Coming Soon Fleetwood Mac Limited Edition UltraDisc One-Step 45RPM Vinyl 2LP Boxset

 

Fleetwood Mac Comes into Its Own with Lindsey Buckingham and Stevie Nicks: Self-Titled Record Ranked 182nd Greatest Album of All Time by Rolling Stone, Includes “Landslide” and “Rhiannon”

Hear the 1975 Blockbuster in Reference Sound: Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP Box Set Is Strictly Limited to 7,500 Numbered Copies and Features Extraordinary Definition.

 1/4” / 30 IPS Dolby A analog master to DSD 256 to analog console to lathe.

Release date: TBA

Pre-order at Mobility Fidelity

Also available at a numbered Hybrid SACD

A veteran band with waning prospects, personnel churn, and management issues. A largely unknown duo whose eponymous debut flopped. An impromptu meeting in a supermarket that led to a fact-finding trip to Sound City Studios. The backstory behind Fleetwood Mac’s self-titled album is nearly as incredible as the music on the 1975 recording — a blockbuster that altered pop-rock history, and found newcomers Lindsey Buckingham and Stevie Nicks permanently changing the profile and popularity of the British ensemble.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and strictly limited to 7,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set of the nine-times-platinum effort plays with reference-level transparency, dynamics, and detail. Benefitting from stellar groove definition, an ultra-low noise floor, and dead-quiet surfaces, this vinyl edition captures what went down in the California studio with arresting presence, tube-like warmth, and sumptuous tonality.

Honoring the striking elements that make Fleetwood Mac a generations-spanning favorite, the industry-leading presentation of this UD1S version confirms the reissue's definitive standing. Housed in a gorgeous slipcase, it features premium foil-stamped jackets and faithful-to-the-original graphics. This keepsake is for listeners who want to immerse themselves in everything involved with the album, including the recognizable cover art positioning Mick Fleetwood and John McVie before a doorway — as well as a crystal ball showing their reflection. The hand-drawn script depicting the band's name is now inextricably associated with the quintet’s “White Album” and identity.

Shepherded by producer Keith Olsen, Fleetwood Mac used its studio time to cultivate and establish intra-band roles. The innate chemistry among the five musicians can be heard here in stunning clarity, the taut albeit flexible rhythms distinguished with palpable grip, the blended vocals and airy harmonies benefitting from seemingly unlimited frequency extension. The thrilling results speak to the band’s bond as well as healthy tension that led to recordings that more than five decades later remain revered for their exceptional realism, openness, textures, imaging, and soundstaging. And that says nothing about the freshness of the songs themselves.

Six of those tunes were written or co-written by Buckingham or Nicks, who lent the band — reeling from the departure of guitarist Bob Welch — a diversity, soulfulness, and breadth it lacked in the past. Then again, the romantically involved partners weren’t exactly burning up the charts on their own. Their Buckingham Nicks LP was largely ignored upon release and found the twosome questioning their futures. But fate has a weird way of operating, and rather than recruiting another six-string blues virtuoso into the mix, Fleetwood Mac called an audible. 

Prompted to visit Sound City Studios after telling someone in a grocery store he needed a place to record Fleetwood Mac’s tenth album, Fleetwood heard Buckingham Nicks played back by Olsen as a demonstration of the studio’s capabilities. Unable to forget what he heard, the drummer soon invited Buckingham to join his band. Displaying his now-famous reluctance to cede any creative control, Buckingham initially hedged before accepting on one condition: He and Nicks came as a package. 

That agreement stands as one of the most significant career-altering moves any band ever made. Suffice it to say Nicks’ Plan B — “we can always quit,” she reasoned to Buckingham — stayed on the backburner. After rehearsing together for just ten days and sussing out potential roles, the new iteration of Fleetwood Mac entered Sound City in January 1975 and laid down the tracks for the showstopper Rolling Stone ranks as the 182nd Greatest Album of All Time.

In many ways, Fleetwood Mac got far more than they bargained for in taking on the American duo. Buckingham and Nicks arrived loaded for bear. “Monday Morning,” “Rhiannon,” and “I’m So Afraid” had already been workshopped and penciled in for a second Buckingham-Nicks record. “Crystal” was re-purposed and re-imagined after its original inclusion of Buckingham Nicks. 

