Effie Smith

By Marv Goldberg

© 2025 by Marv Goldberg

Effie Smith was a doer. Not only a singer, but a songwriter, record company executive, record company owner, and activist. Hers is a most interesting life.

NOTE: She supposedly sang with Benny Carter, but there's only one reference to that - on an AFRS Jubilee program. She also supposedly sang with Lionel Hampton, but there are no references to that at all.

[I have to whine that you have no idea how common the name "Effie Smith" is. Most of them made the papers when they died.]

She was born on April 10, 1914, in McAlester, Oklahoma, as Effie Mae Bly (if only it remained that simple). Her father was Kentucky-born William Bly and her mother was Louisiana-born Sarah Jane Hollingsworth. In the 1900 census, taken as of June 1, William (a cook) and Sarah lived in Purcell (in the Chickasaw Nation, Indian Territory, southern Oklahoma). They said they'd been married 1 year and had never had any children (two questions that were asked in that census).

NOTE: Census records for Effie's family are a mess. Long-time readers will know that I've determined there are three qualifications for a census-taker: (1) being no more than semi-literate; (2) being hard of hearing; and (3) having illegible handwriting. This time, however, most of the problems seem to be with the family's answers.

By the time of the April 1910 census, William and Sarah had moved to Pittsburg (well, McAlester, Oklahoma, which is in Pittsburg County).

That census shows William and Sarah with three daughters and a son, all born in Oklahoma. They say they've been married 10 years (which is fine) and have had six children, four of whom were still alive (although there were no deaths of any Bly children I could find in Oklahoma between 1900 and 1910). So far, so good; now the fun begins. The children are Alsie Bly (13), Alberta Bly (8), Willie Beatrice Bly (5), and Elijah Wesley Bly (2).

The problem child is "Alsie Bly". They've been married 10 years and "Alsie" (listed as their daughter) is 13. She didn't appear in the 1900 census, when Sarah said she'd never had any children, but, more important, Alsie shows up nowhere else. Who was she? In the 1920 census, there's an Elsie Bly, a maid, in Tulsa, born in Oklahoma in 1897. I suppose that could be her, but she, too, then disappears. I'll leave this one to the family's genealogists.

William and Sarah Bly were still married when the 1916 McAlester City Directory was printed.

However, on December 19, 1917, Sarah married Andrew Leslie, although I can't find a divorce record from William Bly

Now, with the 1920 census (taken as of January 1), the fun escalates. Still in McAlester, the census shows Andrew Leslie, Jr., a farmer, and his wife Sarah. There are six children with them, the first three are (correctly) enumerated as step-children (the census is supposed to show how each family member is related to the head of the family): Alberta Bly, Willie Beatrice Bly, and Elijah Wesley Bly. The last child is a daughter, Lafayette Leslie, who is actually the child of Andrew and Sarah. No problems yet. However ("Daddy, there's that word again!"), the other two children are "Christine Leslie" (daughter), who was born in 1912; when she married, in 1933, it was as Christine Bly) and "Effie Leslie" (daughter). Both of those should have been "Bly" and listed as step-daughters. I get so tired of saying "I have no explanation."

The November 26, 1924 McAlester News-Capital had this, in a column headed "Cupid Repudiated":

A divorce was asked by Sarah Leslie from Andrew Leslie in an action filed in the court clerk's office today. Extreme cruelty and non-support are the charges made in the petition. [Although that sounds awful, keep in mind that there were very few grounds back then for a divorce, so they had to say things like this. But, for whatever reasons, the divorce never happened.]

The May 1, 1927 McAlester News-Capital had the first mention of Effie in print. "Effie Bly" (notice it isn't "Effie Leslie") was in a list of team members from the L'Overture school, who had just won a track meet over the Park school.

The July 12, 1928 Oklahoma City Black Dispatch, in their "McAlester News" column, said that Effie M. Bly had attended a birthday party. Just to show you how cheap column space was then, here's how it was reported (this is typical of event reporting):

An interesting event of Monday evening, July 2, was an informal birthday party at which Miss Flossie B. Milliner was hostess, in the beautiful and palatial home of Mr. and Mrs. Robert Jackson, 901 E. Cherokee Avenue. Pink and white were the predominating colors in the decoration of the dining room and the tables were centered with bowls of daisies. The time was passed in games and dancing and at the close of the evening, a delicious ice course was served by Mrs. Jackson to the following guests [names omitted, but available upon request]. Each one left voting Miss Milliner a wonderful hostess. Many useful gifts were received.

Barf bags available, also upon request.

In the 1930 census, Andrew Leslie was now a tree surgeon. All the Bly children had left home (Willie Beatrice and Elijah Wesley were now living in Los Angeles; Alberta was living in Oklahoma City.). This left Christine and Effie (still called "Leslie" and still called "daughters") and Lafayette.

And then, Christine and Effie left home. This was in the December 4, 1931 California Eagle (Los Angeles): "The Misses Christine and Effie Mae Bly were the hostesses at a party given at their home at 819 East 28th Street Monday night, November 23. The evening was spent in playing cards and dancing." Same waste-of-space reporting, but at least we know that they called themselves "Bly", regardless of censuses.

Finally, what you've been waiting for: an appearance. On July 23, 1932, Effie Bly appeared with Bethel Gibson's "Chocolate Box Revue" at the Florence Mills Theater in Los Angeles. (Bethel was the father of Albert and Duke Gibson, who would become members of the 3 Chocolateers.)

On January 17, 1933, Effie Bly, married Fred Sledge Smith in L.A. They would have two children: Fred, Jr (born 1933) and Barbara (born 1935).

With the Great Depression raging, the government set up WPA projects to give employment to over 8 million people. In June 1937, Effie was part of a WPA radio show, called "Deep South" (later renamed "Deep In The South"), over KHJ in Los Angeles. In it, she voiced Elijah, the main character's "mischievous grandson".

At the same time, she was also in the cast of "Louisiana Hayride", another KHJ program (a Federal Theatre Of The Air production). She voiced "Martha", the "village siren". Another cast member was Ruby Dandridge, mother of Dorothy and Vivian Dandridge. Also there was actor John Criner, Sr.

September 1938 found her added to the cast of "Run Little Chillun", a WPA drama presented at the Mayan Theater (Los Angeles). Effie was keeping busy.

The September 2, 1939 Chicago Defender had a list of dozens of extras who'd appeared in the cabaret scene of the movie "One Dark Night"; one of them was Effie. It had wrapped up production in early August and was released in late November. Others in the cabaret scene were: Maggie Hathaway, Mantan Moreland, John Criner, Sr (as Lawence Criner), Dudley Dickerson, Monte Hawley, and the 4 Tones.

In the 1940 Census in Los Angeles, Effie May Smith ("Singer - WPA Project") is married (but no husband present). She and her children, Fred Jr and Bobby Jean, are living with her sister, Willie Beatrice and her husband, John Mitchell.

The blurb in the November 14 California Eagle told us that, on November 20, 1940, Effie was due to sing "St. Louis Blues" in a radio broadcast put on by the Carlyle Scott Choir. The paper didn't yet know what station it would be on (and never bothered to report it if they ever did find out).

She sang the song again on February 9, 1941 at an NAACP joint birthday celebration for Abraham Lincoln and Frederick Douglass. She was called a contralto and the arrangement was noted to have been by Carlyle Scott.

The biggest Effie Smith news of 1941 was that she'd become a member of a female trio called the Three Shades Of Rhythm (many times just called the Three Shades), along with Gladys Davis and Wilhelmina "Billy" Jones. I can't tell exactly when they started and, it was a very popular name; groups all over the country had it. (Did you know how many products came in "three shades"? I do; 1941 newspapers were full of them.) There were a couple of reports of the Three Shades in August 1940 California Eagle blurbs, but I don't think it's them.

They were first mentioned in the November 27, 1941 California Eagle:

FLASH! THE THREE SHADES, a vocal trio of three young ladies with their original swing style and "mellow" harmonizing voices are really the tops here in southern California. Many music critics are predicting a fine future for such a solid musical organization as this one. These three lovely singers organized this last year in the City of the Angels. It gives me the greatest of pleasure to introduce them to all you dear readers: Miss Gladys Davis, Wilhelmina "Billy" Jones, and Effie Smith.

They have a good musical background which may be a major factor in their musical achievements. Their versatile manner of vocalizing, harmonizing and entertaining is somewhat similar to the Andrew Sisters' style. Without doubt, the Three Shades will be one of the nation's number one singing trios. At the present time they are featured with Leroy "Snake" Whyte's band.

This was in the January 1, 1942 California Eagle:

Leroy "Snake" Whyte and his band were given a grand ovation by the many persons gathered in Pershing Square Christmas Eve afternoon to witness the program sponsored by the United States National Defense Bonds headquarters. The fine arrangement made by Leroy of the new patriotic song written by Leon Rene, "We're In It Again and We'll Win It Again", and featured by the trio, the Three Shades, brought the many hundreds of spectators to their feet giving this grand musical organization one of the greatest receptions given any of the many outstanding orchestras and musical organizations which have been guest artists on this worthy program.

The April 2, 1942 California Eagle talked about Effie:

Effie Smith, of the popular Three Shades vocalist [sic] trio, is becoming one of the finest swing female vocalists in SO. CALIF., her versatile style of rendition and her "mellow" personality are really the "kicks". This fine "canary" is headed for top honors among the ace female vocalists of the country.

Next month, the 3 Shades were praised in the May 7, 1942 California Eagle:

The THREE SHADES. Vocalist [sic] trio, is no doubt the finest girl trio on the Pacific coast and I am willing to go so far as to say one of the most versatile in the country. They have been featured with Leroy "Snake" Whyte's band for a long time and have made a grand reputation throughout Southern California touring various army camps, aircraft factories, colleges, high schools and other various national defense set-ups, not forgetting various naval bases. Last Sunday night they really "broke things up" at the New Plantation Club where they were featured with Whyte's band. Tonight (Thursday), Saturday, and Sunday. the THREE SHADES will "swing out" again with the band.

Last week [probably late April, 1942] the trio recorded with Ceele (guitar) Burke a couple of Leon Rene's latest songs. "Yes, indeed," GLADYS DAYTON, "BILLY" JONES and EFFIE SMITH are really "solid". So, to all you readers who would like to get your "kicks off" on the "mellow side", drop out to the new Plantation Club, and "dig" the THREE SHADES.

