Fleetwood Mac Returns to the Billboard 200 with Record Store Day Surge

Fleetwood Mac’s 50-Year-Old Album Charts Higher Than Ever

Forbes

By Hugh McIntyre

Fleetwood Mac continues to do what few others can: remain a chart force with music that’s been out for decades. his week, the band manages to do so with a set that’s been available half a century, almost to the month. The beloved group’s classic Fleetwood Mac album (sometimes called the White Album, as it’s the rockers’ second self-titled effort) mounts an impressive comeback, reaching new highs, returning to several charts, and even debuting on another tally.

Fleetwood Mac Appears on Five Billboard Charts

Released in 1975, the second Fleetwood Mac reappears on a slew of Billboard charts in America. The legendary collection reenters four tallies and debuts on one more, bringing its total number of current appearances to five. That kind of showing would be impressive for any project, but for a title nearing its fiftieth anniversary, it’s almost unbelievable.

Fleetwood Mac’s Album Hits New Peaks on Several Lists

This frame, Fleetwood Mac reaches brand new highs on three different charts. The set reenters the Top Album Sales and Top Rock Albums lists at No. 17 on both. Meanwhile, it also cracks the top 20 for the first time on the Top Rock & Alternative Albums roster, appearing at No. 20 — a milestone it hadn't reached before.

Fleetwood Mac’s Classic Debuts on the Vinyl Chart

In addition to its impressive returns, Fleetwood Mac also breaks onto a Billboard ranking it’s never been seen on before. The collection debuts on the Vinyl Albums chart, narrowly missing the top 10 as it enters at No. 12. The new arrival gives the group its eighth appearance on the roster dedicated solely to the bestselling vinyl releases in the U.S.

Fleetwood Mac Returns to the Billboard 200

Fleetwood Mac also reappears on the Billboard 200 this week, the ranking that tracks the most consumed albums across the country using a blend of metrics. The title is far from new to the all-genre tally. It lands at No. 94 on the list during this frame, its one-hundred-and-sixty-ninth on the Billboard 200. At one point, it even climbed all the way to No. 1.

A Huge Record Store Day Sales Surge

In the latest tracking period, Fleetwood Mac moved 12,500 equivalent units in the U.S., with 7,000 of those being pure sales. That sales figure represents an almost 2,000% increase from just a few days prior, as interest in the collection skyrocketed.

The surge is attached to Record Store Day, as a special picture disc vinyl of the album was released to celebrate its upcoming fiftieth anniversary. Only about 6,500 copies of the new edition were pressed, yet somehow the title managed to sell more than that figure, as other versions were also available to purchase.

Top 200 Albums Chart - US

No. 30 - “Rumours”

No. 94 - “Fleetwood Mac” (re-entry)

Top 50 Albums Sales - US

No. 17 - “Fleetwood Mac” (re-entry)

No. 36 - “Rumours”

Top 25 Vinyl Albums Chart - US

No. 12 - “Fleetwood Mac (re-entry)

Top 25 Indie Store Album Sales - US

No. 10 - “Fleetwood Mac” (re-entry)

Top 25 Rock Albums - US

Noh. 3 - “Rumours”

No. 17 - “Fleetwood Mac” (re-entry)

Top 50 Rock and Alternative Albums

No. 4 - “Rumours”

No. 20 - “Fleetwood Mac” (re-entry)

Top 50 Streaming Albums - US

No. 49 - “Rumours”

Top 50 Streaming Songs - US

No. 46 - “Dreams” (re-entry)

FLEETWOOD MAC Picture Disc 8th Best Record Store Day Seller

Fleetwood Mac's 7x platinum 1975 self-titled album released in celebration of it's 50th Anniversary was the 8th best selling album for Record Store Day 2025.

Top-Selling Record Store Day 2025 Exclusive Albums at Independent Record Stores in the U.S.

