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Main Course
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| Main Course | ||||
|---|---|---|---|---|
 | ||||
| Studio album by the Bee Gees | ||||
| Released | May 1975 (US) August 1975 (UK) | |||
| Recorded | 6 January – 21 February 1975 | |||
| Studio | ||||
| Genre | ||||
| Length | 40:56 | |||
| Label | RSO, Capitol Records (2020 vinyl reissue) | |||
| Producer | Arif Mardin | |||
| The Bee Gees chronology | ||||
| ||||
| Singles from Main Course | ||||
| ||||
Main Course is the thirteenth studio album (eleventh worldwide) by the Bee Gees, released in 1975 by RSO Records. It was the group's last album to be released by Atlantic Records in the US under its distribution deal with Robert Stigwood. This album marked a great change for the Bee Gees as it was their first album to include mostly R&B, soul, disco and funk-influenced songs, and created the model for their output through the rest of the 1970s. It rejuvenated the group's career and public image, particularly in the US, after the commercial disappointment of their preceding albums. Main Course was the first album to feature keyboardist Blue Weaver who had just left the Strawbs and toured with Mott the Hoople. The album cover with the band's new logo designed by US artist Drew Struzan made its first appearance here.
Background
[edit]Working with Atlantic producer Arif Mardin, who had also produced their previous album, Mr. Natural, and engineer Karl Richardson at Criteria Studios in Miami, their music became much more influenced by funk sound over a base of R&B style being produced in Miami at the time. Main Course also featured the first prominent use of Barry Gibb's falsetto. From Mr. Natural, the brothers retained new drummer Dennis Bryon and longtime lead guitarist Alan Kendall but added a new keyboard player, Bryon's former Amen Corner colleague Blue Weaver, who would become one of only a small handful of non-Gibb musicians to receive composition credits on Bee Gees songs. At the suggestion of Eric Clapton, the Bee Gees moved to Criteria Studios in Miami, to start recording their next album. Barry recalled Clapton's suggestion when he was trying to make a comeback: "Eric said, 'I've just made an album called 461 Ocean Boulevard in Miami. Why don't you guys go to America and do the same and maybe the change of environment will do something for you?' I think it was really good advice."[1]
Maurice Gibb, on the other hand, cites their manager Robert Stigwood as the first to suggest Miami as the best place to record new songs. "He [Robert] showed us the picture on the cover [of 461 Ocean Boulevard] and said, 'You can rent that place and live there and record and get a sun tan.' We decided that it was our big chance to get serious about our music again so we went out there and did Main Course."[1]
Recording
[edit]According to producer Arif Mardin, when the Bee Gees arrived in Florida to record new material, he discovered that at the time, they were listening to a lot of American R&B groups' songs; as Mardin was known as an R&B producer, he suggested that they also listen to several high-charting R&B artists such as Stevie Wonder for an idea as to the kind of music he felt they should be making.[1]
The band's sound became more technologically current with Mardin's incorporation of modern synthesizers and dual bass lines (the synthesizer bass was played by Blue Weaver and bass guitar by Maurice Gibb) on many of the songs, which started when Weaver decided to overdub a synthesizer bass line on the original demo of "Jive Talkin'." Weaver later commented that "nothing new has been invented to make such a tremendous difference to the sound as the synthesizer did, compared to an orchestra."[1]
At first, the brothers were still writing in their old ways, with many of the songs being slower rock ballads. The first song recorded for the album was an unreleased track "Was It All in Vain?". The next songs recorded were "Country Lanes" and "Wind of Change". After co-producer Robert Stigwood heard these songs, he urged them to record in a more R&B style and "Wind of Change" was re-recorded again in February in its more familiar version. Another unreleased track, "Your Love Will Save the World" was recorded on 9 January, though it was later recorded by Percy Sledge. Once the Gibb brothers changed their style of writing, songs like "Jive Talkin'", "Nights on Broadway" and "Edge of the Universe" were recorded with an R&B influence, though ballads like "Songbird" and "Come on Over" were more country than R&B. The final song recorded for the album was "Baby As You Turn Away" which featured Barry singing the verses in falsetto, though not the strong falsetto which he would develop and use on future songs like "You Should Be Dancing" and "Stayin' Alive".[2]
Release
[edit]| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [3] |
| Christgau's Record Guide | B+[4] |
| Encyclopedia of Popular Music |  [5] |
| The Great Rock Discography | 7/10[6] |
| Rolling Stone | (ambivalent)[7] |
| The Rolling Stone Album Guide | [8] |
The album peaked at No. 14 on the US Billboard album chart in 1975 and remained on Billboard's Top 200 albums chart for 74 weeks until December 1976 on the strength of its three singles that charted on Billboard's single chart: "Fanny (Be Tender with My Love)" at No. 12, "Nights on Broadway" at No. 7, and "Jive Talkin'" at No. 1. A live version of a fourth song, "Edge of the Universe" from the album Here at Last... Bee Gees... Live, reached No. 26. "Come on Over" later became a moderate hit (#23) in a cover version by country/pop artist Olivia Newton-John. The album also peaked No. 1 at the Canada's RPM Albums Chart.