Of course, the names should be "Ceelle Burke" and "Gladys Davis", but that never seemed to matter to the ones writing these things.

The unnamed recordings mentioned in that blurb were "From Twilight 'Till Dawn" and "Lovely Hannah", two songs written by Leon Rene.


On those, Cecil Louis "Ceelle" Burke (pronounced "C.L.") was not only backed up by the 3 Shades, but also the 4 Dreamers. The 4 Dreamers had very fluid membership and I can't really guess who they were at this point (see my Basin Street Boys article for more on them). The tunes were released on Leon Rene's Exclusive label over the summer of 1942.

Effie and Gladys were named as two of the many who were interviewed to appear in "Road To Morocco". The list also included Vivian Dandridge and Maggie Fleming (Maggie Hathaway's married name). Billy Jones' name wasn't on the list, but it probably wasn't all-inclusive.

The 3 Shades and 4 Dreamers appeared on a show that also had Hattie McDaniel, Eddie "Rochester" Anderson, and Ernest "Bubbles" Whitman. The useless blurb in the July 23 California Eagle didn't think it was necessary to tell us where or when it was. I suppose it was a radio show, probably one broadcast for the armed forces, as the AFRS Jubilee shows would be in the future.

The 3 Shades would do a lot of USO shows to entertain troops in the U.S. In late July 1942, they were part of a tour which entertained the Tenth Cavalry somewhere in the Southwest (probably at Fort Huachuca, Arizona). Also there were Eddie Beal, Ben Carter, Hattie McDaniel, Bette Davis, Ethel Waters, Ernest Whitman, Clarence Muse, Mantan Moreland, and Big Joe Turner.

Sometime in the spring of 1942, the 3 Shades Of Rhythm backed up Herb "Flamingo" Jeffries on "At Least You Could Save Me A Dream". It was released, around August, on Excelsior (owned by Leon Rene's brother, Otis, along with Herb Jeffries and Hugh Claudin). The flip was "String Foo-Losophy" by the Eddie Beal Trio. An interesting question: were the 4 Dreamers also on the record? The label says "Vocal Chorus Directed By Carl Jones", a member of the Dreamers (and yes, a future member of the Delta Rhythm Boys). Also, listening to the "chorus", it doesn't sound completely female. It's also possible (and, I believe, probable), that it was just Carl Jones singing along with the Shades. This is sort of confirmed by the May 1945 Billboard review of the song when it was re-released (I'll get to that below).

By late September, said the October 3 Indianapolis Recorder, "It has proved a sensation on the coast and is No. 1 on the juke boxes of Hollywood and the whole coast."

In December 1942, the 3 Shades played Fort Huachuca (in Arizona) and the Visalia Airdrome (California), as part of a USO show called "Keep Shufflin'".

By the end of February, 1943 (said the March 3 California Eagle), "Keep Shufflin'" had visited more than 73 camps. Interestingly, the show didn't travel with its own band, but used musicians from each base.

I guess the show was over by May 8, 1943, since Effie M. Bly took some time to marry singer/songwriter John Lawrence Criner, Jr in L.A. He was the son of the John Criner I've mentioned a couple of times so far.

A couple of weeks later, the 3 Shades appeared at L.A.'s Streets Of Paris, with Lady Will Carr at the piano. This is the last mention of this particular 3 Shades group.

In June 1943, the Ceelle Burke Exclusive masters were re-released on the Capitol label. One of the owners of Capitol was singer/songwriter Johnny Mercer, who'd recorded Leon Rene's "I Lost My Sugar In Salt Lake City" not long before.

The July 17 Los Angeles Daily News reviewed the disc:

The outstanding new releases of the week are those carrying the Capitol label. The guitarist-singer Ceelee [sic] Burke headlines the third Capitol release, singing "Lovely Hannah" and "From Twilight 'Till Dawn" in a commercial and somewhat schmaltzy manner accompanied by the Three Shades and Four Dreamers. Note Bumps Myers' tenor sax on the "B" side - it's great!

Billboard, from the same date, had this to say of "From Twilight 'Till Dawn":

A smooth and romantic ballad offered up by a smooth band that is extra-rich in vocal talents makes this side an inviting number to capture the fancy of the phono fans. While the Ceelle Burke band has made its mark mostly on the West Coast, their record impression is designed to create enthusiasm all over the land. Employs the Tommy Dorsey technique of a celesta to sprinkle stardust over the voices of the rhythm choir, and it is mighty effective for this lush lullaby, which has already gained some circulation and should climb even higher on the strength of this side. [They never even mentioned the title of the flip.]

When Effie appeared at the Little Harlem Club on October 7, 1943 (along with DJ Al Jarvis and T-Bone Walker), the ad called her "M.G.M.'s New Singing Star". If she ever recorded anything for M-G-M Records, it was never released.

In early October, bandleader Erskine Hawkins appeared at L.A.'s Club Plantation. Effie found out that he was auditioning singers for his band and she was one of several who tried out. The others were never named, but it didn't matter; she was the one who was hired.

The October 14 California Eagle had a photo of Sleepy Williams and the 3 Shades Of Rhythm, who were in the movie "Hoosier Holiday". However, they were dancers.

The November 18 California Eagle said that:

The number one attraction of the week was the Erskine Hawkins dance, promoted by Johnny Burton and this writer [Jay Gould] in Oakland. The very pretty Miss Effie Smith was the vocalist.

When Hawkins played Detroit's Paradise Theater the week of December 4, 1943, the Detroit Free Press said: "Erskine Hawkins and his Tuxedo Junction Orchestra provide the stage attraction at the Paradise this week, It is an all-musical revue which finds Bobbe Caston, Effie Smith, and Jimmy Mitchell featured soloists. Miss Caston is particularly gifted vocally, with a large range of numbers." However, Bobbe Caston wasn't a member of the band (or, if she was, it was only for a couple of weeks).

Effie then appeared with Hawkins at the Regal Theater in Chicago and the Royal Theater in Baltimore. The December 24 Kansas City Call talked about Effie:

Heading eastward after a record-breaking week at Chicago's outstanding Regal theatre, Erskine Hawkins brings to the music-loving public, the latest "singing sensation", Effie Smith, a Los Angeles lassie who proved her ability after being granted an audition by the great "Gabe" while playing Joe Morris' Club Plantation on the coast. [Trumpeter Hawkins was nicknamed "The 20th Century Gabriel".]

Now just six weeks later, Effie Smith is destined to become a 'name' singer with the orchestra and it's brilliant leader whose recordings, "Bear-Mash Blues", "Don't Cry Baby", and "Song Of The Wanderer", has set hearts tingling and have become strong hits.

Effie, sensational on blues, sweet and swing typed numbers, possesses a rich mellow singing voice that must be acknowledged different and more effective. A voice that is soothing to listeners' ears and one in which trueness of effort is brought out in modern style. Effie's manner of presentation and voluptuousness are other great assets which will mold her into a spectacular band singer.

The Hawkins' band, and Effie Smith on vocals, will be current at Royal theatre in Baltimore on Christmas day then to D. C. and New York City. [Who writes this stuff???]

The December 25 Afro-American had this:

Bursting into song, styled in the utmost, modern, sultry manner, Effie Smith, a new name in the band singing world, amazed Regal theatre-goers no end just a week gone by with Erskine Hawkins and his brilliant recording orchestra.

Coming eastward, Hawkins, after selecting Miss Smith from an array of six singers while on the coast, now boasts one of the best all-round song stylists ever to be present with a "name" band.

Buoyant with personality, Miss Smith rules in her song presentation of sweet, swing, and blues numbers. In the recent Regal show, she was taken with wild acclaim after putting over "Shoo, Shoo, Baby" and the "St. Louis Blues".

Her fine contralto voice, stepped up to the modern pace, indicates that soon she will be spectacular in the band-singing world. Her experience in the song field goes back to that scintillating recording "From Twilight 'Till Dawn", which features the Three Shades of Rhythm, of which she was a member. She did solo work at the Casa Manana and the Streets Of Paris in Los Angeles; also Hollywood USO shows.

Hawkins and his orchestra, featuring Effie Smith in vocals, will be current during Christmas week at the Royal Theatre in Baltimore. A string of one-weekers, then to New York's Apollo and Savoy [Ballroom] afterward.

True to their word, on January 7, 1944, the Hawkins band began a week at the Apollo Theater, then moved into the Savoy Ballroom.


The March 18, 1944 Chicago Defender had an article titled "Effie Smith Is New Sensation For Harlemites" (sadly, it smacks of a heavy-handed publicity agent):

Winning additional acclaim as the "singing find of 1944", Effie Smith, talented singing star of Erskine Hawkins' celebrated orchestra now playing the Savoy ballroom, has become the newest rave of dance lovers, music critics, and talent scouts.

Since opening at Harlem's noted swing center, Effie has instigated a modern motif in swing and romantic song work. This, plus a buoyant personality and oodles of voluptuousness, is totally responsible for the gigantic ovations she receives after each song rendition.

Coming east with Erskine Hawkins after being chosen from six contestants at Joe Morris' Club Plantation in Los Angeles, Effie has rapidly moved up in class and is definitely headed for top brackets in the musical and band singing field. According to recent reports she is being sought by various booking agents who see great possibilities in store for her. Effie has written a new song which will be plugged via the air lanes shortly. This new number entitled, "Papa, Are You Doing All Right?" has possibilities of becoming a hit tune.

And here's one, from Ted Yates' syndicated column, as it appeared in the April 1, 1944 Omaha Guide:

Effie Smith is at present making her initial stand here in the East as a vocalist with Erskine Hawkins Orchestra at the Savoy Ballroom in Harlem. The engagement ends soon. Too soon, for here's a girl who has talent. We wish her loads of luck and wish there were more like her in these parts, but it does seem that bandleaders Hawkins and Lucky Millinder (Judy Carol, remember?) knew all along what they meant by the words of the song "California, Here I Come". . . Yes, Californy gave us Effie. But, I am not sure that we are going to give Effie up. Nor any of the other lassies who adorn gay Manhattan. We like Effie's singing and her personality and poise. She'll go a long, long way . . . but good!