Rank, Artist, Title

1. Post Malone, Post Malone Tribute to Nirvana (yellow-colored vinyl)

2. Gracie Abrams, Live From Radio City Music Hall (double vinyl)

3. Rage Against the Machine, Live On Tour 1993 (double vinyl)

4. Laufey, A Night at the Symphony: Hollywood Bowl (double vinyl)

5. Charli xcx, Number 1 Angel (apple-colored vinyl)

6. Wallows, More (evergreen and white-colored vinyl)

7. Talking Heads, Live On Tour (double vinyl)

8. Fleetwood Mac, Fleetwood Mac (picture disc vinyl)

9. Gorillaz, Demon Days Live From the Apollo Theater (red-colored double vinyl)

10. The Doors, Strange Days 1967: A Work In Progress (translucent blue-colored vinyl)

Marty Callner Director of Many Stevie Nicks and Fleetwood Mac Videos Passed Away

 

Marty Callner, director of dozens of classic MTV-era music videos as well as numerous comedy specials and creator of HBO‘s Hard Knocks, has peacefully passed away at his home in Malibu. He died on March 17 of natural causes and surrounded by loved ones, according to his son, Jazz. He was 78.

His career as a director of music videos started with Twisted Sister’s “We’re Not Going to Take it,” followed by Pat Benatar’s “We Belong,” both of which saw near-constant play on MTV in their heyday.

What followed were hundreds more, including Cher’s “If I Could Turn Back Time,” a slew of Aerosmith hits including “Cryin’,” “Crazy”, “Amazing,” “Livin’ on the Edge,” “Sweet Emotion,” “Dude Looks Like A Lady” and “Love in an Elevator.” Others of note include Whitesnake’s “Here I Go Again,” Poison’s “Every Rose Has a Thorn” and Stevie Nicks’ “Stand Back.” He also worked with Bon Jovi, Britney Spears, Fleetwood Mac, Heart, Patti LaBelle, Diana Ross, Kiss, Scorpions, The Bangles and ZZ Top.

What Marty had to say about filming Stevie for the first time on the Bella Donna Tour:

When I met Stevie I had only heard of her. To say I fell in love is an UNDERSTATEMENT. I had not and still have not met anyone so pure about their art as Stevie. She was just embarking on her first solo tour away from Fleetwood Mac and she was so happy and emotional with this band she put together. This piece was shot on the last night of this very short extremely special tour, the now infamous "Belladonna". In her heart she didn't want it to end. I shot it with so much love and I was blessed to have the opportunity to capture her brilliance and especially her magic.

Stevie is the reason I got into Rock and Roll. When I met her I was floored, and thought everyone in rock was going to be like her. Boy was I wrong! This clip is from "Bella Donna Live" in 1981, and was the first time we worked together. This was the last night of a very short, emotional tour, and I was the lucky guy who got to capture it. Stevie is my all time favorite!

Tango In The Night "Seven Wonders" video shoot

Marty on the Seven Wonder video:

Fleetwood Mac "Seven Wonders." I have a long and amazing relationship with Fleetwood Mac and especially Stevie Nicks. I first worked with Stevie when I directed her Bella Donna special for HBO. I then directed the Fleetwood Mac concert at the forum for HBO on their Mirage tour. I then went on to direct several videos for Stevie, a bunch of videos for Fleetwood Mac and I even did a video for Mick's band The Zoo. This video is really special to me because it shows the rare and playful side of the relationship between Stevie and Lindsey. Rare moments and a true classic.

When Christine McVie passed here’s what Marty had to say:

Absolutely devastated to hear the news of Christine McVie’s passing. Completely in shock. Fleetwood Mac was formative for me as a director, as an artist and as a person. I first directed Stevie Nicks “Belladonna,” and not long after that got the call to direct Fleetwood Mac “Live Mirage Tour.” The pic attached is one of the most pivotal shots of my career, an incredible rack focus during The Chain between Stevie and Christine. I went on to do several music videos for Fleetwood Mac as well. Christine was as gracious as they came, and truly the glue that held Fleetwood Mac together, both sonically and personally. Her harmonies are haunting, and her songwriting is incredible. It can’t be stated how important she was to the band. This feels like the end of an era and I’m heartbroken. Praying that her family finds the strength to get through this time, and grateful for all that Christine gave to humanity.