Track listing
[edit]All tracks written by Barry and Robin Gibb, with additional writers noted.
| No. | Title | Writer(s) | Lead vocal(s) | Length |
|---|---|---|---|---|
| 1. | "Nights on Broadway" | Maurice Gibb | Barry and Robin | 4:36 |
| 2. | "Jive Talkin'" | Maurice Gibb | Barry | 3:47 |
| 3. | "Wind of Change" | Barry and Robin | 5:01 | |
| 4. | "Songbird" | Maurice Gibb, Blue Weaver | Barry | 3:35 |
| 5. | "Fanny (Be Tender with My Love)" | Maurice Gibb | Barry and Robin | 4:06 |
| No. | Title | Writer(s) | Lead vocal(s) | Length |
|---|---|---|---|---|
| 1. | "All This Making Love" | Barry and Robin | 3:03 | |
| 2. | "Country Lanes" | Robin (with Barry) | 3:31 | |
| 3. | "Come On Over" | Robin and Barry | 3:27 | |
| 4. | "Edge of the Universe" | Barry and Robin | 5:25 | |
| 5. | "Baby As You Turn Away" | Maurice Gibb | Barry | 4:29 |
Personnel
[edit]- Bee Gees
- Barry Gibb – lead, harmony, and backing vocals; rhythm guitar
- Robin Gibb – lead, harmony, and backing vocals
- Maurice Gibb – harmony and backing vocals, bass guitar, lead and rhythm guitars
- Bee Gees band
- Blue Weaver – keyboards, synthesizers, synth bass
- Alan Kendall – lead guitar, steel guitar
- Dennis Bryon – drums, percussion
- Additional musicians and production
- Joe Farrell – tenor saxophone on "Winds of Change"
- Ray Barretto – congas on "Wind of Change"
- Don Brooks – harmonica on "Songbird"
- Strings conducted by Gene Orloff
- Produced and arranged by Arif Mardin
- Engineered by Karl Richardson and Lew Hahn
Charts
[edit]
Weekly charts[edit]
|
Year-end charts[edit]
|
Certifications and sales
[edit]| Region | Certification | Certified units/sales |
|---|---|---|
| Canada (Music Canada)[18] | 2× Platinum | 200,000^ |
| United States (RIAA)[19] | Gold | 500,000^ |
|
^ Shipments figures based on certification alone. | ||
References
[edit]- ^ a b c d Hughes, Andrew (2009). The Bee Gees – Tales of the Brothers Gibb. Omnibus Press. ISBN 9780857120045. Retrieved 11 February 2015.
- ^ Brennan, Joseph. "Gibb Songs: 1975".
- ^ Allmusic review
- ^ Christgau, Robert (1981). "Consumer Guide '70s: B". Christgau's Record Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN 089919026X. Retrieved 21 February 2019.