On April 7, the band journeyed to Detroit to appear at the Paradise Theater. Also on the bill was Peg-Leg Bates and the comedy of Vivian Harris, Tim Moore, and Crackshot Hackley. On April 21, they were back at the Apollo (along with the Ginger Snaps), but her name wasn't in the ad.

Next came the Broadway Theater, in Springfield, Massachusetts, on May 7. The May 8 Springfield Evening Union told us:

Vocalist Effie Smith entertained with the current hits, "When They Ask About You" and "No Love No Nothing", and Jimmie Mitchell sang "Do Nothing 'Till You Hear From Me" and "Don't Cry Baby". The audience craved more, but did not get it.

More interesting was this (from the same blurb): "Ace Harris, the pianist, put plenty of pep in his boogie-woogie, and amazed his audience by sitting on the side of the piano, facing the audience and playing the piano with his hands behind his back. Sounds impossible, but we saw it!" This was Asa "Ace" Harris, who'd been the Ink Spots' pianist from 1940 to 1942.

On May 30, 1944, the band was at the Chestnut Street Hall in Harrisburg, Pennsylvania. Then, on to the Fairground Coliseum in Dayton, Ohio on June 3. On June 16, they started another week at the Apollo, but it was another ad her name wasn't in.

Actually, the Erskine Hawkins band was extremely popular and I'm not going to go crazy trying to document all their appearances. Here are some of them:

August 1, 1944 - Municipal Auditorium in Atlanta
August 2, 1944 - Auditorium in Chattanooga
August 4, 1944 - Auditorium in Macon
August 16, 1944 - Manhattan Casino in St. Petersburg
August 30, 1944 - Municipal Auditorium in Oklahoma City
September 1, 1944 - Hangar 9, Barksdale Field, Louisiana
September 18, 1944 - Rainbow Randevu in Salt Lake City
October 14, 1944 - Civic Auditorium in Seattle
October 24, 1944 - Orpheum Theater in Los Angeles
November 2, 1944 - Club Plantation in Los Angeles
December 9, 1944 - Riverside Park in Phoenix
December 10, 1944 - Blue Moon Ballroom in Tucson
December 18, 1944 - Municipal Auditorium in Oklahoma City

When they were at the Orpheum in October, an article about Effie appeared in the October 28, 1944 Pittsburgh Courier:

Receiving a generous share of crowd plaudits at the Orpheum theatre this week where Erskine Hawkins is holding forth, is Effie Smith, featured vocalist and a Los Angeles product who has made good in a huge way. She has been a member of the 20th Century Gabriel's orchestra for the past year.

During her association with the popular aggregation, she has appeared at many of the biggest theatres and night spots in the Nation.

As a guest artist, she was warmly received at Club Bali in Washington, D.C.; Rhumboogie, Chicago; Cafe Society, New York City; and Club Zombie, Detroit.

Miss Smith got her start in the Angel City in 1936 on Mutual Broadcasting System's "Louisiana Hayride". She worked in "Run Little Chillun" and was a member of the "Three Shades Of Rhythm" trio.

She was with Lionel Hampton's orchestra when it opened at Casa Manana in Culver City.

For six months she was a member of a West Coast USO touring show. In Hollywood. she appeared at the Swing Club, Streets Of Paris, Club Louisiana, Circle Club, Stardust Club, and Hollywood Club.

Presumably this is where the "she was with Lionel Hampton" story arose. Hampton was in Culver City in mid-August 1942, but her name was never mentioned in conjunction with his during his stay.

In October, Effie and Hawkins made an appearance on the AFRS Jubilee program. These were live audience radio shows which were recorded, pressed up, and sent to servicemen across the globe. The two tunes she sang were "St. Louis Blues" and "Straighten Up And Fly Right".

When the Hawkins band played Los Angeles' Club Plantation in November, there was a big ad. However, the singer pictured wasn't Effie, but a 1939 photo of Ida James, who had been his singer back then.

The week beginning January 5, 1945, the Hawkins band played the Regal Theater in Chicago. But after that, Effie was gone. The January 27 Afro-American had this:

Effie Smith, it has been confirmed, left the Erskine Hawkins band following its engagement at the Regal Theater in Chicago, and has been replaced by Miss Carol Tucker, an 19-year-old Chicago singer.

Effie then returned to Los Angeles, where she opened (along with Eddie Heywood and the Cats & The Fiddle) at Shepp's Playhouse, starting on February 19.


Sometime in March, she sang "Embraceable You" and "St. Louis Blues" on another AFRS Jubilee show, this time with Benny Carter's band. This is the only mention of her with Carter.

On March 29, Effie, along with Pigmeat Markham, Dusty Fletcher, and Bardu Ali's band, appeared at the Lincoln Theater.

Also in March, Excelsior re-released "At Least You Could Save Me A Dream" (the Three Shades Of Rhythm behind Herb "Flamingo" Jeffries). This time, the flip was "Bring Enough Clothes For Three Days" by Timmie Rogers.

In April 1945, Effie appeared at the Driftwood Village in Los Angeles. The April 5 California Eagle said:

Effie's warbling of "That Ain't Right" and "Honey Do You Want It That Way?" have zoomed her into the upper brackets of popularity. She is destined to create quite a sensation among the movie celebrities who frequent the Village.

The April 12, 1945 San Fernando Valley Times added:

The Valley's newest song toast is that sweet-blues-and-jive gal, Effie Smith, now appearing in person at Rose and Harry Harbstreet's Driftwood Cafe. Effie really IS a song stylist. She cries such torch numbers as "Embraceable You" and "The Man I Love", and gives out with solid tempos on such tunes as "Straighten Out [sic] And Fly Right".

Beautifully gowned and smartly coiffured, she makes an expressive picture in the spotlight. Two of her specialties are "Honey, Do You Want It That Way?", written for her by Fletcher Smith, and "In The Groove Tonight", her own composition....

The May 12, 1945 Billboard reviewed the Excelsior re-release:

While there is little melodic or lyrical appeal in the ballad itself, the expressive singing of Herb (Flamingo) Jeffries, set off against the sustained vocal harmonies by a mixed quartet led by Carl Jones, makes it plenty easy to listen to At Least You Could Save Me A Dream. The Eddie Beal Trio, piano, bass, and guitar, provide just enough musical support…. [This is what I meant before when I said that the backing group might be Carl Jones plus the 3 Shades. It says "mixed", meaning male and female and "quartet".]

In view of the popularity of Herb Jeffries, one-time Duke Ellington singer, among the race fans, some coins may find their way to the slot for "At Least You Could Save Me A Dream".

Effie recorded two more AFRS Jubilee numbers in June 1945, this time with the Joe Liggins Orchestra: "The Honeydripper" and "I'm Beginning To See The Light".

I don't know exactly where to put this, but it makes sense here. Effie cut a couple of demos ("I'm In The Groove Tonight" and "That Ain't Right"), which she submitted to 4 Star Records, which rejected them.

Effie's next round of recordings will get messy. These will be for the Gem label, owned by the Royal Record Company. The first was Gem #7, "Effie's Blues", backed with another try at "I'm In The Groove Tonight", both written by "Smith-Criner" and released in July 1945. The label credit is to "Effie Smith; Piano-Clara Lewis (who'd been with "Snake" Whyte's band); Bass-Red Callender; Guitar-Leonard Enois". Most of Effie's records would credit her and/or John Criner as writers. A couple also had the name of Joe Greene, who penned "Don't Let The Sun Catch You Crying".

Next, in October, was Gem #15: "Ooh, What I Dreamed About You", credited to "Effie Smith accompanied by Darby Hicks And His Rhythm". The flip, by the Hicks gang, was the instrumental "Ditty Bag Jump". Who was "Darby Hicks"? It was a code name used by musicians who were recording outside of their contract. It could be Johnny Otis' band, since he would use that name later on (on "Court Room Blues"). Of course, it doesn't help my research that there was a real Darby Hicks, but he was connected with concessions in big traveling shows.

The third was Gem #17, also around October: "I Been Down In Texas", backed with "Root - Lie - Voot", with the same label credit. However, I can't prove that this record actually existed. There was a reissue (see below), so the songs themselves are genuine.

Finally, there was Gem #18, from November: "Wee Baby Brother Blues", by "Effie Smith Accompanied By Darby Hicks' Selected Trio". It was coupled with the instrumental "Gettin' Out", by "Darby Hicks & His Rhythm".

There were two other possible Gem releases, both from early 1946. Again, the songs are real, but I have no idea if these releases actually existed:

1017 I Been Down In Texas / Root - Lie - Voot
1018 Wee Baby Brother Blues / [Gettin' Out - Darby Hicks & His Rhythm]

On December 22, Effie appeared at a midnight show at the El Rey Theater in Oakland, California. The ad said she'd sing "Effie's Blues" and "Other Hits!"


The Los Angeles Sentinel ran a Popularity Contest. As reported in their March 28, 1946 edition, in the Women Blues Singers category, Effie garnered 8922 votes, losing to Helen Humes by only 6 votes.

Did I mention that Gem recordings were confusing? So far, it's been a piece of cake. In early 1946, some or all of the Gem recordings were re-released on the G&G label (also part of Royal Records). The ones I know definitely exist are:

7 Effie's Blues / I'm In The Groove Tonight - 2/46
18 Wee Baby Brother Blues / [Gettin' Out - Darby Hicks & His Rhythm] - 46
1017 I Been Down In Texas / Root - Lie - Voot - 2/46

Gem #7 and G&G #17 have the same address: 251 1/2 N. Occidental Blvd, Los Angeles. Gem #15 and #18 have the same address as G&G #18 and #1017: 9163 Sunset Blvd, Hollywood. They all say Royal Record Co.

Confused yet? The March 30, 1946 Billboard had an article titled "Royal Disks Renamed Sepia":

HOLLYWOOD, March 23.- Royal Record Company, previously recording under Gem label, has changed name of firm to Sepia Record Company and will issue platters under G. Clef tag. Indie diskery has been plagued with name-aches for some time.

Org found it necessary to drop Royal and Gem names because of difficulty in clearing the titles, and previously had dropped Coronet tag because of objections raised by the magazine of that name…. Sepia prexy is Joe Greene, who wrote And Her Tears Flowed Like Wine and other ditties.