Among the many videos and concert that he directed, here is a list of the videos he worked on for Fleetwood Mac and Stevie Nicks:

• Stevie Nicks “Blue Denim” video (Director) 1994
• Mick Fleetwood’s Zoo “Shakin’ The Cage” video (Director) 1992
• Stevie Nicks “Sometimes It’s A Bitch” video (Director) 1991
• Stevie Nicks “Rooms On Fire” video (Director) 1989
• Stevie Nicks “Live at Red Rocks” video (Director) 1987
• Fleetwood Mac “Tango In The Night” Live VHS/DVD (Director - Stevie Nicks add'l photography) 1988 
• Fleetwood Mac “Seven Wonders” video (Director) 1987
• Stevie Nicks “I Can’t Wait” video (Director) 1986
• Stevie Nicks “Talk To Me” video (Director) 1985
• Fleetwood Mac in Concert: “Mirage Tour ’82” HBO (Director) 1983
• Stevie Nicks “White Wing Dove Concert” video HBO (Director) 1982

Fleetwood Mac Cover Classic Rock Magazine June 2025

"It could have been the end, but it became a new beginning": Fleetwood Mac and the game-changing arrival of Lindsey Buckingham and Stevie Nicks - only in the new issue of Classic Rock (June, 2025)

In a curious case of six degrees of separation, our cover story concerns Fleetwood Mac and the time when Stevie Nicks and Lindsey Buckingham joined the band 50 years ago, changed the band’s sound and in turn the course of rock’n’roll history.

Out now in the UK. Look for it in the next week or so in North American where magazines are sold. 

Fleetwood Mac Achieve New Peak Position On UK Charts

In the UK chart for 356 weeks in a row since its 2018 release, Fleetwood Mac compilation 50 Years: Don’t Stop has never fallen below No.62 nor risen above No.5…until now. For no obvious reason, other than the fact it is a very weak market, it sprints 7-4 (6,684 sales) this week, 328 weeks after its only previous Top 5 appearance. The Anglo-American leviathans’ most successful studio album, Rumours, also floats upwards, improving 25-22 (4,079 sales).

50 Years: Don’t Stop has racked up consumption of 1,575,204 units to date. 87.41% of that (1,376,890 units) is derived from streaming, with 9,814 downloads, 185,777 CDs and just 2,723 vinyl albums making up its total. Given that Rumours has demonstrated there is a big market for Fleetwood Mac vinyl - selling upwards of 300,000 copies in that format in the last decade alone, including 427 in its latest frame – it is surprising that beyond its initial tranche of vinyl in 2018, 50 Years: Don’t Stop has never re-appeared in the format, although a well-chosen date for a vinyl reissue would undoubtedly propel it to No.1. As revered in America as they are here – Rumours is No.30 on the Billboard chart this week – Fleetwood Mac had a surprisingly brief chart career there with 50 Years: Don’t Stop, which reached No.65, and spent just three weeks in the Top 200.

Rediscovering Fleetwood Mac’s Bare Trees

A Quiet Classic That Still Speaks Volumes

Originally released: March 1972

Billboard Top 200 Debut April 22, 1972 - No. 175

When Fleetwood Mac released Bare Trees in 1972, the band was in the midst of yet another lineup evolution. The Peter Green-led blues era was behind them, and the multi-platinum Buckingham-Nicks era was still years away. But instead of losing direction, the band leaned into change—and crafted one of the most quietly powerful records of their career.

Billboard recognized it at the time, calling Fleetwood Mac “one of the most consistently excellent British rock bands,” despite the frequent personnel shifts. And Bare Trees proves that point. The album is moody, melodic, and deeply human. It doesn’t scream for attention—it invites you in.

Danny Kirwan’s Moment

Much of Bare Trees is shaped by the hand of guitarist and vocalist Danny Kirwan. He wrote five of the ten tracks and set the emotional tone of the album. Billboard noted his “delightful little flourishes,” and rightly so—his playing is nuanced, full of melancholy and light. Songs like “Child of Mine” and “Bare Trees” reflect a quiet yearning, mixing introspection with the melodic precision that Kirwan was known for.

Then there’s “Danny’s Chant”—a nearly wordless, tribal groove that shows Kirwan's experimental edge. It’s a hypnotic track that feels both earthy and otherworldly, standing in stark contrast to the more lyrical pieces.

The Emerging Voices of McVie and Welch

Though Kirwan takes center stage, Bare Trees also marks a pivotal moment for Christine McVie and Bob Welch. McVie contributes “Spare Me a Little of Your Love”, a piano-driven gem that hints at the smooth pop brilliance she would bring to the band’s later success. Welch, meanwhile, offers the dreamy “Sentimental Lady”, which he would revisit as a solo artist years later to great success.