- ^ Larkin, Colin (2007). Encyclopedia of Popular Music: Concise Edition (5th ed.). Omnibus Press. p. 1990.
- ^ Strong, Martin Charles (2002). "Bee Gees". The Great Rock Discography. The National Academies. ISBN 1-84195-312-1.
- ^ Rolling Stone review
- ^ Sheffield, Rob; et al. (2004). Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. p. 58. ISBN 0-7432-0169-8.
- ^ Kent, David (1993). Australian Chart Book 1970–1992. Australian Chart Book. ISBN 0-646-11917-6.
- ^ "Top Albums/CDs – Volume 24, No. 18". RPM. 24 January 1976. Archived from the original on 9 March 2014. Retrieved 5 May 2013.
- ^ "Offiziellecharts.de – Bee Gees – Main Course" (in German). GfK Entertainment charts. Retrieved 12 October 2021.
- ^ "Charts.nz – Bee Gees – Main Course". Hung Medien. Retrieved 12 October 2021.
- ^ Salaverri, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (1st ed.). Spain: Fundación Autor-SGAE. ISBN 84-8048-639-2.
- ^ "Bee Gees Chart History (Billboard 200)". Billboard. Retrieved 12October 2021.
- ^ "RPM Top Albums/CDs – Volume 24, No. 14, Top 100 Albums of 1975". RPM. 27 December 1975. Archived from the original on 24 July 2013. Retrieved 6 May 2012.
- ^ "RPM Top Albums/CDs – Volume 26, No. 14 & 15, Top 100 Albums of 1976". RPM. 8 January 1977. Archived from the original on 24 February 2014. Retrieved 6 May 2012.
- ^ "Top Pop Albums of 1976". billboard.biz. Archived from the original on 31 December 2012. Retrieved 6 May 2011.
- ^ "Canadian album certifications – Bee Gees – Main Course". Music Canada.
- ^ "American album certifications – Bee Gees – Main Course". Recording Industry Association of America.
Main Course
View on Grokipediafrom Grokipedia
The main course, also referred to as the main dish, is the primary and most substantial component of a multi-course meal, typically served after appetizers or soup and before dessert, featuring a balance of proteins, starches, and vegetables to provide the bulk of the meal's nutrition and satisfaction.[1][2] It often centers around a featured protein such as meat, fish, poultry, or plant-based alternatives like legumes or tofu, accompanied by sides that complement its flavors and textures.[2][3]
In culinary traditions worldwide, the main course varies by culture and region, reflecting local ingredients and customs; for instance, in Italian cuisine, it may follow a pasta-based primo and consist of grilled meats or seafood (secondo), while in American dining, it is commonly called the entrée and emphasizes hearty portions like steak or burgers.[4][5] This terminology difference stems from historical shifts: originally from French entrée meaning an introductory dish, the term evolved in the United States during the 19th and 20th centuries to denote the central course as multi-course meals simplified in everyday eating.[5] The structure of meals with a distinct main course traces back to ancient practices but was formalized in the 9th century by the Persian musician and gastronome Ziryab in Córdoba, Al-Andalus (modern-day Spain), who popularized the sequential serving of courses, influencing European fine dining conventions that spread globally.[6]
Today, the main course plays a pivotal role in both home cooking and restaurant menus, often designed to highlight seasonal or high-quality ingredients while accommodating dietary preferences such as vegetarianism or sustainability-focused sourcing.[7] Its preparation emphasizes techniques like roasting, grilling, or braising to enhance flavor depth, making it the flavorful and filling highlight that defines the meal's character.[7]
The standard edition across all formats contains these 10 tracks with no bonus material or alternate versions. Regional releases from 1975, such as those in the US, UK, and Europe, share the identical track listing and sequencing. Later reissues, including CD editions from the 1990s and a 2020 limited-edition vinyl remaster, and a 2025 50th anniversary limited-edition vinyl reissue released on November 14, 2025, preserve the original content without additions, focusing instead on improved audio fidelity.[17][26]
Development and Production
Background