So what is the name of the new label? The design shows a G Clef (𝄞) surrounded by two large Gs. The Clef could be taken as an ampersand and most would refer to it as G&G (or G & G) Records (as I have done). Later releases on the label had "G - 𝄞 - G" as the logo, but "Sepia Records" didn't appear until very late in the run.

When Billboard reviewed "I've Been Down In Texas" on April 20, 1946, even they called the label "G & G":

Despite Effie Smith's song salesmanship, trite tune material makes this a shallow offering. Darby Hicks' small jazz group fails to excite in providing the backing. Arrangements for the most part show little imagination and don't help raise sides' stature. Miss Effie, however, makes the best of it and comes up with a listenable dedication to Texas. Lack of melodic appeal, reasonable rhymes, etc., leaves little for the reverse. Texas may snare some come coins from jazz phono fans.

The June 20, 1946 Los Angeles Sentinel told us that Effie had recently returned from a tour that went from Canada to the Deep South (although there were no ads). "Effie is home for a rest and has signed with Aladdin Recording Co. to wax six sides." And they were right: Over the next three months, Aladdin released three Effie Smith records (backed up by Elijah "Buddy" Harper And His All-Stars):

151 Nothin' You Can Do / Effie's Boogie - 7/46
152 Haunted By The Blues / What You Puttin' Down - 8/46
153 Go Ahead With Your Lucky Self / Sugar-Daddy - 9/46

You'll probably recognize some of musicians on the sides: Buddy Harper (guitar), Karl George (trumpet), Maxwell Davis (tenor sax), Charles Waller (baritone sax), Johnny Kelson (alto sax; you know him better as "Jackie Kelso"), Red Callender (bass), Oscar Bradley (drums), and Will Barry (piano).

The week of July 16, 1946 found Effie at the Lincoln Theater in Los Angeles, along with the Jimmie Lunceford Orchestra and the Slim Gaillard Trio.

The September 2 Cash Box had a review of "Nothin' You Can Do":

Effie Smith pours all the anguish she can muster up from the depths of her tortured soul on "Nothin' You Can Do". It's about as blue as they come and she gets right in the mood on her vocal. She's assisted by Buddy Harper And His All-Stars and they do pretty well by her. The pace would probably seem slow even to a snail, but on this type of a song, it's all right. The reverse brings "Effie's Boogie" to the top. It's all vocal with a few brief instrumental breaks to give her a breather. The biggest business will come from the race locations.

One of the big venues in Chicago was the Club DeLisa. Now, in September 1946, Los Angeles got its own Club DeLisa (which didn't seem to be allied with the Chicago club in any way). The first starring act at its opening was Effie Smith.

The September 14 Billboard reviewed the first two Aladdin records in a single review:

The blending of Effie Smith's sultry piping with the solid grooving of Buddy Harper's All Stars makes for a happy spinning combination. Music crew includes [names the musicians, as above]. The excitement is held for the back sides, with lads rocking the beat on a blues riff as Miss Effie provides the vocal lift to the lyrics. The beat is slow for the A sides ["Nothin' You Can Do" and "Haunted By The Blues"] as the blues lady projects the Harlemese chants in fine style. All sides will spin for profit in race locations.

On September 25, Effie was one of the judges of a bathing beauty contest, held at the Shrine Auditorium, to select "Miss Bronze America". Other judges were Dorothy Dandridge, Lillian Randolph, Louise Beavers, Billy Eckstine, Eddie Green, Slim Gaillard, and Lionel Hampton.

For the weekend of February 14, 1947, Effie ("Queen Of The Blues - Famous Recording Star") was at the Zanzibar in Sacramento, California.


Next, Effie recorded a couple of tunes for Roy Milton's Miltone label: "Answer To R.M. Blues" and "It's Been So Long". Roy Milton had had a big hit with "R.M. Blues" the prior year and it was hoped lightning would strike twice when this was released in May 1947. There were a lot of label credits: Effie Smith, Jimmie Grissom And The Blenders, featuring T.B. Watson on piano.

This is from my Jimmy Grissom article:

Another confusing Miltone release. In June [PROBABLY MAY], they issued "It's Been So Long", backed with "Answer To R.M. Blues". Both sides say Jimmie Grissom and the Blenders - vocal by Effie Smith; featuring T.B. Watson on piano". Effie Smith really is doing vocals on both songs; Jimmy is the Blenders' drummer.

The record was reviewed in the June 23, 1947 Cash Box:

Picking up the strains of a clickeroo of last year, the Jimmie Grissom ork step out to do "Answer to RM Blues", and the way the boys do it spells coin play for those race locations just waiting for a coin culler. Chirp Effie Smith renders the lyrics in tricky fashion, as she warbles her fable all about the love that is gone. Mood is slow and low down, and ops who have spots that go for this brand would do well with the side. On the flip, with more race stuff with a cupid angle, Effie once again shows her tonsils to good advantage doing "It's Been So Long". Background music provided favors the pair greatly. Ops should, by all means, lend an ear in this direction.

On July 29, Effie was one of the acts at a Damon Runyon Memorial Cancer Hospital benefit held at the Club Alabam. Also there were Fluffy Hunter and Dan Grissom.

November 28, 1947 saw a talent showcase at Meadowbrook Gardens, sponsored by the Day Distributing Company (the largest distributor of R&B records). Lionel Hampton's band was there, as were Madeline Greene, Jimmy Grissom, Little Miss Cornshucks, Al Hibbler, Johnny Hodges, John Criner, Earl Bostic, and Maxwell Davis.

On December 14, 1947, Effie started at the Last Word in Los Angeles. Also there was actress/singer Hattie Noel.


On January 3, 1948, Effie ("Recording Artist And Nationally Acclaimed 'Queen Of The Blues'") was at the Harlem Quarter in Oakland, California. Also appearing, "Direct From The Capitol Theatre, N.Y." was the "Will Matsin [sic] Trio, Featuring Little Sammy Davis". It's amazing how many times "Mastin" was misspelled in ads.

Sometime in 1948, Miltone purchased and re-released Effie's Gem recording of "Wee Baby Brother Blues". It had originally been Gem #18, re-released as G&G #18, and now, keeping it in the family, it was Miltone #18. However, where once the credit was to "Effie Smith Accompanied By Darby Hicks' Selected Trio", this time it was "Effie Smith - Johnnie Criner And His Orchestra". The flip was "Sugar Mama Blues", with vocal by Johnnie Criner (originally Gem #16 from 1945).

Effie and the still-misspelled "Will Matsin Trio" went into L.A.'s Melodee Club in mid-May. The Los Angeles Daily News (May 13, 1948) said:

Direct from the Capitol Theater in NYC, Morry Gluck of THE MELODY CLUB (2133 W. Slauson) brings us the sensational Sammy Davis Jr. You will remember he teamed with Sinatra in a theater tour. The show at the Melody rounds out nicely with the Will Master Trio [poor Will!], Effie Smith, "Queen Of The Blues", all wrapped up with Jesse Price's Capital Ork. [Let's see, it should be the "Melodee Club", the "Will Mastin Trio", and "Jesse Price's Capitol Ork". At least they spelled "the" correctly.]

Tiring of Los Angeles, Effie and John Criner left for Honolulu, in early October, to be part of the "Harlem's A-Poppin'" troupe, which opened at the Maui Fair on October 7. She also appeared at the Elks Winter Frolics (at the Carnival Grounds), starting November 24. The Criners returned to the mainland on December 21.

In late January, 1949, Effie was at L.A.'s Cricket Club, along with Dusty Brooks and the 4 Tones. In late February, it was Crane's Celebrity Club, along with the Flennoy Trio. On March 26, it was the Club Congo, for the Barbers And Beauticians Hair Style Revue. On April 10, at the Club Alabam's "Men Of The Hour" fashion show, Effie was one of the entertainers.

While she was in L.A., Effie recorded four songs for Modern Records, none of which was released at the time (they've since found their way onto some Ace CDs): "Be On Your Merry Way", "Be Bop Boogie", "Great To Be Rich", and "I Live The Life I Love". (Thanks to Bernard Mascle for dating these for me.)

Nothing more until February 17, 1950, when Effie was back at Club Congo, which was now under new management. From March 31 to April 2, she ("Internationally Known Queen Of The Blues") was at the State Theater in San Bernardino, California.

While she was in L.A., Effie recorded four songs for Modern Records, none of which was released at the time (they've since found their way onto some Ace CDs): "Be On Your Merry Way", "Be Bop Boogie", "Great To Be Rich", and "I Live The Life I Love". (Thanks to Bernard Mascle for dating these for me.)

No surprises here: the 1950 census showed Effie ("singer - theater") and John Criner ("composer (song) - television"), along with Effie's children, Fred and Barbara Smith.

In mid-June, Effie was the headliner at the Creole Palace in San Diego, along with the Buddy Banks Orchestra. In August, she was appearing at an unnamed venue in Tijuana.

Effie's only mention in 1951 was this, from the August 11 Los Angeles Tribune: "What has happened to the John Criners, nee Effie Smith?" Beats me.

The January 19, 1952 Oklahoma City Black Dispatch had an obituary for Effie's mother, Sarah Jane Leslie, who'd died in Los Angeles the past December. Husband Andrew had previously died and Sarah's survivors were children Alberta, Willie Beatrice, Christine, Effie, Lafayette, and Elijah Wesley. Not named (no surprise) was the mysterious Alsie Bly.

The March 22, 1951 Los Angeles Sentinel reported that someone had visited Tijuana and had "brought best wishes from blues singer Effie Smith, who is at the California Club in 'dear ole Mejico'." I can't swear that report was correct, since the California Club I'm aware of was in San Diego (but newspaper reportage is never mixed up, is it?).

Nothing more for a year, until late April 1952, when Effie and Scatman Cruthers were at the Club Oasis for a few weeks. In late August, Effie was at the Mo Mo Club in Sacramento. (Ads could never decide whether it was "Mo Mo" or "Mo-Mo", but since it was owned by two brothers named "Moore", it isn't hard to figure out where the name came from.)