These tracks give the album a sense of balance—bridging the emotional guitar work of Kirwan with the softer, soulful melodies that would define Fleetwood Mac’s sound in the mid- to late-'70s.

Setting a Mood, Not Making Noise

Unlike the heavier rock dominating the charts at the time, Fleetwood Mac’s Bare Trees doesn't aim for high volume or grand statements. Instead, it “sets moods that are subtly relaxing, quietly meaningful,” Billboard observed. And that’s precisely the magic of this album. It’s a record that rewards repeat listens, where small details reveal themselves like secrets over time.

From the haunting spoken-word poem “Thoughts on a Grey Day” that closes the album, to the icy melancholy of “Dust,” Bare Trees feels like a winter album—bleak at times, but beautiful in its honesty.

Chart Performance & Legacy

Upon its initial release, Bare Trees charted modestly but steadily in the U.S., eventually reaching No. 70 on the Billboard 200. Though not a commercial blockbuster at the time, the album found a growing audience in the years that followed, especially as Fleetwood Mac’s popularity skyrocketed in the mid-to-late 1970s.

In the United States, the album was officially certified Gold by the RIAA on March 10, 1976, signifying over 500,000 units sold—a delayed but significant validation of its enduring appeal.  The album has was certified Platinum in the US in February, 1988 for sales of 1 million units. 

In the United Kingdom, Bare Trees did not chart upon its original release, a reflection of Fleetwood Mac's then-transitioning identity and limited UK promotion during that era. However, the album has since become a sought-after vinyl and CD reissue item among fans and collectors, solidifying its status as a cult favorite.

Bare Trees also holds historical significance as the final Fleetwood Mac album to feature Danny Kirwan, whose departure shortly after marked the end of an emotionally complex but creatively rich chapter in the band’s story.

Track-by-Track Breakdown

1. Child of Mine (Danny Kirwan) – 5:09
   An emotionally charged opener, showcasing Kirwan's melodic guitar work and introspective lyrics.

2. The Ghost (Bob Welch) – 3:58
   A haunting track with atmospheric layers, highlighting Welch's ethereal songwriting style.

3. Homeward Bound (Christine McVie) – 3:20
   McVie's soulful vocals and piano-driven melody express a longing for comfort and familiarity.

4. Sunny Side of Heaven (Danny Kirwan) – 3:10
   An instrumental piece that exudes a serene and optimistic ambiance.

5. Bare Trees (Danny Kirwan) – 5:02
   The title track paints a vivid picture of desolation and beauty, encapsulating the album's themes.

6. Sentimental Lady (Bob Welch) – 4:35
   A tender love song that would later become a solo hit for Welch.

7. Danny's Chant (Danny Kirwan) – 3:16
   A rhythmic, almost wordless track that emphasizes Kirwan's experimental side.

8. Spare Me a Little of Your Love (Christine McVie) – 3:44
   A catchy and heartfelt plea, showcasing McVie's knack for crafting memorable melodies.

9. Dust (Danny Kirwan) – 2:41
   A melancholic tune reflecting on mortality and the passage of time.

10. Thoughts on a Grey Day (Mrs. Scarrott) – 2:03
    A spoken-word poem by a neighbor of the band, providing a contemplative conclusion to the album.

Unused Artwork for Bare Trees by Christine McVie

Stevie Nicks’ “Rooms On Fire” (1989)

 

Stevie Nicks’ “Rooms On Fire” (1989): The Story Behind the Song

Released in the US on April 21, 1989, Stevie Nicks’ single “Rooms On Fire” arrived as a fiery statement at the close of the 1980s​. It was the lead single from The Other Side of the Mirror – Nicks’ fourth solo album – where it also served as the opening track​.  With its passionate lyrics and shimmering production, “Rooms On Fire” quickly caught fire on the charts and in the hearts of fans. More than just a love song, it offers a window into Nicks’ emotional world and artistic direction at that pivotal time in her career.