Nicks also brought another recently penned song to the sessions, a beautiful gem none other than “Landslide.” McVie later admitted that the quality of material triggered a competitive spirit within her and inspired her to take her own songwriting to another level. “Warm Ways,” “Say You Love Me,” and “Over My Head” underscore that determination. Ditto her collaboration with Buckingham on “World Turning.” 

Constituting the old Fleetwood Mac in name only, Fleetwood Mac is the sound and style of an entirely new entity, a rebirth, and a reward for perseverance and a little bit of chance fortune. Above all, however, the album — which peaked at No. 1 on Billboard more than a year after its street date — towers as a testament to then-novel combinations of hook-laden power pop, mystical folk, cool R&B, melodic rock ‘n’ roll and a wondrous balance of perfection and pragmatism, delicate and deliberate, mellow and maverick.

Indeed, from the ocean-swept breeziness of the opening “Monday Morning” through the optimistic vibes of the building “Over My Head” to the stacked structure of the closing “I’m So Afraid,” Fleetwood Mac contains not a single dull moment or wasted note. In short order, the band would attain even greater commercial success with the subsequent Rumours. Yet the restless energy, innovative spirit, breath-of-fresh-air newness, and across-the-board fantastic performances of Fleetwood Mac would never be surpassed. 

Fleetwood Mac Weekly Chart Report

 

Fleetwood Mac Weekly Chart Report

UK Chart Week: October 31 – November 6, 2025
Billboard Chart Date: November 1, 2025

United Kingdom
Fleetwood Mac’s The Chain continues its steady climb on the UK Top 100 Singles Chart, reaching a new peak at No. 67 (up from No. 74) on consumption of 6,376 units. Meanwhile, Dreams dips slightly to No. 58 (from No. 49).

On the Albums Chart, 50 Years – Don’t Stop edges down one place to No. 9 with 7,187 sales, while Rumours moves up one to No. 23.

The reissued Buckingham Nicks album slides across multiple tallies:

• Top 100 Album Sales: No. 83 (down from 53)

• Top 100 Physical Albums: No. 80 (down from 50)

• Top Americana Albums: No. 14 (down from 7)

Ireland
In Ireland, 50 Years – Don’t Stop eases one place to No. 8, and Rumours holds steady at No. 17.
On the Irish Singles Chart:

• Dreams slips to No. 56 (from 52)

• The Chain climbs to No. 59 (from 63)

• Landslide falls to No. 80 (from 75)

Scotland
Buckingham Nicks marks its sixth consecutive week on the Scottish Albums Chart, down to No. 81 (from 42). Rumours is up this week to No. 26 from No. 37 last week. Greatest Hits re-enters the chart at No. 100.

Germany
Rumours is at No. 71 this week up from No. 74 last week. 

Netherlands
Rumours moves up to No. 8 this week from No. 10 last week. 

Norway
Rumours moves down to No. 24 this week from No. 20 last week. 

 

---

North America

United States
On the Billboard 200, Rumours remains firm at No. 19, while Greatest Hits drifts to No. 98 (from 93).

• Top Album Sales: Rumours rises to No. 28 (from 29)

• Top Streaming Albums: Rumours dips to No. 28 (from 27)

• Top Vinyl Albums: Rumours falls to No. 13 (from 9)

• Top Indie Store Albums: Rumours climbs to No. 16 (from 17); Buckingham Nicks drops to No. 25 (from 10)

• Top Rock & Alternative Albums: Rumours steady at No. 5, Greatest Hits down to No. 22 (from 21)

• Top Rock Albums: Rumours steady at No. 4, Greatest Hits down to No. 19 (from 17)

• On the Top 50 Streaming Songs chart, Dreams edges down to No. 32 (from 30).

Canada
The Canadian Albums Chart sees Rumours rebound strongly, surging back into the Top 20 at No. 17 (up from 89), while Greatest Hits tumbles to No. 95 (from 13).

Fleetwood Mac Gold and Platinum October Certifications

GOLD

Fleetwood Mac’s 1979 single “Sara” from the Tusk album has been officially 

certified Gold in the UK (October 31, 2025).