The October 17, 1952 Los Angeles Tribune had this: "As we left the [RKO Hill Street] theater Saturday night, we chatted with singer Effie Smith, who has just returned from a long engagement in Mexico, and her manager-spouse, John Criner." Right after that, she was booked into Larry Potter's Supper Club, opening on October 24.

On New Year's Eve, Effie opened at the Club Pigalle in L.A.

On March 19, 1953, Effie did some recording for Decca, in Los Angeles, backed by the Ike Carpenter Orchestra: "Ain't Nothin' Nothin' Baby Without You", "Crazy Crazy", "(Mama) He Treats Your Daughter Mean" (a cover of the Ruth Brown hit), and "Shoo My Blues Away". Decca released "Crazy Crazy" and "(Mama) He Treats Your Daughter Mean" later that month.

From the March 27, 1953 Los Angeles Tribune:

Blues singer Effie Smith at Billy Berg's [The 5-4] the weekend of May 3. Effie will soon be heard on four bouncy tunes on Decca Records, backed by Ike Carpenter's band. Her son, Fred, will be married June 14 (how time flies) to Rose Beedle, climaxing a high school romance."

The April 2 Los Angeles Sentinel said: "Effie Smith, who recently completed a recording session with Decca, will sing some of her sensational numbers on the Sentinel Easter show, Sunday afternoon [April 5] at South Park. Miss Smith has been working in Mexico for the past two years." This is a good example of how misleading these blurbs can be. While she did spend some time at Mexican clubs, the blurb would have you believe that it was two years straight.

On April 3, Effie, along with the Robins and Calvin Boze, opened at Billy Berg's 5-4 Ballroom.

The April 18, 1953 Billboard reviewed the Decca release:

Crazy Crazy (74): Vibrant vocal by Miss Effie Smith is effective over the powerful orking of the Carpenter combo. An exciting side that could earn juke loot.

(Mama) He Treats Your Daughter Mean (73): Rhythm blues is read well by the ork, and Miss Smith's again convincing on the lyrics.

Strange that they didn't seem to know that Ruth Brown had the runaway hit (which was still riding high on the charts).

On April 26, Effie, along with Oscar McLollie and Pee Wee Crayton, appeared at the Elks Auditorium in Los Angeles.


1953 was a really big recording year for Effie. She also recorded another two tunes for Modern Records: "Mambo Blues" and "Rack 'Em Back". They were released, around April 1953, on Rhythm And Blues, a Modern Records subsidiary. "Mambo Blues" was credited to "Effie Smith & Johnny Criner And Orchestra Featuring Oscar Moore - Guitar, Jimmy O'Brien - Piano". The flip said exactly the same, except that Johnny Criner wasn't credited.

In May, Decca released the other two songs: "Ain't Nothin' Nothin' Baby Without You", backed with "Shoo My Blues Away". Note that "Nothin'" was also done by Jimmy Grissom around the same time.

Effie, accompanied by the Benny Carter band, was at an NAACP function at the Florentine Gardens on May 24.

An odd one was another May release: "Three Men In My Life" and "Cry Baby Cry". These were on the Trend label, about which I know nothing other than that it was from Los Angeles (and they were really good about sending copies to the trade journals). Reviews were in the June 27 Billboard and Cash Box, and the July 29 Down Beat:

Three Men In My Life (BB; 72): Not satisfied with only one man, thrush snagged three, but ran into a lot of trouble as a result. Now she's looking for a good man. It's a good blues effort.

Cry Baby Cry (BB; 72): Songstress tells about some more of her troubles on this side. Gal really puts her heart into her reading.

Three Men In My Life (CB; B+): Effie Smith tells the story of the three men in her life. Miss Smith gives a sexy performance, with her shadings and timing effecting a better than average performance.

Cry Baby Cry (CB; B): Flip is another slow blues in which the gal songstress tells her man off. It's now his turn to cry. Thrush has a solid style and the etching is colored with a smart rambling piano.

Down Beat (3 stars each side): Effie's got troubles. Three up, three down, and she's looking for another man.

The 78rpm site says this about Trend: Started early 1953 by Albert Marx and Oil Construction entrepreneur Paul W Trousdale in Los Angeles. Filed for bankruptcy March 1955 and assets purchased by Kapp Records Feb 1956. On June 13, Effie appeared, along with Ike Carpenter's band (featuring Maynard Ferguson), at the Rendezvous Ballroom in Balboa, California. Only three days later, you could see Lawrence Welk there.

On June 20, Billboard reviewed the second Decca release:

Ain't Nothin' Nothin' Baby Without You (73): The Duke Ellington tune is handed a good reading by Effie Smith, who sings it with warmth, over a fine backing by the Carpenter crew. Disk should spins [sic]. Nice wax.

Shoo My Blues Away (68): Side has the flavor of a spiritual, tho it is really a wild r&b effort with a good vocal by Effie Smith, plus help from a kid's chorus. Idea was good one, tho the side does not live up to its initial promise, in spite of some loud backing by the ork.

Around August 1953, Effie went back to Aladdin Records and recorded some tunes, along with the Swingmen: "Don't 'Cha Love Me?", "Dial That Telephone", "Standing In The Doorway", and "Tropical Seas". The first two were released in September. "Don't 'Cha Love Me?" is pretty draggy, and has a group, presumably the Swingmen. "Dial That Telephone" was Effie's first try at a talking comedy record. It was supposedly inspired by her husband noting how she talked on the phone. There's also a quiet group on this and, presumably the male voice is Criner's, as it would be on subsequent recordings of her "telephone calls".

Billboard reviewed the record on September 26 and Cash Box on October 31:

Dial That Telephone (BB; 71): This is a talk record, with the thrush confiding her problems over the telephone to a girl friend. She's fed up with her husband's staying away, but he returns before the end of the record and all is forgiven. Has a few good gimmicks and could cause a little stir.

Don't 'Cha Love Me? (BB; 66): Thrush leads the Swingmen in a slow swaying vocal session. Over-all performance lacks distinction.

Dial That Telephone (CB; B+): Effie Smith and The Swingmen work over a cute novelty with a chuckle in each line. Effie, after a gimmick intro [a next-door neighbor listening to her complain about her man again], calls a girlfriend and fills her with the woes and tribulations suffered because her man takes off periodically. The boyfriend returns and is welcomed with open arms despite her repeated avowals to the contrary. Side is a rib tickler.

Don't 'Cha Love Me? (CB; C+): The under deck is a lovely slow melodic romantic item presented tenderly by Effie Smith and the group.

In early October, Effie appeared at the Say When in San Francisco, along with Harry The Hipster and the Sweethearts Of Rhythm. On December 3, it was the Red Feather in Los Angeles. Two days later, she started a week at the Point Cafe in Ontario, California, a bit to the east of Los Angeles. But she was back at the Red Feather by year's end, and was continued into January 1954. The club's December 10 ad had a photo of "Effie 'Dial That Telephone' Smith" that would be used 10 years in the future. (And, because I know you're interested, the number on the phone - Beacon 2-9000 - was for the telephone company offices in Richmond, California.)

Her 1953 "Season's Greetings" ad called her the "Dial That Telephone Gal".

Effie, along with T-Bone Walker, was at Billy Berg's 5-4 Ballroom for the holiday weekend, beginning July 2, 1954.

Under the heading of "Things You Desperately Need To Know", the August 13, 1954 Los Angeles Tribune had: "At the Intime recently, we ran into ... singer Effie Smith sporting a new Italian hairdo". It was now short - a la Audrey Hepburn.

On October 30, 1954, Effie was at the Larchmont Club as part of the La Veller Jackson Variety Show. According to the November 4 California Eagle:

Effie Smith, internationally known blues and torch songbird, brought the house down with a number titled "Dial The Phone". [Also there were Little Little Esther and Marvin Wilkins (who would become the bass of the Dootones in early 1955, and then the Medallions).]

Back to the Club Oasis in late November, along with saxman Joe Houston.


In January 1955, Effie was at the Brass Rail on Broadway (the one in Los Angeles). In March, it was the Californian Club, also in Los Angeles.


The June 9, 1955 Los Angeles Sentinel said that Effie is "preparing a four month tour that will take her into the top niteries across the country. [They're always characterized as "top" or "swanky"; most of them weren't. Naturally, most of them weren't advertised.] With a fabulous wardrobe, the versatile vocalist, whose style is sweet, hot, mellow, or torchy, has just waxed four new sides with the Dootone label." Did that happen? Who knows? Nothing was ever released on Dootone.

By mid-July, she was at the Club DeLisa in Chicago. Late August found her at the Club Fiesta in Detroit, along with Choker Campbell and T-Bone Walker.

At some point, Effie had recorded four songs for Vita, backed up by the Squires. (Could these have been the "Dootone" sides they mentioned back in June?) The tunes were: "Guiding Angel", "You Ought To Be Ashamed Of Yourself", "Champagne Mind With A Soda Water Income", and "Water! Water!". The first two were released in November 1955, and reviewed in the December 17 Billboard and the December 24 Cash Box:

You Ought To Be Ashamed Of Yourself (BB; 73): Fine r&b sounds here from the Smith pipes on a driving rhythm beat. Great help from the swinging vocal back-up.

Guiding Angel (BB; 68): This is a bluesy pleader sung with sufficient "aching heart" tones, but the material seems to wander a bit.

You Ought To Be Ashamed Of Yourself (CB; B): Effie dishes up a middle beat blues effectively. Effie rhythmically berates the boy who played with her heart. Excellent support by the Squires.

Guiding Angel (CB; B): Squires offer a dramatic tender slow beat ballad that comes off just fair. Miss Smith and the Squires are individually good, but the material does not match the performance.

On January 20, 1956, Effie was back at the Club Mo-Mo in Sacramento, California.

A legal announcement in the March 8, 15, 22, and 29, 1956 Southwest Wave began:

The undersigned do hereby certify that we are conducting a wholesale record manufacturing business at 3747 Ruthelen St.[the address where John and Effie lived], City Of Los Angeles, County Of Los Angeles, State Of California, under the fictitious firm name of Spot Record Company and that said firm is composed of the following persons...." [it went on to name John L. Criner, Effie Smith Criner, and Fred Smith, Effie's son].

