RSO SO 4807
Released: May 1975
Chart Peak: #14
Weeks Charted: 74
Certified Gold: 12/23/75
The rest of the album more or less reflects the Bee Gees of old. "Songbird," "Country Lanes," "Come on Over" and "Baby as You Turn Away" sound characteristically sugary. "Edge of the Universe" is a slice of dumb psychedelia, "All This Making Love," a passable novelty. For all their professionalism, the Bee Gees have never been anything but imitators, their albums dependent on sound rather than substance. In this respect, Main Course is no different from its predecessors.
- Stephen Holden, Rolling Stone, 7/17/75.
After several rather disappointing albums, the Gibbs Brothers have come up with perhaps their most versatile and most contemporary effort in years. Recorded at Miami's Criteria with production chores handled by Arif Mardin, this album touches base with so many different styles of music and commercial sounds, that it could be a smash on all fronts. For the first time, they could score in the soul market with several dance-oriented songs (sometimes a la Average White Band). And then there are the songs that sound like the old Bee Gees, featuring the vocal harmonies that made them a supergroup of the Sixties. Other songs are reminiscent of Bad Company, Elton John and even the Beatles but they treat each of these selections with their own mixture of instrumental and vocal excitement. One of the major changes in the group is the addition of British keyboard wizard Blue Weaver, who does some fine synthesizer work throughout. Still, the multiple-talented Gibbs Brothers are the winning element; with distinctive vocals and writing talents, the group now has a chance of breaking into the discos, hitting high on the charts of AM, FM and soul stations. Best cuts: "Nights On Broadway," "Jive Talking," "Winds Of Change," "All This Making Love," "Country Lanes," "Edge Of The Universe," "Baby As You Turn Away."
- Billboard, 1975.
At first I was put off by the commercial desperation that induced these chronic fatuosos to turn out their brightest album in many years. But commercial success validated it: "Nights on Broadway" and "Jive Talkin'" turned out ot be the kind of fluff that sticks. Sad to say, an unpleasant tension between feigned soulfulness and transparent insincerity still mars most of side two, which does, however, lead off with undiscovered gem: "All This Making Love," a baroque, frantically mechanical evocation of compulsive sex. B+
- Robert Christgau, Christgau's Record Guide, 1981.
On Main Course The Bee Gees began incorporating soul into their well-constructed sound, inching the group closer to their watershed disco years. Like most Bee Gees' albums, the material is fairly inconsistent, yet the strongest moments -- including the hit singles "Jive Talkin'" and "Nights on Broadway" -- rank with the group's best work. * * * *
- Stephen Thomas Erlewine, The All-Music Guide to Rock, 1995.
Main Course is a transitional album, pop with R&B touches that would turn into a full-fledged disco movement for "Saturday Night Fever." On Main Course, however, it's a welcome switch from the bland pop path the Bee Gees were on before, yeilding tuneful hits such as "Jive Talkin'" and "Nights on Broadway." * * * *
- Gary Graff, Musichound Rock: The Essential Album Guide, 1996.
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