Maxine Nightingale -

Maxine Nightingale is an English soul-pop singer who released three albums between 1976 and 1978 on United Artists and charted with “Right Back Where We Started From,” “Love Hit Me,” and “Lead Me On,” a stateside AC chart-topper.

Background

Maxine Nightingale was born on November 2, 1952, in Wembley, Middlesex. Her father, Benny Nightingale, worked as a comedian; her brother Glenn later appears in her album credits as a guitarist and songwriter. Nightingale attended Barham Primary, Ealing Grammar School, and the Guildhall School of Music and Drama. She first sang with a school band, then joined Unisound at age thirteen after hearing the group rehearse in a neighborhood house.

Unisound worked the British cabaret circuit, where one club manager arranged a Nightingale demo for Pye Records, which issued her June 1969 debut single “Talk to Me,” a Hammond-Hazlewood song backed with her take on “Spinning Wheel,” the recent Blood Sweat & Tears hit. In late July she followed with “Don’t Push Me Baby” (b/w “Thru’ Loving You”), both co-written and produced by veteran jazz bandleader Cyril Stapleton. He oversaw her March 1971 third and final Pye single “Love on Borrowed Time,” a Freda Payne cover backed with “It’s That Hurtin’ Thing,” co-written by library-jazz musician Anthony King, an early songwriter for Amen Corner and Status Quo.

Meanwhile, Nightingale joined the 1969 London production of Hair, where she played a supporting role and understudied Sheila. She relocated to Germany for stage work in Hair, Jesus Christ Superstar, and Godspell, then married German Hair director Minoru Terada Domberger and had a daughter, Langka Veva Domberger.

Nightingale returned to London and appeared in Savages, then left the stage to focus on her signing career. She sang backing vocals on the 1975 CBS single “Fool,” by Al Matthews, a Brooklyn-born DJ stationed at Capitol Radio. Matthews worked with producer Pierre Tubbs, a onetime pop-psych music-maker (Our Plastic Dream, The Jeeps, The Owl) who presented Maxine with “Right Back Where We Started From,” a sprightly Sixties Motown pastiche co-written with fellow Hair alumnus J. Vincent Edwards. The song became an autumn 1975 stateside hit and prompted a full album.

Right Back Where We Started From

Maxine Nightingale released her debut album, Right Back Where We Started From, in June 1976 on United Artists.

The album contains thirteen tracks around the advance title single and the follow-up “Gotta Be the One.” Nightingale covers John Lennon (“Bless You”), Earth, Wind & Fire (“Reasons”), Quincy Jones (“If I Ever Lose This Heaven”), and Rufus (“You Got the Love”), amid songs by Tubbs, Tim Moore, Dennis Belfield, Tiny Barge, and her brother Glenn Nightingale.

“Right Back Where We Started From” romps through heavy handclaps, a crashing keyboard figure, and a high-set lead above baritone saxophone and strings. “(I Think I Wanna) Possess You” leans into a moody lead line that widens across Nightingale’s range. “Gotta Be the One” brightens an uptempo chart with an emotive lead and group replies.

“Reasons” softens through marimba touches, string figures, and tucked backing voices. “You Got the Love” leans into a moody lead with processed bass under backing voices. “Everytime I See a Butterfly” lingers over string lines and a brief trumpet solo while Nightingale holds a fragile lead.

A1. “(I Think I Wanna) Possess You” (3:29) – Moore; originated on Tim’s 1975 second solo album Behind the Eyes.
A2. “Bless You” (4:30) – Lennon
A3. “Right Back Where We Started From” (3:11) – Tubbs, Edwards
A4. “In Love We Grow” (2:39) – Belfield
A5. “Gotta Be the One” (2:50) – Tubbs
A6. “One Last Ride” (2:33) – Tubbs
A7. “Reasons” (4:23) – White, Stepney, Bailey

B1. “If I Ever Lose This Heaven” (3:59) – Ware, Sawyer
B2. “Love Enough” (3:35) – Moore
B3. “You Got the Love” (4:35) – Khan, Parker
B4. “Life Has Just Begun” (3:38) – Glenn Nightingale
B5. “Everytime I See a Butterfly” (3:37) – Barge
B6. “Good-Bye Again” (3:27) – Tubbs, Edwards

Nightingale recorded Right Back Where We Started From between 1975 and March 1976 at Central Sound, Eden, Island, Morgan, and Olympic studios in London, where Tubbs produced the album with engineer Mike Gardner and assistant Roger Béchirian. Tubbs worked in sequence on Yellow Bird Is Dead by the 20th Century Steel Band.