Also in March, Vita released "Water! Water!" and "Champagne Mind With A Soda Water Income". Although the Squires were on both tracks, this time they weren't named on the labels. The reviews were in the April 14 editions of both Billboard and Cash Box.

Water! Water! (BB; 66): Here is one girl who has no use for alcohol; she puts it down in the strongest way. A mild rocker that goes easy on the ears.

Champagne Mind With A Soda Water Income (BB; 61): Most of the message of this material is to be found in the title. The humor is on the lukewarm side - and there is not much musical material to compensate. The backing is ragged and unsteady in beat.

Water! Water! (CB; B): Effie Smith chants a rhythmic story of her preference for the "water, that old standbye [sic]". It is a driving tune, sung with a cute twist by Miss Smith. OK deck.

Champagne Mind With A Soda Water Income (CB; B): Miss Smith, still in a liquid vein, sings a middle beat bouncer with a chuckley lyric. Good, satisfying rocker wax.

This is from my Squires article:

The Squires rehearsed at the house of Effie Smith (whom they'd backed up on "Guiding Angel") and her husband John Criner (soon to become road manager of the Valiants and then manager of the Olympics). One day, Effie and John heard [Squires members] Dewey Terry and Don Bowman singing a duet and enticed them to record that way, meaning there'd only be a two-way split of any money, not a six-way.

Criner had a couple of little labels (Shade and Spot), and these are where the first "Don And Dewey" recordings appeared. They were both issued in May 1956, but I'm not sure which was first. "Miss Sue" and "My Heart Is Aching" were vocals released on Shade, while "Slummin'" and "Fiddlin' The Blues" were instrumentals. Don Harris (as Don Bowman subsequently called himself; Chester [Pipkin of the Squires] thinks that "Harris" was his real name) played the electric violin and guitar; Dewey Terry played piano and overdubbed bass. These records did poorly, mostly because Criner didn't know how to successfully market them.

In May, 1956, Effie opened at the Stadium Club. The May 24 California Eagle said: "Joined by such persons as Peppy Prince and his orchestra and Redd 'Comic' Foxx, Effie presents the greatest entertainment possible."

By mid-June, Effie was back at the Brass Rail; in mid-August, it was the Royal Room. The August 14 Los Angeles Mirror almost got it right: In her fast-paced group are Dewey Terry, Dow [sic] Bowman, Brian Jaffe, and pretty Connie White." The ad said "Featuring Effie Smith Quintet", whoever they might have been. She was back at the Stadium Club by late October.

Here's some fluff from the May 9, 1957 California Eagle:

Blues thrush Effie Smith, looking as shapely as a Paris model making strategic plans to set the world on fire again with her soul-searching songstuff!

This was in the July 19, 1957 Evening Vanguard (Venice, California):

Don and Dewey, recording artists, will appear at Saturday's [July 13] dance sponsored by the young people of Temple Akiba and Westchester Temple. The dance, open to the public, will be at the Westchester Temple, 8333 Airport Ave., Westchester [a Los Angeles neighborhood], from 8:30 to 12 midnight. Also on the show will be the Hi Fi's, Premiers, and Effie Smith and her Stars Of Rhythm.

This one, from the July 11, 1957 California Eagle, is strange: "Effie Smith - the honey voiced blues singer looking a doll with two dolls, her daughters Barbara and Jessie Bly, while taking in the BVA's show!" I have no idea what "BVA" is, but, more important, who's Jessie Bly? Did she sneak in another child while I wasn't looking? Turns out that her brother, Elijah Wesley Bly, had a wife named Jessie, so I guess that's the one they're talking about.

Also in July, Effie was at the Club Oasis, as part of a Calypso show. August 4 found her at the Stadium Club in a Sunday Afternoon Cabaret Soiree. Another Cabaret dance, on December 1, at Ciro's, an NAACP benefit.

It turns out that she had the longest engagement ever at Ciro's, but for a strange reason. This is from the February 27, 1958 California Eagle:

When the lights went out at the fabulous Ciro's nitery on the Sunset Strip, blues vocalist Effie Smith's name was on the marquee. No one has bothered to change the sign, so Effie is enjoying the longest run, so to speak of any act that has ever appeared at the plush saloon. Although Herman Hover's nitery is now defunct, it gives you a warm feeling to know that this swinging chick had arrived before they padlocked the premises. Don't let go, Effie, 'cause with your class and your talent, you're strictly built for the smart rooms!

On February 1, 1958, not-particularly-beloved record shop/record label owner John Dolphin was shot to death by Percy Ivy over a song ownership dispute. Ivy claimed self-defense, as Dolphin had slashed him with a knife. The September 18 Los Angeles Sentinel reported that lots of show people had come forward to testify in Ivy's behalf: Ernie Freeman, Maggie Hathaway, Irving Ashby, Austin McCoy, and Effie. When it was all over, Ivy received a sentence of five years to life, but nothing else was ever reported about him, so I don't know how long he actually served. By the early 1990s, at the latest, he was living in Las Vegas.

Effie's son, Fred, was one of the writers of the Olympics' hit, "Western Movies". Keeping it in the family, the group was managed by John Criner.

Effie, "Queen Of The Blues", appeared at Joe's Club on December 5-7. Also in December, Spot Records (owned by Effie, John, and Fred) released a re-done and expanded version of her 1953 Aladdin effort, "Dial That Telephone"; this one was a two-parter, on which she refers to herself as "Ruby Lee"; "Henry" is played by John Criner.

The disc was reviewed in the March 21 Cash Box and the March 23 Billboard:

Cash Box (B+): On the phone with her friend Mabel, Effie Smith recounts her marital troubles in this all-recitation effort. Organ and drum backdrop supply the slow steady beat. Continuing the sad story of Ruby Lee, this side [side 2] finds everyone getting into the act. Even includes a fight between the married couple. Off-beat novelty deck that should get big deejay spins and could move way out in the R&B dept.

Billboard (two stars): A slow, Southern type organ accompaniment works behind this spoken word two-sider by Miss Smith. Gal is on the phone talking to her best friend whose husband isn't home yet at 4 a.m. [badly worded - it's "Ruby Lee's" husband who isn't home]. She tells all about her Henry, who's also a bounder. Side two finds her ranting and raving at Henry. For r&b markets only.

A second Spot record came out in June 1959: "Everybodys Somebodys Fool" [with no apostrophes], coupled with "New Effie's Blues" (a different song from her 1945 "Effie's Blues"). "Fool", written by Gladys Hampton, Ace Adams, and Regina Adams, had been recorded by Lavern Baker (on a 1956 Atlantic LP) and the Heartbeats on Rama (1957); it would also be done by Tony Allen and the Wanderers on Kent (1961). However, it's not the same song as the 1960 Connie Francis hit.

They were reviewed in the June 29 Billboard and the July 4 Cash Box:

New Effie's Blues (BB; 3 stars): Miss Smith belts this slow blues a la Big Maybelle. It's a gutty side that can pull in pop and r&b loot. Fine sax work and organ support the thrush.

Everybody's Somebody's Fool (BB; 3 stars): Soulful reading of the bluesy ballad also makes for a dual-market side. Miss Smith sings with plenty of feeling.

Everybody's Somebody's Fool (CB; B+): A very slow, low down blues number on which the thrush puts her heart into her talk-sing style. A real weeper with gospel flavoring. Can make R&B noise.

New Effie's Blues (CB; B): This portion is similar to the top half. Another knock 'em down blues affair which continues to showcase the gal's solid singing. Interesting sax work on both ends.

On December 3, 1959, Effie's brother, Wesley Elijah Bly, made the papers, but not in a good way. While we learn from the California Eagle of that date that he was in movies, as Sidney Poitier's stand-in, we also learn that, on his return to Hollywood on November 26, he was stabbed to death by a woman, Hortense Carol Jackson, whom he had accused, some weeks before, of having stolen $500 and a ring from him. However, on the basis of the testimony of a bartender, who heard him threatening to kill her, she was found to have committed "justifiable homicide" and freed. [If you're a 3 Stooges fan, Wesley played the Genie in their 1951 movie, "Three Arabian Nuts". (He was in six films, but this is the only one in which he was credited.)]

The December 12, 1959 Michigan Chronicle had a big article titled "Ex-Blues Singer Turned Producer 'Sings' On Payola":

NEW YORK. Four years ago Effie Smith, ex-singer, started Spot Records with an investment of $10,000. A month ago she gave up the business.

The former singer charged last week that her refusal to give payola to disc jockeys drove her out of business.

"Everyone in the business told me that because I was a Negro, and had no capital, I couldn't make it, even though they all agreed I had good artists", said Miss Smith.

"They told me I needed to give payola dough to disc jockeys, or give artists to appear gratis at record hops fronted by local deejays, or I'd have to give the record distributors at least $500 to be used for payola, or give the distributors records to give to the disc jockeys.

"As a last resort, they said, I'd have to lease my master records to bigger companies in return for eight per cent of the gross."

She said she has done that. Five of her master records have been leased out to various companies. All are doing well, and one - "Western Movies", sung by the Olympics - went to 11th place in the record popularity listings.

However, Effie has lost her record company. Now she's trying out a new deal in Los Angeles to avoid pay-offs to disc jockeys.

She bought a walk-ie truck [sic] with a complete sound system, and put a sign on its side "Effie Smith Record Shop on Wheels".

Driving through the Negro settlement, she played records, including "Hully Gully" by the Olympics, the master of which she had leased to another company.

Two hundred records were sold and it was going strong. More than 6,000 were sold in the Los Angeles area, and the shops are ordering more because of the demand for it.

Remember the two songs that she'd had released on Trend back in 1953 ("Cry Baby Cry" and "Three Men In My Life")? In late 1960, she re-sang them both for an October release on Dynamic. Now they were "Cry, Baby Cry" [with an added comma] and "Three Men" [a truncated title, a different beat, and an added chorus]. They were reviewed in the November 5, 1960 Cash Box:

Cry, Baby Cry (B): Flavorful blues treatise is vocally shouted by Effie Smith, while [Buddy] Harper's combo backs up with the jazzy sounds. Cozy weeping affair.

Three Men (B): Attractive handling of a sprightly up-tempo blues swinger. Here there's a chorus to help out Miss Smith.

Nothing at all about Effie in 1961.