The single peaked at No. 37 in the UK spending 8 weeks on the chart between 

December 1979 and February 1980.

PLATINUM

Fleetwood Mac's 1987 single "Little Lies" was certified 

platinum in Denmark October 21, 2025

MULTI-PLATINUM

In New Zealand, 3 singles were certified multi-platinum in October:

October 2, 2025

Fleetwood Mac “Everywhere” 

Certified 8x Platinum 

October 16, 2025

Fleetwood Mac “Silver Springs” 

Certified 2x Platinum

October 16, 2025

Fleetwood Mac “Dreams” 

Certified 17x Platinum

Buckingham Nicks "Frozen Love" Song Exploder Interview with Stevie Nicks and Lindsey Buckingham

 EPISODE 302: BUCKINGHAM NICKS

“FROZEN LOVE”

LISTEN: APPLE · SPOTIFY · AMAZON · OTHER APPS

This is a must listen... 

On September 5, 1973, the first and only Buckingham Nicks album was released. It wasn’t a huge hit, but it was how the world was first introduced to the music of Stevie Nicks and Lindsey Buckingham, before they went on to become members of Fleetwood Mac. Their time together in Fleetwood Mac led to some of the best-selling, most critically acclaimed, and most influential albums of all time. Their individual talents, their musical chemistry together, and the ups and downs of their romantic relationship all eventually became legendary.

And yet, despite all that, the Buckingham Nicks album went out of print not long after it came out. For over 50 years, it wasn’t available until it finally got remastered and re-released in September 2025. So for this episode, I spoke to both Stevie Nicks and Lindsey Buckingham about the making of one of the songs from that album, called “Frozen Love.” It’s the only song on the album where they’re credited as co-writers, and it’s the song that led Mick Fleetwood to invite Lindsey Buckingham to join Fleetwood Mac. But Lindsey would only join if Stevie could, too, and that’s how that story began. This episode is about beginnings and endings. It’s the story of how Stevie and Lindsey first met, and how they made “Frozen Love,” and how that song really led to the end of their band.

I also want to mention that not only was Buckingham Nicks out of print for all those decades, no one has heard the isolated tracks that you’re about to hear. To make this episode, there was an epic search for the original master tape from Sound City, the studio where they recorded the album with producer Keith Olsen. It took months, but the tape was finally tracked down and digitized, and it feels very special to be able to present this for the first time here, along with the memories and stories from Lindsey Buckingham and Stevie Nicks.

You can buy or stream the remastered album here, and you can buy or stream “Frozen Love” here.

Illustration by Carlos Lerma.

Good things came to Stevie Nicks fans in Detroit

Stevie Nicks makes the wait worthwhile 

at Little Caesars Arena

By GARY GRAFF

Macombdaily.com

Good things came to Stevie Nicks fans who waited on Tuesday night, Oct. 28 at Detroit’s Little Caesar’s Arena.

The metro area was first slated to see the two-time Rock and Roll Hall of Famer — with Fleetwood Mac and as a solo artist — with Billy Joel on March 29 at Ford Field. After that show was canceled due to Joel’s health issues, Nicks scheduled her own stop for Sept. 7 at LCA, which she then had to postpone after falling and fracturing her shoulder.

“All I can say is, here I am,” Nicks told the mostly full arena Tuesday, after starting her hour-and-45-minute show with a pointedly defiant rendition of Buddy Holly & the Crickets’ “Not Fade Away.” Giving the joint a therapeutic roll, she added that, “I’m feeling my shoulder as I do it” but that “every single day I get up, something feels better.” Advising fans “always avoid breaking your shoulder,” Nicks noted that “I’m glad I have somewhere to go other than my living room.”

She could rest assured the feeling was mutual.

While some of Nicks’ acknowledged excesses over the years did not make her someone we expected to still be going strong at 77, she’s defied odds to be doing just that — and as the lone Fleetwood Mac alumnus still out there playing the band’s songs. There were five of those in Tuesday’s 15-song set — 13 of them repeats from her November 2023 stop at LCA — making for a crowd-pleasing A-list experience surveying 40 years of her recording career. (Though surprisingly with nothing from 1973’s “Buckingham Nicks” album, which was re-released last month with some degree of fanfare.)