The London sessions feature bassist Mike de Albuquerque, vibraphonist Frank Ricotti, flugelhorn and trumpet player Kenny Wheeler, keyboardists Lynton Naiff, and brass/string arrangers Raphael Ravenscroft, Bill Skeat, Gerry Shury, and Wilf Gibson. Rumour keyboardist Bob Andrews plays Fender Rhodes on “Gotta Be the One” and clavinet on “(I Think I Wanna) Possess You” and “You Got the Love.” Eden staffer Gardner engineered Right Back in sequence with Graham Parker’s debut, Howlin Wind.

Right Back Where We Started From appeared in a sleeve with art direction by Dave Murphy, design by Bob Searles, and photography by Derek Richards and Keith Morris. The front cover shows Nightingale seated at the end of a wooden bench against a red wall beneath a ceiling fan.

UA first released “Right Back Where We Started From” nine months ahead of the album in September 1975 (b/w “Believe In What You Do”). The song reached No. 8 on the UK Singles Chart and became a major pop hit in the US, where it reached No. 2 on the Billboard Hot 100, No. 5 on the Adult Contemporary chart, and No. 46 on Hot Soul Singles.

“Gotta Be the One” became a 1976 single (b/w “One Last Ride” in the US), reaching No. 53 on the Billboard Hot 100, No. 22 on Adult Contemporary, No. 12 in Australia, and No. 19 in New Zealand. “(I Think I Wanna) Possess You” followed as a 1976 single (b/w “Life Has Just Begun”).

Right Back Where We Started From reached No. 65 on the Billboard Top LPs & Tape chart and No. 38 on Billboard R&B Albums. Overseas peaks include No. 25 in Australia, No. 59 in Canada, and No. 47 in Sweden.

Night Life

Maxine Nightingale released her second album, Night Life, in July 1977 on United Artists.

The album contains ten tracks, including the UK hit “Love Hit Me” and covers associated with The Stylistics (“You Are Everything”), Ned Doheny (“Get It Up for Love”), The Delfonics (“Didn’t I (Blow Your Mind This Time)”), Friends of Distinction (“Love or Let Me Be Lonely”), and Leo Sayer (“How Much Love”).

Nightingale works with a Los Angeles session team that includes bassist Anthony Jackson, drummer Ed Greene, drummer Ron Tutt, guitarist Larry Carlton, guitarist Jay Graydon, keyboardist Michel Colombier, keyboardist Larry Muhoberac, harpist Gayle Levant, saxophonist Tom Scott, saxophonist and bassist Wilton Felder, and The Waters on backing vocals.

“Love Hit Me” romps on finger-popping accents, with Nightingale set tight to the bright arrangement. “Love or Let Me Be Lonely” sets Charles Veal strings beside a separate backing-voice team under the Peters–Abdullah chart. “Right Now” settles into Larry Carlton’s chart with Michel Colombier’s strings under Nightingale’s lead.