If you've been paying attention, you'll remember that Effie appeared, on several occasions, with Maggie Hathaway. Maggie was a singer, an actress, an activist, a columnist for the California Eagle (later the Los Angeles Sentinel), and an avid golfer. [Daddy, didn't Mark Twain call golf "a good walk spoiled"?] Along the way, Maggie and Effie became close friends.

Maggie said this in her August 9, 1962 column:

Effie Smith is doing a sensational job with our daughter Ondra's voice. In fact, the job is so excellent that Mercury is giving her a recording session next week. It will be interesting to see how well Ondra will sing the tune that was written by the popular Leonard Feather, of Playboy Magazine fame.

In December, Effie became an organizational officer for the NAACP. The local Beverly Hills-Hollywood branch had been founded, the prior year, by Maggie Hathaway.

In 1963, son Fred Smith was with the Mirwood label, producing sessions for Bob & Earl (such as "Harlem Shuffle"). He also co-wrote and produced Jackie Lee's "The Duck" (Lee was actually Earl Nelson).

The August 8, 1963 California Eagle told us that Effie was now an executive with Tri-Disc Records. The August 31 Michigan Chronicle elaborated on that, in an article about the convention of the National Association of Radio Announcers held in Hollywood that month: "Effie Smith, former singer with the Erskine Hawkins orchestra, now owner of Tri-Disc records in Hollywood, made 'em happy with a 24-hour hospitality suite hosted by her selling Olympics."

Adding to her company list, the May 9, 1964 Cash Box said: "Effie Smith and Fred Smith have formed Duo Disc Records and their first outing, 'The Boogler', by the Olympics, looks like a winner." Duo Disc had the same address as Tri-Disc.

The first Effie Smith record on Duo Disc, "Trouble Mind", gives us a bit of trouble. Backed with "No Time For Tears", it was released around October 1964 as Duo Disc 105. The trouble lies in that the Olympics' "Return Of Big Boy Pete" had also been released as #105, the month before. I guess new companies have teething problems.

And then, the comedy began. Her next Duo Disc release, from November 1964, was "Dial That Telephone, parts 1&2"; a reissue of the 1958 Spot masters. It reached #36 on Billboard's Hot R&B Singles on January 30, 1965, but it was only on the charts for a single week. The December 19 Cash Box called it a Best Bet:

Part 1: Effie Smith could, once again, well have a novelty hit on her hands with this funny recitation about an unfortunate gal who has more than her share of problems. Side boasts a moody, after-hours jazz-blues backing. A natural for r&b play. The years-back deck's already attracting attention.

Part 2: On this end, the artist lets her husband, who has been out for three days, have a piece of her mind. Effective funky low-key instrumental support. Plenty of potential.

On January 24, 1965, Effie was part of the show at the WHK Auditorium in Cleveland. Also on the bill were Jackie Wilson, the Original Drifters, and Joe Tex, with Hank Ballard's Midnighters as a special added attraction.

Another Duo Disc phone call comedy side appeared around February 1965: "The Blond Wig". It was backed with "Me And My Kids", a straight song. The "phone tunes" were written by John Criner, supposedly inspired by Effie's real phone conversations.

The week of April 23, 1965 found Effie at the Apollo Theater, along with Clyde McPhatter, Betty Everett, Margie Hendrix, and the Diplomats.


In October 1965, Duo Disc issued "Teenage World, parts 1 & 2". This was followed by "The Driving Lesson", backed by "Our Next Door Neighbor" in November. The label for that one says "Excerpt from 'Dial That Telephone' Jubilee #2057".

All her Duo Disc telephone-call comedy tracks came out on a December 1965 Jubilee LP called, fittingly enough, Dial That Telephone. It included two tracks which hadn't been on singles: "Conditions Of The World" and "The Out Crowd". The LP cover says "A Duo-Disc Production". Effie seems to have been working in promotion for Jubilee at the time.

On August 14, 1966, the New York chapter of NARA (the National Association Of Radio Announcers) put on a show at the Village Theater in Manhattan. You may have heard of some of the acts on their 8:00 show: Little Anthony & The Imperials, Len Barry, Brook Benton, Gene Chandler, King Coleman, Chuck Jackson, The McCoys, Miriam Makeba, Little Milton, Lloyd Price, Percy Sledge, Sarah Vaughan, Dionne Warwick, and that up-and-comer, Effie Smith. Actually, the afternoon show wasn't too shabby either; it had: Jerry Butler, Chubby Checker, the Crests, the Isley Brothers, Martha & The Vandellas, Little Richard, Mitch Ryder, Sam & Dave, Billy Stewart, and Joe Tex.

By early 1967, Effie and John were living in New York and she'd become national promotion manager for Bert Burns' Shout Records. But later that year, said the August 19, 1967 Billboard:

Effie Smith was named Keyzen Records sales-promotion vice-president out of New York. She was formerly associated with Shout and Josie/Jubilee Records.

The October 26, 1968 Billboard almost told us something: "Effie Smith, everybody's darling, has started her own label after jumping Shout Records. Her first release: "Harper Valley PTA Gossip." It had been over a year since she'd been with Shout, and wouldn't it have been nice if they'd named her label. Hint: it was called "Eee Cee" (as in "E. C."; as in "Effie Criner").

Its first release was, indeed, "Harper Valley P.T.A. Gossip", one of Effie's "phone call" records. It was a take-off on Jeannie C. Riley's recent smash hit, "Harper Valley P.T.A.". In Effie's version, "Ruby Lee" is telling her friend "Mabel" all about the events that were chronicled in Riley's version. The flip was "The Natural", in which she tells her friend that she wants to get a "natural" hairstyle. Then "Henry" (John Criner) walks in from the barber shop to show her his new "natural" look. "Gossip" made it to #43 on Billboard's Hot R&B Singles list, starting November 23 and remaining for five weeks.

This was in the November 9, 1968 Billboard:

Looking for Effie Smith? Her name's on every disk of "Harper Valley P.T.A. Gossip" on her Eee Cee label. Now in the chart races with her husband [sic], Effie makes her office at 410 West End Avenue, Suite 2E, New York 24, N.Y. Or call the queen mother of soul at (210) 724-8914.

The next Eee Cee record was November's "Laugh And Dance", mostly an instrumental, with Effie and "Henry" throwing in one-liners. The flip, "Soul Bag", was an instrumental, credited to Effie Smith's Soul Clearing House Band.

Around December, Eee Cee released "Trouble Mind", backed with "No Time For Tears", a reissue of the 1964 Duo Disc recordings. Both labels used record number 105.

The December 7, 1968 Cash Box had a small article titled "Effie Smith To NATRA Post":

NEW YORK - Effie Smith has joined the staff of the National Association of Television and Radio Announcers [as] a director of regional chapters and special assistant to the executive secretary, Del Shields. E. Rodney Jones, NATRA's president, made the appointment. Miss Smith will be headquartered at the New York offices of NATRA.

The appointment is in keeping with Jones' announced plans some weeks ago to develop strength and expand the regional chapters across the country. Miss Smith will be responsible for coordinating programs among the regionals and will serve as liaison between regional chapter presidents and the executive secretary, Del Shields. She will also develop plans for an intensive membership drive in the hope of acquiring 100 per cent membership of all mass communications specialists working on R & B stations.

Miss Smith's duties as special assistant to the executive secretary will relieve the executive secretary of some of the administrative load he has been forced to carry alone.

Miss Smith was formerly general manager of Shout Records. She is also a record artist ("Harper Valley PTA Gossip", "Dial That Telephone"). In addition, along with her husband John Criner and son Fred Smith, she headed her own record company on the West Coast and presently she and her husband head the Eee-Cee Record Company.

The December 7 Billboard had this:

Effie Smith has been named director of regional chapters and special assistant to executive secretary Del Shields, of NATRA. Still heading the Eee-Cee label, which features her "Harper Valley P.T.A. Gossip" hit, along with her husband, John Criner, Miss Smith will be headquartered at the NATRA offices at 850 Seventh Avenue.

The final Eee Cee record, from sometime in 1969, was another re-issue of a Duo Disc release (once again with the same number): "The Blond Wig", coupled with "Me And My Kids".

Effie's last release was on the Doin Our Thing label in the spring of 1970: "Dial That Telephone", backed with "The Driving Lesson". This time, the label credit was "Ruby Lee And Henry", the names she and John used on their talking recordings. The label was owned (no surprises here) by Effie Smith Enterprises, 250 West 57 St., in New York. I haven't heard this version of "Dial", but if I had to make a guess, it's probably Part 1 of the Spot/Duo Disc master. "The Driving Lesson" was another one originally on Duo Disc.

The July 4, 1970 Billboard reported her new business:

Effie Smith, who formerly served as director of national regional chapters and assistant executive director of NATRA, has opened her own business, Effie Smith Enterprises, with her husband, John Criver [sic]. Effie Smith Enterprises is involved in handling promotions, publicity and public relations.... Good luck to John and Effie.

The January 23, 1971 Billboard had this:

Effie Smith will handle national promotion for Dynamo, starting with Inez Foxx' "Should Have Set My Soul On Fire" and Harmon Bethea's "Put On Your Shoes & Walk", both on the subsidiary label of Musicor. [Bethea had been with the Cap-Tans.]

I suppose the promotion was done through her Effie Smith Enterprises company. Additionally, the March 27, 1971 Billboard said:

The O'Jays have formed their own label, Saru Records, and are set to go with "LaDeDa (Means I'm Out To Get You)". Effie Smith will handle the account. [Presumably the promotion for the label.]

In January 1972, Effie expanded her operation by opening an office in Dallas to cover the South and West Coast, while the New York office covered the East and Mid-west.

Sometime in 1973, Effie became head of merchandising at Stax Records. Also there, for a while, was son Fred Smith. In mid-1973 Effie became the national coordinator for regional chapters for BAMA (Broadcasters And Musical Artists).

After an absence of several years, Effie and John moved back to Los Angeles by the fall of 1974. In April 1975, she was still with Stax, as national representative of merchandising and promotion, but the company went out of business in late 1975.

On February 7, 1976, the NAACP handed out its Image Awards at the Hollywood Palladium. The February 12 Los Angeles Sentinel said:

In what was looked upon by some as a major sympathy move, Effie Smith, a veteran record executive who is now seriously ill, was named record executive of the year.