Even better was that Nicks and her eight-piece band, led by guitarist Waddy Wachtel, played everything with a grit that rocked harder than their polished counterparts on record. The troupe certainly incorporated all the nuances that are part of those songs but with more stomp and crunch, elevating and often extending favorites such as “Outside the Rain,” “Stand Back,” “Edge of Seventeen” and Fleetwood Mac’s “Gypsy and “Rhiannon.” Only “Gold Dust Woman,” from Mac’s blockbuster “Rumours,” suffered for the approach, the song’s delicate, building dynamics steamrollered by the more muscular arrangement and over-driven drums.

That was an outlier among the highlights, however, which also included a smooth pairing of the title tracks from Nicks’ first two solo albums — “Bella Donna” and “Wild Heart” — and a performance of “The Lighthouse,” her 2024 response to the Supreme Court’s decision overturning Roe v. Wade in 2022. Nicks introduced most songs with stories about their conceptions, and she used the curved video screen above the rear of the stage for some sentimental moments. Images of past paramours and friends (Tom Petty, Don Henley, Bob Dylan, Prince, Janis Joplin) accompanied a version of her Petty collaboration “Stop Draggin’ My Heart Around,” while she offered a more extensive Petty tribute as she sang his “Free Fallin’.” Prince, meanwhile, was the focus during “Edge of Seventeen.”

Longtime musical and onetime personal partner Lindsey Buckingham only merited a brief mention during the show, but Nicks ended the night by honoring her late Fleetwood Mac bandmate Christine McVie with a series of photos as she and Wachtel played a gentle version of “Landslide.” Nicks also dedicated the song to her recently born grand-niece, promising that she would give her a crown-wreath of flowers a fan had tossed to her during the show.

She left with another promise — to return, perhaps as soon as next year, and it’s likely anyone at LCA on Tuesday will be happy to wait for that, too.

NOT FADE AWAY

IF ANYONE FALLS

Stevie Nicks dazzled in Detroit The voice, the hits, the storytelling... exactly what fans came out to see.

Stevie Nicks delivers hypnotic showstopper following shoulder fracture

By Edward Pevos

Mlive.com

DETROIT - Stevie Nicks dazzled in Detroit at a concert which almost didn’t happen after the singer suffered a fractured shoulder from a fall just a few months ago, forcing her to postpone numerous shows.

She originally was supposed to open for Billy Joel at Ford Field before he had his own health problems forcing him to cancel his tour.

She finally made it back to Detroit, performing a 100-minute set at Little Caesars Arena on Tuesday, October 28.

Nicks treated fans to a mesmerizing, showstopping concert which featured storytelling between songs. And on this night, she had a new story to tell.

“I’m healing my shoulder as I speak,” Nicks told the crowd while showing the limited movement she had in her right shoulder. “Every single day when I get up, something about it is better.”

“I only like to share this with you because I want you to know, always avoid breaking your shoulder under any circumstances. Always watch where you’re going. Always wear shoes in an unfamiliar room and never fall. Ever.”

“That being said, I have fought through it and I’m really glad I have somewhere to go besides my living room. I thought I’d turn you into my bigger, better living room.”

And this living room was filled to capacity with fans of all ages. There were a lot more fans in their teens, 20s and 30s than one might expect.

They were all there to hear Nicks’ signature rasp and one hit song after another. And the 77-year old delivered just that with a little bonus storytelling.

Like the time she didn’t have a lead single for her debut solo album, “Bella Donna,” until Tom Petty asked her to sing on “Stop Draggin’ My Heart Around” with him.

Or most recently when she spent a full day writing, “The Lighthouse,” only to delay performing it on stage for about a year because of the California wildfires.

On this night, Nicks delivered powerful vocals in a no thrills, straight forward concert featuring a full band and two backup singers.

Her solo hits included, “If Anyone Falls,” Wild Heart," “Bella Donna,” “Stand Back,” and “Edge of Seventeen.”

Fleetwood Mac moments featured, “Dreams,” “Gold Dust Woman,” “Gypsy,” “Rhiannon,” and “Landslide.”