Following the commercial disappointment of their 1974 album Mr. Natural, which failed to chart significantly and marked a period of declining popularity after earlier successes, the Bee Gees faced a career slump that lasted several years in the early 1970s. This underperformance prompted the band—brothers Barry, Robin, and Maurice Gibb—to reevaluate their direction, shifting away from their established pop and rock ballad style toward influences from R&B, soul, funk, and the emerging disco sound. The change was driven by a desire to reinvigorate their career amid waning hits, with manager Robert Stigwood encouraging a more contemporary edge to appeal to evolving musical tastes.[8][9] Seeking a fresh environment, the Bee Gees relocated to Miami, Florida, in early 1975 at the recommendation of Eric Clapton, who had recently recorded his album 461 Ocean Boulevard at the city's Criteria Studios and praised its vibrant, sunny atmosphere as conducive to creativity. This move immersed the band in Miami's dynamic music scene, characterized by funk, soul, and Latin-infused rhythms that were reshaping American pop at the time, providing the external stimuli that accelerated their stylistic evolution. During this period, they also welcomed keyboardist Blue Weaver as a new band member, whose expertise in synthesizers and funk arrangements added layered textures and rhythmic drive to their sound, marking a departure from their previous acoustic and rock-oriented setups.[10][11] A pivotal innovation on Main Course was the prominent introduction of Barry Gibb's falsetto vocal technique, which became a defining element of the band's identity starting with tracks like "Nights on Broadway." This high-register style, inspired by soul and R&B influences absorbed in Miami, contrasted with their earlier lower-range harmonies and helped bridge their ballad roots to funkier grooves. Initially, many of the album's songs were conceived as rock ballads in the vein of their prior work, but under producer Arif Mardin's guidance during pre-production, these ideas were reworked into more upbeat, rhythm-driven compositions to align with the new direction.[12][13]Recording
The recording of Main Course took place from early January to late February 1975 at Criteria Studios in Miami, Florida, marking a pivotal shift in the Bee Gees' sound under the guidance of producer Arif Mardin.[9] The sessions spanned approximately seven weeks, allowing the band to experiment extensively with new arrangements after relocating to the area.[13] Mardin played a central role in steering the Bee Gees toward a more R&B and funk-oriented style, encouraging them to draw inspiration from contemporary soul artists such as Stevie Wonder to infuse their music with rhythmic drive and synthesized elements.[14] He emphasized falsetto vocals, energetic tempos, and a departure from their earlier rock-leaning demos, often scrapping initial rock-inflected versions in favor of funk and disco reworkings through overdubs and layering.[9] This process involved reimagining tracks with added depth, such as incorporating dual bass lines—combining Maurice Gibb's guitar bass with synthesizer bass overdubs—to create a fuller, propulsive groove.[9] Innovative techniques defined the sessions, including the prominent use of synthesizers like the ARP 2600 for bass lines and fills, which added a modern, technological edge to the album's sound.[9] For instance, the rhythm of "Jive Talkin'" was inspired by the thumping sound of the band's car crossing the Julia Tuttle Causeway bridge en route to the studio each day, a detail that Mardin helped translate into the track's signature funk pulse.[15] Overdubbing extended to rhythm sections, with session percussionist Ray Barretto contributing congas to enhance the Latin-tinged funk on several cuts.[9] Key collaborations enriched the production, with session musicians like saxophonist Joe Farrell providing tenor saxophone accents that bolstered the R&B flavor, particularly in tracks like "Wind of Change" and the album's overall Philly soul arrangements.[9] Keyboardist Blue Weaver, a recent addition to the Bee Gees' touring band, integrated seamlessly by layering ARP synthesizer parts alongside Gibb's bass work, while harmonica player Don Brooks added distinctive textures to select songs.[9] These contributions, combined with Mardin's orchestral arrangements, resulted in a polished yet innovative sound that revitalized the band's creative direction.[16]Personnel