That "sympathy move" crack wasn't a very nice thing to say, but they were right about her being seriously ill. Almost a year to the day later, on February 11, 1977, Effie Smith Criner passed away, from cancer, in Los Angeles.

The February 17 Los Angeles Sentinel said:

The irrepressible Effie Smith was a staunch fighter for civil rights. It was she who sparked the battle launched by the Hollywood NAACP back in 1962-63 on the movie industry, to get blacks hired not only before and behind the cameras, but also in across-the-board jobs on the movie lots. Later, Miss Smith began working for upgrading of black music people in the recording industry.

Billboard had a nice obituary in their February 26 edition:

LOS ANGELES - Services were held here Wednesday (16) for Effie Smith Criner, 62, who died of cancer Feb. 11 following a lengthy illness.

Al Bell, president of Independence Corp. of America Records (ICA) who is also a minister, officiated as Phillip Kimble and the True Genesis sang.

A couple of months prior to her death, Smith sent out releases stating she was returning to record promotion. She became ill in 1970 and a series of operations followed. [You'd certainly never know it from all her activity during that period.]

She started her career in 1935 as a member of Three Shades of Rhythm group and was a singer with Lionel Hampton's band.

Her biggest solo hit, "Dial That Telephone", was recorded by her three different times.

She later opened a talent studio, where she discovered the Challengers, later to be known as the Olympics.

In New York she moved into promotion with Jubilee Records and then with Shout/Bang Records and was also associate director of NATRA.

In 1970 Smith formed Effie Smith Enterprises, New York, expanding it to include a Dallas office.

She went to work at Stax Records in 1973 as head of merchandising, moving back to Los Angeles with the label in 1974.

She is survived by her husband. John Criner, daughter Barbara Jean Wills, and son Fred Smith.

But the most heartfelt tribute came from Maggie Hathaway, in her February 24 column in the Los Angeles Sentinel:

How does one say goodbye to one's best girl friend? Maybe I shall just quote the Rev. Carlton "King" Coleman and satisfy my mind . . . The Rev. Coleman ended his condolence speech to Effie's bereaved family by saying, "Effie Smith! Effie Smith."

My heart went out to Effie's two children, Barbra Jean and Fred Smith . . . her sisters and especially Christine Wyatt, her sister with whom we ate Christmas dinner . . . Her friends came from the far East, the deep South, up North, and way out West . . . They came to mourn with the family over a woman who had fought for jobs, walked in picket lines and promoted disc jockeys and record stars . . . She died with trophies on her mantle from B.H. [Beverly Hills] NAACP to golden records hanging on her walls.

Effie was first to vote to picket the golf courses for freedom in golf . . . Took her lessons and never had time to play . . . When we NAACP golfers picketed the Fox Hills Golf Course, Effie was only supposed to walk the first day. The second day she was called by me; "Effie, our picket line is too short and we need you today," I informed her. "O.K. doll," she said. "I'll also call some of my 'fay' friends." True to her word, within the hour she showed with three white female friends . . . "They, too, want to help free us golfers," she laughingly exclaimed... And then she left us to go to work back East and on into the South . . . She became an officer of the great Stax Record Co. under President Al Bell . . . Bell flew in and told me he was honored to read her eulogy (from the Bible). How he read it!

But the Rev. "King" Coleman wrote and read, in memory of Effie, a poem, "Black Pearl". "Seldom has God given so much to so many through one woman - a black Pearl - the most beautiful woman in the world," he said.

In many ways, Effie Smith could be called a "Renaissance Woman". Not content with just being a singer (and a good one), she endeavored to be a part of the entertainment industry as a whole.



EXCLUSIVE (Ceelle Burke's Orch. with The 3 Shades and The 4 Dreamers)
AM-02686/AM-02689 From Twilight 'Till Dawn / Lovely Hannah - summer 42

EXCELSIOR (Herb "Flamingo" Jeffries, Eddie Beal Trio, Three Shades Of Rhythm)
00100/00101 At Least You Could Save Me A Dream / [String Foo-Losophy - Eddie Beal Trio] - ca 8/42

CAPITOL (Exclusive masters; Ceelle Burke & his Orch. with The 3 Shades and The 4 Dreamers)
136 From Twilight 'Till Dawn / Lovely Hannah - 6/43

AFRS JUBILEE
107 St. Louis Blues (with Erskine Hawkins' Orchestra) - recorded 10/44
109 Straighten Up And Fly Right (with Erskine Hawkins' Orchestra) - recorded 10/44
125 Embraceable You (with Benny Carter's Orchestra) - recorded 3/45
            Also on AFRS Jubilee 219
127 St. Louis Blues (with Benny Carter's Orchestra) - recorded 3/45
137 The Honeydripper (with Joe Liggins's Orchestra) - recorded 6/45
137 I'm Beginning To See The Light (with Joe Liggins's Orchestra) - recorded 6/45

EXCELSIOR (Herb "Flamingo" Jeffries, Eddie Beal Trio, Three Shades Of Rhythm)
HJ100/TR107 At Least You Could Save Me A Dream / [Bring Enough Clothes For Three Days - Timmy Rogers] - ca 3/45

4 STAR (UNRELEASED DEMOS)
      I'm In The Groove Tonight - 45?
      That Ain't Right - 45?

GEM (Effie Smith)
7 Effie's Blues / I'm In The Groove Tonight - 7/45
15 Ooh, What I Dreamed About You / [Ditty Bag Jump - Darby Hicks & His Rhythm - Instrumental] - 10/45
17 I Been Down In Texas / Root - Lie - Voot - ca 10/45 [DOES THIS EXIST?]
18 Wee Baby Brother Blues / [Gettin' Out - Darby Hicks & His Rhythm - Instrumental] - ca 11/45
1017 I Been Down In Texas / Root - Lie - Voot [DOES THIS EXIST?]
1018 Wee Baby Brother Blues / [Gettin' Out - Darby Hicks & His Rhythm - Instrumental] [DOES THIS EXIST?]

G & G (Effie Smith)
            All were reissues of GEM; there might be others
7 Effie's Blues / I'm In The Groove Tonight - 2/46 just by "Effie Smith"
            NOTE: GEM 7 & G&G 7 have identical labels other than the name
18 Wee Baby Brother Blues / [Gettin' Out - Darby Hicks & His Rhythm - Instrumental] - 46
1017 I Been Down In Texas / Root - Lie - Voot - 2/46

ALADDIN (Effie Smith With Buddy Harper And His All-Stars)
151 Nothin' You Can Do / Effie's Boogie - 7/46
152 Haunted By The Blues / What You Puttin' Down - 8/46
153 Go Ahead With Your Lucky Self / Sugar-Daddy - 9/46

MILTONE
218 Answer To R.M. Blues / It's Been So Long - 5/47
            (Effie Smith, Jimmie Grissom And The Blenders - T.B. Watson on piano)
18 Wee Baby Brother Blues / [Sugar Mama Blues - voc by Johnie Criner] - 48
            Same cut as Gem/G & G - Effie Smith w. Johnie [sic] Criner Orch. (per the label)
            Effie Smith & The Darby Hicks Selected Trio (per the Miltone CD)

   UNRELEASED MODERN (all recorded in early 1949)
      Be On Your Merry Way
      I Live The Life I Love
      Be Bop Boogie
      Great To Be Rich

DECCA (Ike Carpenter And His Orchestra; vocal by Effie Smith)
28668 Crazy Crazy / (Mama) He Treats Your Daughter Mean - ca 3/53

RHYTHM AND BLUES (Modern Records subsidiary)
103 Mambo Blues / Rack 'Em Back - ca 4/53
            Effie Smith & Johnny Criner / Effie Smith
            with Oscar Moore (guitar) and Jimmy O'Brien (piano)

DECCA (Ike Carpenter And His Orchestra; vocal by Effie Smith)
28687 Ain't Nothin' Nothin' Baby Without You / Shoo My Blues Away - ca 5/53

TREND (Effie Smith And Orchestra)
56 Three Men In My Life / Cry Baby Cry - 5/53

ALADDIN (Effie Smith And The Swingmen)
3202 Don't 'Cha Love Me? / Dial That Telephone - 9/53

   UNRELEASED ALADDIN
      Standing In The Doorway
      Tropical Seas

VITA (Effie Smith & The Squires)
117 Guiding Angel / You Ought To Be Ashamed Of Yourself - 11/55
124 Champagne Mind With A Soda Water Income / Water! Water! - 3/56
            NOTE: all sides have the group, but "Squires" only named on #117

SPOT (Effie Smith)
103 Dial That Telephone (Part 1) / Part 2 - ca 12/58
105 Everybodys Somebodys Fool / New Effie's Blues - 6/59

DYNAMIC (Effie Smith & Buddy Harper's Combo)
1002 Cry, Baby Cry / Three Men - 10/60

DUO DISC (Effie Smith)
105 Trouble Mind / No Time For Tears - ca 10/64
107 Dial That Telephone (Part 1) / Part 2 - 11/64
111 The Blond Wig* / Me And My Kids - ca 2/65
115 Teenage World (Part 1)* / Part 2* - ca 10/65
116 The Driving Lesson* / Our Next Door Neighbor* - ca 11/65
      The label for this one says "Excerpt from 'Dial That Telephone' Jubilee #2057"
      * label says "John Criner as "Henry"

JUBILEE (a comedy album)
JGM-2057 - Dial That Telephone - Effie Smith - 12/65
      Dial That Telephone (pt. 1 & 2)
      Teenage World (pt. 1 & 2)
      Conditions Of The World
      Blond Wig
      The Out Crowd
      The Driving Lesson
      Our Next Door Neighbor

EEE CEE (Effie Smith)
100 Harper Valley P.T.A. Gossip / The Natural - ca 10/68
101 Laugh And Dance* / Soul Bag (instrumental) - ca 11/68
105 Trouble Mind / No Time For Tears - ca 12/68
111 The Blond Wig / Me And My Kids - 69
      * label says "John Criner as "Henry"

DOIN OUR THING (Ruby Lee And Henry)
1000 Dial That Telephone / The Driving Lesson - spring 70