Nicks paid tribute to Petty with a cover of “Free Fallin’” with photos of the two together over the years. She did the same with Christine McVie during “Landslide.”

The voice, the hits, the storytelling... exactly what fans came out to see.

“You have been an awesome audience. I have to tell you, going into this show, I was a little tired, but you, because you were so fabulous, I caught the boom and we did it together. It was really fabulous and I enjoyed being here with you and being able to tell you how much I appreciate you.”

From Injury to Enchantment: Stevie Nicks Triumphs at Connecticut’s PeoplesBank Arena

Stevie Nicks headlines a magical first show at 

Hartford’s remodeled arena

by Maleena Muzio

The Daily Campus

Classic rock icon and two-time Rock and Roll Hall of Famer, Stevie Nicks, headlined the first show at Connecticut’s newly renovated PeoplesBank Arena on Saturday, Oct. 25.

Nicks’ show was powerful, fun, charming and haunting at the same time. Fans of all ages, from mother daughter duos to elderly couples and millennial super fans packed the updated arena, formerly known as the XL Center.

“The seats alone were better, which seems like a silly thing to notice, but at a concert where you are sitting for like three hours, comfort matters,” Dana Humphreys, a resident from Marlborough, Conn. and attendee of the concert said. “I was blown away by all the new seating.”

Honoring both Nicks and the venue, Governor Ned Lamont signed October 25th as Connecticut’s official “Stevie Nicks Day.” The day was fitting, with Nicks describing the Hartford audience as her most energetic crowd of the tour, despite already being multiple shows in.

“I appreciated the fact that [Lamont] did that, mainly because artists to the caliber of Stevie Nicks don’t come to Hartford; they go to Boston or New York. I think the fact that she did take the time to come to Hartford made it more than appropriate and very cool to proclaim Stevie Nicks day,” Humphreys said.

Just weeks prior, the fate of the concert was up in the air after Nicks fractured her shoulder in August. However, the show did go on, and she did not disappoint. Nicks explained on stage that the injury taught her a lot about herself — both about the things she can and cannot do. She even dedicated the final song of the night, “Landslide” to her doctor, Dr. Goodman, who helped her recover and helped her brother in the past.

Nicks performed 15 songs, with her encore being the famous and ever-haunting “Rhiannon” followed by the sentimental “Landslide.” At the conclusion of the show, many audience members were seen crying as Nicks finished the show with lyrics “the landslide will bring you down.” Hearing a 77-year-old Nicks sing the lyrics “I’m getting older too” that she first wrote at 25 is enough to make anyone who has been a longtime fan cry.

“Her whole performance was really impressive, I thought,” Ana Sanchez, a third-semester molecular and cell biology major at UConn said. “For her age it’s amazing to see that she can still put in so much effort into a show and make it entertaining.”

The majority of the set consisted of songs off of Nicks’ debut album, “Bella Donna,” its successor “The Wild Heart” and earlier hits from her Fleetwood Mac days. Highlights of the night were the emotional title track, “Bella Donna,” the infamous “Dreams” and the upbeat “Stand Back.”

Despite her recent injury, Nicks got around the stage alright for someone her age, but then again, she is not a typical 77-year-old. Her voice sounded up to par and potentially even better than when I had seen her in concert about a year and a half prior.

“I had seen some clips online, and she did not really sound great when you listened through third parties,” Humphreys said. “But I will say that in person, in that concert I thought she was absolutely phenomenal. Her energy, the sound of her voice; if you closed your eyes, you would never know it was 77-year-old Stevie Nicks singing, and not 37-year-old her.”

The essence of the early Nicks era and her white witch magic especially shone through during “Gold Dust Woman;” it was enchanting and transcendent. Nicks performed an extended version of the song where it almost seemed as if she were casting a spell on the audience. There was an instant shift of energy in the room during the song, with everyone’s eyes glued on Nicks and all of her mystique.

Sanchez also enjoyed a Fleetwood Mac song that Nicks performed.

“My favorite song she performed was ‘Gypsy,’” Sanchez said. “I was really looking forward to it.”

Generations of families, especially women, were found everywhere at the show. Nicks recently has stood for women’s rights, with her 2024 song “The Lighthouse,” which she also performed live. She encouraged the audience to stand up for their rights as she spoke to the crowd, telling the origin story of that song, which she had done for a few other songs of the night as well.