The Bee Gees' album Main Course featured core band members Barry Gibb on lead, harmony, and backing vocals as well as rhythm guitar; Robin Gibb on lead, harmony, and backing vocals; and Maurice Gibb on bass, piano, synthesizer, lead, and backing vocals.[17] The supporting musicians included Blue Weaver on keyboards and synthesizer, Alan Kendall on electric guitar, and Dennis Bryon on drums and percussion.[18] Session contributors comprised Joe Farrell on tenor saxophone for "Wind of Change"; Ray Barretto on congas for "Wind of Change"; and Don Brooks on harmonica for "Songbird".[19] Production credits went to Arif Mardin as producer and arranger of strings, horns, and woodwinds, with engineering handled by Karl Richardson and Lew Hahn; Gene Orloff served as concertmaster and conductor.[17]Musical Content
Style and Influences
Main Course marked a pivotal shift for the Bee Gees, blending R&B, soul, and funk with proto-disco rhythms and accessible pop structures, while largely eschewing the ballads that had defined much of their earlier catalog. This genre fusion represented the group's first sustained exploration of dance-oriented grooves, emphasizing upbeat, rhythmic tracks over introspective acoustic numbers. The album's sound drew from contemporary American urban music scenes, moving away from the British Invasion rock roots that influenced their 1960s output toward a more electric, groove-driven aesthetic aimed at revitalizing their commercial appeal.[9] Key influences included Stevie Wonder's funk innovations, particularly his use of synthesizers for propulsion and basslines, as evident in the album's adoption of Moog and ARP synth elements to create layered, danceable textures. Philadelphia soul, with its lush horn arrangements and sophisticated production, also shaped the record's polished R&B feel, guided by producer Arif Mardin's experience with Atlantic Records artists. Additionally, recording in Miami exposed the group to the city's emerging Latin-infused funk and disco scene at Criteria Studios, contributing to the album's vibrant, percussive energy and avoidance of their prior rock-leaning experimentation seen on Mr. Natural.[14][20][12] Central to the album's sonic identity was Barry Gibb's introduction of falsetto as a signature vocal technique, adding a high, emotive layer that complemented the prominent basslines—often doubled with synthesizer for depth—and horn sections that punctuated the grooves. String synthesizers replaced traditional orchestral sweeps, fostering a modern, urban polish that prioritized rhythmic drive over melodic expansiveness. These innovations transformed the Bee Gees' sound from the acoustic and rock-oriented approach of their previous works into an electric template that foreshadowed their disco dominance, most notably on the Saturday Night Fever soundtrack.[12][9][21]Composition and Songwriting
The songwriting for Main Course was predominantly handled by the Gibb brothers—Barry, Robin, and Maurice—with all tracks credited to them except "Songbird," which featured contributions from keyboardist Blue Weaver on the melody. This collaboration marked one of the few instances where a non-Gibb musician received a writing credit on a Bee Gees album, reflecting the band's openness to external input during their stylistic transition. The album's 10 songs were crafted during sessions at Criteria Studios in Miami, where the brothers drew from personal experiences to shape their material, often starting with basic demos before refining lyrics and arrangements under producer Arif Mardin's guidance.[9] Thematically, the album explores love, relationships, and the vibrancy of urban nightlife, blending introspection with energetic escapism. "Jive Talkin'," for instance, critiques insincere romance through metaphors of deceptive "jive" chatter and hidden facades, portraying a lover's manipulative words as a rhythmic con.[22] In contrast, "Nights on Broadway" captures the electric pulse of city nights, depicting a obsessive pursuit amid strangers in a darkened room, evoking the allure and anonymity of Broadway's energy.