Release and Context

By 1989, Stevie Nicks was a seasoned rock star balancing her role in Fleetwood Mac with a successful solo career. The Other Side of the Mirror (released May 1989) was crafted in the wake of Fleetwood Mac’s Tango in the Night (1987) triumph and Nicks’ own journey through rehab in the mid-80s​.  She had overcome a cocaine addiction only to be prescribed the tranquilizer Klonopin as an aid to recovery – a dependency that would linger for years.  Though this medication left her feeling clouded and vulnerable, Nicks was determined to channel her creativity into a new project. “Rooms On Fire” emerged as the first taste of that project, setting an introspective yet empowering tone. Modern Records released the song as the album’s lead single in late April 1989, accompanied by a striking music video and big promotional push​.  Nicks stood at a crossroads: still a member of Fleetwood Mac, yet pouring her energy into solo work – a theme subtly reflected in the album’s title, The Other Side of the Mirror, which nods to Alice Through the Looking Glass. Much like Alice’s journey between worlds, Nicks was moving between the dual realms of band and solo life, public persona and private self​.

Fleetwood Mac continues to captivate music fans across the globe

 

Fleetwood Mac’s Timeless Appeal Keeps the Charts Buzzing

Decades after their peak, Fleetwood Mac continues to captivate music fans across the globe. The band’s catalog isn’t just aging gracefully—it’s thriving in today’s digital streaming era. Two of their most beloved albums, Greatest Hits and Rumours, are once again rising on the Billboard charts this week, with one making a surprising return and the other continuing its marathon chart run.

Fleetwood Mac’s influence spans generations, and these recent chart movements serve as a reminder that their music isn’t just iconic—it’s evergreen. Whether streamed, downloaded, or bought on vinyl, fans are still consuming their classics at a remarkable rate.

Greatest Hits Reclaims Its Spot on the Charts

Fleetwood Mac’s Greatest Hits, originally released in 1988, has made a notable comeback on two major U.S. charts. This week, the compilation reenters the Billboard 200 at No. 173 and also returns to the Top Rock & Alternative Albums chart, where it rebounds into the top 40 at No. 40.

The return of Greatest Hits isn’t just a nostalgic blip. According to music analytics firm Luminate, the album moved 9,000 equivalent album units in the most recent tracking week. The bulk of that performance came from streaming—proving its enduring popularity with both longtime fans and new listeners. Interestingly, over 1,000 of those units were pure album sales, demonstrating that people are still purchasing this collection in physical or digital formats nearly four decades after its release.

A Long-Running Legacy: Greatest Hits by the Numbers

Fleetwood Mac’s Greatest Hits has been a consistent performer on the charts for years. It previously climbed as high as No. 4 on the Top Rock & Alternative Albums chart and is on the cusp of another milestone: if it sticks around a bit longer, it will hit 300 total weeks on that list—a rare achievement for any album, let alone a greatest hits package.

On the Billboard 200, the compilation has already logged over 300 weeks. While it never cracked the top 10 on that chart, its peak at No. 14 remains impressive, especially when you consider the sheer volume of music released in the decades since its debut.

This kind of longevity is reserved for only the most revered bodies of work. And Fleetwood Mac’s Greatest Hits is clearly in that league.

Rumours Shows No Signs of Slowing Down

While Greatest Hits reenters the conversation, Rumours continues to prove that some albums truly never fade. Released in 1977 and widely regarded as one of the greatest albums of all time, Rumours remains an absolute force on the charts—nearly 50 years later.

This week alone, Rumours appears on six different Billboard charts. Even more impressively, it ranks within the top 40 on five of those lists, continuing its nearly unparalleled streak.

Here’s where Rumours lands this week:

• No. 4 – Top Rock Albums

• No. 5 – Top Rock & Alternative Albums

• No. 12 – Top Vinyl Albums

• No. 17 – Top Album Sales

• No. 18 – Top Indie Store Album Sales

• No. 43 – Top Streaming Albums

• No. 33 – Billboard 200 (now at 628 total weeks on the chart)

Rumours consistently outperforms many new releases, and its high placement across vinyl, streaming, and rock-specific charts proves that it remains a multigenerational favorite.

A Legendary Album That Keeps Winning

To put things in perspective: Rumours is now just over a year away from reaching 700 weeks on the Billboard 200. Only a handful of albums in history have reached that milestone. If it stays on track—and there’s every reason to believe it will—it will join an elite club that includes The Dark Side of the Moon by Pink Floyd and Legend by Bob Marley and the Wailers.

