to include two gospel selections per secular album, a theme that she would continue at the label.

When choosing the two gospel songs for the collection, Smith said that she chose material that she "thought would fit the album more" and "would have a message".

[15] All credits are adapted from the liner notes of A Lady Named Smith[11] and the biography booklet by Barry Mazor titled The Latest Shade of Blue.