[23] These motifs recur across tracks like the tender plea for gentleness in "Fanny (Be Tender with My Love)," emphasizing vulnerability in romantic bonds. Musically, the songs feature varied structures that highlight the band's evolving sound, including funk-infused grooves in "Jive Talkin'," built around a verse-chorus format with layered call-and-response harmonies over a shuffling guitar riff and Moog bassline.[24] "Fanny (Be Tender with My Love)" shifts to a smoother ballad structure, with swelling verses leading to an emotive chorus that underscores its relational intimacy. "Wind of Change" incorporates rock-edged dynamics, opening with stark guitar and building to a fuller, narrative-driven arrangement about urban solitude in New York streets. Arrangements emphasize Barry Gibb's emerging falsetto leads, particularly in "Nights on Broadway," alongside the brothers' signature stacked harmonies and instrumental highlights, such as the sultry saxophone solo in "Jive Talkin'."[25] Several tracks evolved significantly from initial demos to fit the album's rhythmic direction. "Jive Talkin'," originally an improvised acoustic piece titled "Drive Talkin'," was transformed after Mardin explained the slang term "jive" as insincere talk, prompting lyrical revisions and a funk overhaul to align with the band's new R&B leanings. This adaptive process, common in the sessions, allowed songs to shed ballad tendencies for more dynamic, danceable forms.[9]Track Listing
The original 1975 vinyl release of Main Course by RSO Records features 10 tracks divided across two sides, with a total running time of 40:27. All compositions are credited to Barry Gibb, Robin Gibb, and/or Maurice Gibb, except for "Songbird," which includes Blue Weaver as a co-writer. Lead vocals are primarily handled by Barry Gibb, often in falsetto, with Robin Gibb taking or sharing leads on several tracks and Maurice Gibb contributing on one.[13]| Side | No. | Title | Writer(s) | Lead vocal(s) | Length |
|---|---|---|---|---|---|
| A | 1 | "Nights on Broadway" | Barry, Robin & Maurice Gibb | Barry & Robin | 4:32 |
| A | 2 | "Jive Talkin'" | Barry, Robin & Maurice Gibb | Barry | 3:44 |
| A | 3 | "Wind of Change" | Barry & Robin Gibb | Barry & Robin | 4:55 |
| A | 4 | "Songbird" | Barry, Robin & Maurice Gibb, Blue Weaver | Barry | 3:36 |
| A | 5 | "Fanny (Be Tender with My Love)" | Barry, Robin & Maurice Gibb | Barry | 4:04 |
| B | 6 | "All This Making Love" | Barry & Robin Gibb | Barry & Robin | 3:04 |
| B | 7 | "Country Lanes" | Barry & Robin Gibb | Robin | 3:30 |
| B | 8 | "Come On Over" | Barry & Robin Gibb | Barry & Robin | 3:28 |
| B | 9 | "Edge of the Universe" | Barry & Robin Gibb | Barry & Robin | 5:23 |
| B | 10 | "Baby As You Turn Away" | Barry, Robin & Maurice Gibb | Barry & Maurice | 4:25 |
Release and Promotion
Release History
Main Course was originally released in June 1975 in the United Kingdom and August 1975 in the United States by RSO Records.[17][27] The album was issued in multiple formats, including vinyl LP, 8-track cartridge, and cassette tape, catering to the dominant consumer media of the era.[28][29] The release was supported by promotional efforts including television appearances, such as the Bee Gees' performance of tracks from the album on The Midnight Special, and extensive radio airplay focused on its lead singles.[30] The cover artwork, featuring an iconic illustration of a woman holding a spoon to her nose—symbolizing "beauty in a coke spoon"—and the band's new logo, was designed by artist Drew Struzan, marking a visual shift toward the group's emerging disco-influenced identity.[31][32] Subsequent reissues began with a CD version released by Polydor in 1988, providing a digital remaster of the original analog recordings.[33] A Japanese SHM-CD edition followed in 2022, utilizing Super High Material CD technology for enhanced audio fidelity.[34] In 2020, to commemorate the album's 45th anniversary, Capitol Records issued a vinyl reissue on standard black and limited-edition colored and translucent variants, including a clear pressing.[35][36] As of November 2025, the album's 50th anniversary has been recognized through official Bee Gees social media channels, featuring highlights of archival performances and fan engagement posts, though no new physical or digital remasters have been announced.[37] International releases exhibited minor variations, such as differing release dates and packaging across markets like Canada and Germany, but maintained a consistent track listing.[17]Singles
The three primary singles from Main Course—"Jive Talkin'", "Nights on Broadway", and "Fanny (Be Tender with My Love)"—played a pivotal role in promoting the album and signaling the Bee Gees' shift toward a funkier, disco-influenced sound. Released through RSO Records primarily as 7-inch vinyl singles at 45 RPM, these tracks received extensive radio airplay on both pop and R&B stations, contributing to their commercial success and helping reintroduce the group to a broader audience.[17][38] "Jive Talkin'", the lead single released in May 1975 and written by Barry, Robin, and Maurice Gibb, was backed by "Wind of Change" on its B-side.[39][40] It debuted on the Billboard Hot 100 on May 31, 1975, and climbed to No. 1 by August 9, marking the Bee Gees' first chart-topper since 1971 and spending two weeks at the summit. The song's promotion included one of the Bee Gees' earliest music videos, directed in a simple performance style that captured their evolving stage presence, alongside television appearances and live shows that highlighted the track's rhythmic groove.[41][42] Follow-up single "Nights on Broadway" arrived in September 1975, with "Edge of the Universe" as the B-side. Written and produced by the Gibb brothers under Arif Mardin's guidance, it debuted on the Billboard Hot 100 on October 4, 1975, and peaked at No. 7 after 12 weeks on the chart.[38] The track's promotion emphasized its energetic falsetto hooks through heavy radio rotation and integration into the Bee Gees' live sets during their 1975-1976 tour, where it helped showcase the album's fresh disco elements to audiences.[43] Closing out the singles campaign, "Fanny (Be Tender with My Love)" was released in late December 1975 in the US (January 1976 in some markets), backed by "Country Lanes" on the B-side.[44] Also penned by the Gibb brothers, the ballad debuted on the Billboard Hot 100 on December 27, 1975, reaching a peak of No. 12 over 12 weeks.[38] Its promotion relied on radio play targeting adult contemporary formats and live performances that contrasted the album's upbeat tracks with its soulful vulnerability, further solidifying the Bee Gees' versatile new direction.[45]Commercial Performance
Chart Performance
Main Course debuted on the US Billboard 200 at number 171 in July 1975, climbing to its peak position of number 14 during the week of October 25, 1975, and remaining on the chart for a total of 74 weeks, including 24 weeks within the top 10. In Canada, the album topped the RPM Top Albums chart at number 1. It reached number 29 on Australia's Kent Music Report albums chart. The album also peaked at number 29 in Germany and number 6 in New Zealand. The lead single "Jive Talkin'" debuted on the US Billboard Hot 100 on June 7, 1975, at number 87, ascending to number 1 for two consecutive weeks starting August 9, 1975, and charting for 17 weeks overall. In the UK, it peaked at number 5 on the Official Singles Chart.[46] "Nights on Broadway" entered the Billboard Hot 100 on October 4, 1975, at number 82, reaching a high of number 7 and lasting 16 weeks on the chart. It achieved number 14 on the UK Singles Chart.[47] The third single, "Fanny (Be Tender with My Love)," debuted on the Hot 100 on December 6, 1975, peaking at number 12 during its 15-week run. On year-end charts, Main Course ranked number 77 on the 1975 Billboard 200. "Jive Talkin'" placed number 8 on the 1975 Billboard Hot 100 year-end chart.[48]| Chart | Peak Position | Weeks on Chart |
|---|---|---|
| US Billboard 200 | 14 | 74 |
| Canada RPM Albums | 1 | 28 |
| Australia Kent Report | 29 | 20 |
| Single | US Billboard Hot 100 Peak (Weeks at Peak) | UK Singles Peak |
|---|---|---|
| "Jive Talkin'" | 1 (2) | 5 |
| "Nights on Broadway" | 7 | 14 |
| "Fanny (Be Tender with My Love)" | 12 | - |