A1. “Will You Be My Lover” (2:44) – Fields
A2. “You Are Everything” (2:46) – Bell, Creed
A3. “Love Hit Me” (2:46) – Edwards
A4. “You” (3:48) – Bond
A5. “Get It Up for Love” (4:06) – Doheny

B1. “Didn’t I (Blow Your Mind This Time)” (3:21) – Hart, Bell
B2. “Love or Let Me Be Lonely” (3:33) – Poree, Peters, Scarborough
B3. “I Wonder Who’s Waiting Up for You Tonight” (3:17) – Welch, Dee
B4. “How Much Love” (3:18) – Mann, Sayer
B5. “Right Now” (4:31) – Belfield

Sessions occurred at Devonshire Studios and Silvery Moon Studios in North Hollywood and Marquee Studios in London. Denny Diante produced the album with Ron Malo as recording engineer. Tubbs and Del Newman produced “Love or Let Me Be Lonely,” which James Armstrong and Jerry Hudgins recorded before a Diante–Malo remix. Diante’s credits included recent albums by Lea Roberts, Tina Turner, Vernon Burch, and Dog Soldier.

Night Life appeared in a sleeve designed by Bill Burks with photography by Derek Richards. The front cover shows Nightingale beside a night-street railing in a black coat and white collar, with blurred traffic lights behind the foreground portrait.

United Artists lifted “Love Hit Me” as a March 1977 UK single (b/w “Life Has Just Begun”), which reached No. 11 on the UK Singles Chart and No. 30 in Australia. The US issue paired “Love Hit Me” with “If I Ever Lose This Heaven.”

“Will You Be My Lover” followed as a June 1977 US single (b/w “How Much Love”), and “Didn’t I (Blow Your Mind This Time)” followed in October 1977 (b/w “I Wonder Who’s Waiting Up for You Tonight”).

Love Lines

Maxine Nightingale released her third album, Love Lines, in August 1978 on United Artists.

The album contains eleven titles from a Los Angeles pool of songwriters and players, including Marilyn McLeod, Pam Sawyer, Ray Parker Jr., Casey James, Leroy Bell, and Michel Colombier. Diante retains Colombier as arranger and Ron Malo as engineer. Parker co-produced “(Bringing Out) The Girl in Me” and “Love Me Like You Mean It.”

The session cast includes the Brecker Brothers, percussionist Paulinho Da Costa, bassists Jerry Knight and David Hungate, guitarists Larry Carlton and Glen Nightingale, drummers Ed Greene and Larry Tolbert, keyboardists David Foster and Sylvester Rivers.

“You Are the Most Important Person In Your Life” brightens through brass punctuation, Marilyn McLeod’s piano figure, and Waters-family backing replies. “(Bringing Out) The Girl In Me” eases in on cymbal detail before the Parker co-produced chart tightens the dance motion. “Love Me Like You Mean It” steps through Parker’s arrangement with congas and group replies around Nightingale’s lead. “Lead Me On” glides through strings, synthesizer, and a clearly marked chorus under a delicate lead.

“I Die Inside Without You (Darlin’ Dear)” softens around McLeod’s backing-voice arrangement and Nightingale’s lead. “Ask Billy (They Tell Me)” moves through brass figures, congas, and a Sylvester Rivers piano part. “No One Like My Baby” pairs Nightingale with Michael Brecker’s saxophone part. “Someone Like Me” carries Michel Colombier’s keyboard chart into a brass-marked setting. “You Made My Life So Beautiful” settles into backing replies around Nightingale’s lead.

A1. “You Are the Most Important Person in Your Life” (4:07) – McLeod, Sawyer
A2. “You Got to Me” (2:59) – Boone
A3. “Your Love’s Too Strong” (3:38) – McLeod, Sawyer
A4. “(Bringing Out) The Girl in Me” (3:31) – Ray Parker Jr.
A5. “Love Me Like You Mean It” (3:03) – Ray Parker Jr.
A6. “Lead Me On” (2:45) – co-written by David Lasley and Allee Willis; inspired by the recent Samantha Sang/Gibb duet “Emotion.”

B1. “I Die Inside Without You (Darlin’ Dear)” (3:06) – McLeod, Sawyer
B2. “Ask Billy (They Tell Me)” (3:09) – Bell, James
B3. “No One Like My Baby” (3:08) – Bliffert
B4. “Someone Like Me” (3:31) – Colombier, Workman
B5. “You Made My Life So Beautiful” (4:17) – McLeod, Sawyer

Sessions occurred at Devonshire Studios in North Hollywood, where Diante produced Love Lines with producer-assistant Michel Banon and engineer Ron Malo. Colombier arranged the album, and McLeod and Sawyer arranged backing vocals on their three titles.