Featuring iconic tracks like “Go Your Own Way,” “Dreams,” “Don’t Stop,” and “The Chain,” Rumours isn’t just one of Fleetwood Mac’s greatest achievements—it’s one of the most impactful records in rock history. Its continued success is proof that great music truly is timeless. Even as Greatest Hits resurfaces with some of these same tracks, Rumours remains the definitive way to experience them.

Holding Court in the UK

Fleetwood Mac’s chart success isn’t limited to the United States. Over in the UK, they’re holding steady on multiple fronts.

This week, Rumours remains inside the top 30 of the UK Albums Chart, landing at No. 25—just slightly down from No. 23 last week. Meanwhile, the band’s 2018 compilation 50 Years – Don’t Stop is still a major seller. It comes in at No. 7, a minor dip from No. 6, with an impressive 6,422 units sold this week alone.

Since its release, 50 Years – Don’t Stop has spent a remarkable 335 weeks inside the top 75 in the UK—90 of those inside the top 10. That level of consistent chart presence is virtually unheard of for a retrospective album, and it speaks volumes about Fleetwood Mac’s enduring popularity across the pond.

The Bottom Line: A Catalog That Keeps Giving

Fleetwood Mac’s music isn’t just surviving—it’s thriving. In an era dominated by fast-moving trends and digital streaming, their catalog continues to rack up real, tangible wins. Whether it’s a classic like Rumours logging its 628th week on the Billboard 200, or a greatest hits collection finding its way back into the top 200, the message is clear: the world still wants Fleetwood Mac.

With songs that speak to heartbreak, resilience, creativity, and chaos—all delivered through unforgettable melodies and harmonies—it’s no wonder their work remains essential listening. Fleetwood Mac isn’t just a legacy act. They’re still charting a course through modern music history—one week at a time.

Stevie Nicks Working on New Album Her First Since 2011

Stevie Nicks Reveals She’s Working On New Album, Includes Song About Prince

Pollstar

The legendary Stevie Nicks, who tonight was inducted into the Pollstar Live Hall of Fame and graces the cover of this week’s Pollstar, broke news from the stage during her acceptance speech that she is currently working on a new album.

“I’m actually making a record right now,” Nicks said. “I call it the ghost record because it just kind of happened in the last couple of weeks.”  Nicks explained that she began work on the new record after being evacuated from her Los Angeles home due to the wildfires and after being evacuated for 91 days she needed  to “get back to work.”  That led to her writing new music.  

“I have seven songs and they are autobiographical,” Nicks continued. “real stories where I’m not pulling any punches for probably the first time in my life. They’re not airy-fairy songs that you’re wondering who they’re about, but you really don’t get it. They are real stories, memories of mine, of fantastic men.”

Nicks then pointed to one of those “fantastic men,” famed music mogul Jimmy Iovine and said, “You’re next.” Iovine, who inducted Nicks into the Pollstar Live Hall of Fame and also produced her records, once dated Nicks.

Another “fantastic man” is the music icon Prince, who initially inspired Nicks to work on her new record. “I’ve written a song about Prince because we were friends,” she explained before recounting a story of meeting up with the famed musician at the Hollywood premiere of “Purple Rain,” which she apparently couldn’t watch after the film’s love interest, Apollonia, is slapped.

“So I go across the street to the party. (Prince) Is upstairs in a little room and he’s basically waiting for me to ask me, ‘Well, did you love it?’ And I’m like, ‘I only saw the first half.’ And he’s like, ‘Why?’  “Because you slap that girl.’  And I said, ‘But I brought you a gift. It’s a really beautiful 24 carat necklace with little gold hearts on it.’ And he goes, “I don’t want your necklace and then he said, this is in the song and this is where this record began. ‘You always bring me a gift. You never bring me you.’

Nicks, whose extensive music career dates back to the 1960s, forming Buckingham Nicks, joingng Fleetwood Mac in 1974  and going solo in the early-’80s has had one of the most successful careers in the music business. She’s the only women to be elected to the Rock ‘n’ Roll Hall of Fame—twice.

Lindsey Buckingham and Daughter Leelee React to "Slow Dancing" Video

 New React series from Lindsey on Youtube with his daughter Leelee... 

Lindsey and Leelee react to "Slow Dancing"

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