Humphreys explained that Nicks’ storytelling made the show a much more personal experience.

“[Nicks] is a female powerhouse, she’s an icon. Anytime there are people like her, I am drawn to them,” Humphreys said. “I am drawn to her, woman to woman. I love to experience females that are successful. She is really inspiring.”

 

 

Photos: People'sBank Arena

Stevie Nicks Hartford, CT October 25, 2025

Free Fallin'

Stand Back

Stop Draggin My Heart Around

Governor Lamont Proclaims Oct 25th Stevie Nicks Day in Connecticut

This is pretty cool!  Governor Lamont of Connecticut has proclaimed October 25, 2025 Stevie Nicks Day in the state.  Stevie is the first live performer tonight in the newly refurbished People'sBank Arena in Hartford, CT. 

State of Connecticut

By His Excellency Ned Lamont, Governor: an 

Official Statement

WHEREAS, Stevie Nicks stands as one of the most influential figures in music history. reshaping the landscape of rock and roll through her unmistakable voice, poetic songwriting, and mystical persona; and

WHEREAS, as both a member of Fleetwood Mac and a groundbreaking solo artist, she has inspired generations through timeless songs such as "Landslide," "Rhiannon," "Dreams," and "Edge of Seventeen," blending vulnerability and strength in equal measure; and

WHEREAS, Stevie Nicks broke barriers for women in a historically male-dominated industry, asserting creative authority, defining her own image, and empowering others to follow suit through her fearless individuality and visionary presence; and

WHEREAS, her iconic visual style — characterized by flowing shawls, velvet, lace, and boots - has become emblematic of rock mysticism, influencing fashion, media, and pop culture across decades; and

WHEREAS, she is the first woman in history to be inducted twice into the Rock and Roll Hall of Fame - as a member of Fleetwood Mac and as a solo artist - and continues to be celebrated for her contributions to music and songwriting through numerous awards and accolades; and

WHEREAS, beyond the stage, Stevie Nicks has given back through extensive philanthropic work, including founding the Soldier's Angel Foundation and supporting organizations dedicated to health, hope, music education, and veteran care; and

WHEREAS, Stevie Nicks will make history once again by headlining the inaugural concert at the newly reopened and revitalized People'sBank Arena in Hartford - formerly the XL Center - marking a new era for the venue, the arts, and the capital city of Connecticut; now

THEREFORE, 1, Ned Lamont, Governor of the State of Connecticut, do hereby officially proclaim October 25, 2025, as

STEVIE NICKS DAY 

in the State of Connecticut.

Fleetwood Mac’s ‘Rumours’ Climbs Again as Global Chart Momentum Builds

 

Chart Week Ending: October 25, 2025

Nearly five decades after its release, Rumours continues to prove why it remains one of the most resilient albums in rock history. This week’s charts across the UK, USA, and beyond reveal another wave of upward movement for Fleetwood Mac and even a few surprising rebounds from Buckingham Nicks and Greatest Hits that underscore just how deep the band’s catalog still resonates.

United Kingdom – Steady Streams and Physical Slowdown

After last week’s celebration of The Chain returning to the UK Top 75 for the first time in 35 years, this week’s focus turns to the albums, and the story is one of quiet consistency.

50 Years – Don’t Stop maintains a powerful No. 8 position on the Official Albums Chart with 7,337 weekly sales, remaining the band’s flagship compilation and a fixture in the UK’s streaming culture. Rumours follows at No. 24, marking its 1,000th-plus week in the Top 100 across its various runs since 1977.

On the Streaming Albums Chart, both titles hold steady with Don’t Stop at No. 6 and Rumours at No. 20, reflecting how Fleetwood Mac continue to thrive most strongly in the digital space. However, on the Album Sales and Physical Albums charts, Rumours dips slightly to No. 40, signaling a natural slowdown following a late-summer vinyl surge.

Still, Rumours makes a re-entry at No. 67 on the Album Downloads chart, suggesting renewed digital purchasing likely sparked by Fleetwood Mac’s visibility in playlists following “The Chain”’s recent resurgence.

Meanwhile, Buckingham Nicks remains comfortably placed on the UK Americana Chart at No. 7 in its fifth week in the Top 10, while ranking No. 53 on Album Sales and No. 50 on Physical Albums, a testament to how enduring interest in the duo’s pre-Mac history remains.

On singles, the band’s “big three” remain solid fixtures:

• “Dreams” holds at No. 49, now marking its 53rd week inside the Top 75 since its streaming-era rebirth.
• “The Chain” slides slightly to No. 74, yet continues to outperform expectations for a nearly 50-year-old album track.
• “Everywhere” stays put at No. 83, completing the trio’s unbroken chart presence.

Even more impressive is that on the Streaming Songs Chart, all three remain within the Top 100. “Dreams” stands at No. 48, “The Chain” at No. 72, and “Everywhere” at No. 84, underscoring their multi-generational appeal in the digital era.

In Scotland, Rumours dips to No. 37, while Buckingham Nicks settles at No. 42, maintaining regional traction.

United States – Fleetwood Mac Rise Again on the Artist 100

Across the Atlantic, Fleetwood Mac post another strong showing, not only with Rumours climbing to No. 19 on the Billboard 200, but also with the band themselves surging to No. 13 on the Billboard Artist 100, their highest placement in months.

That metric, which blends streaming, sales, and airplay across the band’s full discography, suggests a broad resurgence in attention. Rumours also climbs across key format charts:

No. 29 on Top Album Sales,

No. 27 on Streaming Albums, and

No. 9 on Vinyl Albums, its highest vinyl position since spring.

On the genre charts, Rumours sits firmly in the upper tier at No. 5 on Rock & Alternative Albums and No. 4 on Rock Albums, while Greatest Hits continues at No. 21 on both lists.

The enduring Rumours renaissance continues to be powered by “Dreams,” which edges up again to No. 30 on the Top 50 Streaming Songs, still benefitting from playlists and social virality.

Meanwhile, the Buckingham Nicks reissue keeps its niche momentum alive, holding No. 10 on the Indie Store Album Sales Chart, while Rumours makes a surprise re-entry there at No. 17, evidence that vinyl and boutique retailers are once again championing the Mac catalog.

In Canada, an intriguing reversal occurs as Greatest Hits leaps from No. 91 to No. 13, while Rumours slides to No. 89, marking a rotation in consumer attention toward compilation buyers and new vinyl adopters. I also think this has to do with streaming and where the sales are directed each week. The last couple of weeks they've been flip flopping, which is odd.

Rest of the World – Continental Resilience and a Nordic Plateau

Fleetwood Mac’s global endurance remains extraordinary. Across Europe, Rumours continues to chart almost everywhere, often holding its ground or even regaining spots despite little promotion.

In the Netherlands, Rumours remains a Top 10 staple at No. 10, while Tango in the Night exits after a brief cameo.

In Germany, the album edges up to No. 71 after last week’s rebound into the Top 100.

Norway remains steady at No. 20, its best 2025 standing since early summer.

Sweden holds at No. 31, while “Everywhere” and “Dreams” continue to linger on streaming lists there.

In Ireland, 50 Years – Don’t Stop slips just one place to No. 7, while Rumours follows at No. 17. On the singles front, “Dreams” falls slightly to No. 52, “The Chain” stays even at No. 63, and “Landslide” makes a re-entry at No. 75, an echo of Stevie Nicks’ enduring solo resonance.

Conclusion – Half a Century On, the Story Still Plays

What’s remarkable about Fleetwood Mac’s October chart performance is not just longevity but balance. Rumours sells in every measurable format, from streaming and physical to vinyl, indie, and digital. “The Chain” and “Dreams” persist as evergreen singles that behave like modern hits. And Buckingham Nicks, half a century after its original release, now moves units in both the United States and the United Kingdom simultaneously.

Few artists from the classic rock era have achieved such cross-generational stability. For Fleetwood Mac, it is less a comeback than a continued conversation, one that began in 1977 and still resonates with the same emotional clarity today.

As Rumours approaches its 50th anniversary in 2027, the numbers keep proving what fans have always known: some records never grow old. They just find new listeners to believe in them.