Love Lines appeared in a sleeve art-directed by Burks with artwork by Valeret London and design by Jeff Lancaster. The cover uses a monochrome close portrait of Nightingale with one hand under her chin, mint name lettering across the upper margin, and smaller title text along the left margin.

United Artists issued “Lead Me On” and “(Bringing Out) The Girl in Me” from the album in Britain. The latter title later reached No. 73 on the Billboard Hot 100 and No. 58 in Australia after Windsong reactivated the material for the North American Lead Me On configuration.

In September 1978, side one of Love Lines, constituted an initial UA miss-press of Love Bites, the second Buzzcocks album.

Lead Me On

Windsong issued Lead Me On in June 1979 as the North American configuration of Love Lines.

The album uses seven Love Lines titles, shortens “I Die Inside Without You (Darlin’ Dear)” to “Darlin’ Dear,” and adds “Hideaway” as the extended side-one opener. “Lead Me On” opens side two and groups the Parker co-productions on side one. The session credits carry over the Diante–Colombier–Malo production team, with bassist Eddie Watkins Jr., guitarist Charles Fearing, keyboardist Michael Boddicker, and backing vocalists Jim Haas and Stan Farber added to the printed North American musician pool.

“Hideaway” rides the added dance-leaning chart in its extended 12-inch form. “Darlin’ Dear” sets McLeod’s piano figure beside congas and Waters-family replies. “Love Me Like You Mean It” steps through Parker’s arrangement with group voices around Nightingale’s lead.

A1. “Hideaway” (5:57) – Brown, Ellison
A2. “(Bringing Out) The Girl in Me” (3:32) – Ray Parker Jr.
A3. “Darlin’ Dear” (3:08) – McLeod, Sawyer
A4. “Love Me Like You Mean It” (3:01) – Ray Parker Jr.

B1. “Lead Me On” (2:48) – Willis, Lasley
B2. “No One Like My Baby” (3:09) – Bliffert
B3. “You Got to Me” (3:00) – Boone
B4. “Ask Billy (They Tell Me)” (3:10) – Bell, James
B5. “You Are the Most Important Person in Your Life” (4:07) – McLeod, Sawyer

The Devonshire masters carried the Diante production credit with producer-assistant Michael Banon, co-producer Parker on tracks two and four, arranger Colombier, and engineer Ron Malo. Bob MacLeod mastered Lead Me On at Artisan Sound Recorders. The album appeared in a sleeve art-directed and designed by Tim Bryant at Gribbitt!, with photography by Ron Slenzak. The front cover shows Nightingale against a corrugated metal wall beside a tiger, with a pink-and-white block nameplate in the upper-left corner.

Windsong lifted “Lead Me On” as a spring 1979 single (b/w “Love Me Like You Mean It”), which reached No. 5 on the Billboard Hot 100, No. 1 on Adult Contemporary, No. 37 on Hot Soul Singles, No. 2 in Canada, and No. 8 in New Zealand. “(Bringing Out) The Girl in Me” followed as a September 1979 single (b/w “Hideaway”).

Lead Me On reached No. 45 on the Billboard Top LPs & Tape chart and No. 35 on Billboard R&B Albums.

Bittersweet

Maxine Nightingale released her fourth album, Bittersweet, in October 1980 on RCA Victor, with a Liberty issue in Britain.

The album contains eight titles, including the Nightingale original “I’m Givin’ It All to You.” Allee Willis contributes three songs with David Lasley, Bruce Roberts, and Narada Michael Walden as co-writers. Diante retains Colombier as arranger and draws from a compact studio pool that includes bassist Abraham Laboriel Sr., bassist Jerry Knight, drummer JR Robinson, drummer Steve Schaeffer, guitarist Thom Rotella, guitarist Glen Nightingale, synthesizer player Michael Boddicker, percussionist Paulinho Da Costa, and backing vocalists Marcy Levy, David Lasley, Bruce Roberts, Jim Haas, Jon Joyce, and Stan Farber.

A1. “Take Your Heart” (4:10) – Willis, Lasley
A2. “I’m Givin’ It All to You” (3:57) – Maxine Nightingale
A3. “Work on It” (3:25) – Wood
A4. “Just Because” (5:12) – Wendroff, Fitoussi

B1. “All Night With Me” (3:30) – Montan
B2. “Never Enough” (6:40) – Willis, Roberts
B3. “Tight Spot” (3:50) – Anderson, Colombier
B4. “Why Did You Turn Me On” (3:54) – Willis, Rustici, Walden

Nightingale recorded and mixed Bittersweet at Devonshire Sound Studios, with additional recording at Sound Connection and Hollywood Sound. Diante produced the album for Coldeye Productions with Colombier arranging and engineers Jerry Hudgins, Ron Malo, and Russell Schmitt.

Bittersweet appeared in a sleeve art-directed by George Corsillo, Tim Bryant, and Gribbitt!, with Corsillo and Gribbitt! design and Jonathan Exley photography. The cover shows Nightingale seated at a vanity table, with her reflected face inside a round mirror and shaded window blinds behind the glass.

Windsong lifted “Take Your Heart” as an August 1980 single (b/w “Why Did You Turn Me On”). RCA followed with “All Night With Me” in October 1980 (b/w “Tight Spot”). Liberty issued “All Night With Me” in Britain with “Work On It” on the reverse.

It’s a Beautiful Thing

Maxine Nightingale released her fifth album, It’s a Beautiful Thing, in November 1982 on Highrise Entertainment.

The album contains eight titles produced, arranged, and conducted by Sam Brown III. Jimmy Ruffin joins Nightingale on “Turn to Me,” and Nightingale covers the Dionne Warwick classic “Anyone Who Had a Heart.” Jerry Hey arranges horns on “Stand Up for Your Heart.” The sessions feature bassist Cornelius Mims, drummers Ed Greene and James Gadson, guitarists Bob Bowles, Charles Fearing, and Chuck Pierce, and keyboardists Luis Cabaza, Brown, and Sonny Burke.

“Turn To Me” softens into a tender duet, with Jimmy Ruffin’s vocal placed against Nightingale’s lead. “Stand Up For Your Heart” sets Jerry Hey’s horn chart beside Nightingale’s lead.

A1. “Never Gonna Be Another One” (6:37) – Goetzman, Piccirillo
A2. “So Right” (3:49) – Goetzman, Piccirillo
A3. “Shakin’ Me Up” (4:40) – Ash, Mugrage, Campagna
A4. “Turn to Me” (4:38) – Scott, Lieberman

B1. “Stand Up for Your Heart” (5:12) – Gruska, Lang, Gordon
B2. “Anyone Who Had a Heart” (4:26) – Bacharach, David
B3. “Give a Little Love (To Me)” (3:58) – Vaughn, Brown
B4. “I Don’t Miss You at All” (4:20) – Mann

Sessions occurred at Mom & Pop’s Company Store and KSR Recording Studio in Hollywood with Brown producing, arranging, and conducting the album. Steve Poulict engineered the sessions with second engineers Karvin Johnson and Paul Miller.

It’s a Beautiful Thing appeared in a sleeve directed by Pat Means with design by Diem Jones and photography by Olivier Ferrand. The front cover shows a close portrait of Nightingale in black against a grey-blue backdrop, with gold script artist lettering and pink title text.

Highrise lifted “Turn to Me” with Jimmy Ruffin as a 1982 single (b/w “Give a Little Love (To Me)”), which reached No. 17 on Billboard Hot Soul Singles.

It’s a Beautiful Thing reached No. 176 on the Billboard Top LPs & Tape chart and No. 35 on Billboard R&B Albums.

Discography: