2025 one of the most important years ever for Fleetwood Mac collectors

 

Fleetwood Mac, Stevie Nicks and Lindsey Buckingham Reissues of 2025 – A Landmark Year for Collectors (and What’s Coming in 2026)

2025 is shaping up to be one of the most important years ever for Fleetwood Mac collectors. Between anniversary editions, Rhino Reserve audiophile pressings, Start Your Ear Off Right exclusives, Mobile Fidelity half-speed masterings, Atmos Blu-Rays, and multiple retailer-exclusive colored vinyl pressings, fans are experiencing an unprecedented wave of archival activity. And with several high-profile titles already confirmed for 2026, the momentum shows no sign of slowing.

Below is a deep dive into each 2025 reissue, including background on the original album, what makes the new pressing special, and how each title fits into the broader resurgence of Fleetwood Mac’s catalog. Following that is a look ahead at the already-announced reissues for 2026.

FLEETWOOD MAC – 2025 REISSUES

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Fleetwood Mac – Live at the Record Plant 1974

Rhino Start Your Ear Off Right – 2-LP Red Vinyl

Released: January 2025

Original recording date: December 15, 1974

Before Stevie Nicks and Lindsey Buckingham joined the band, Fleetwood Mac’s transitional early ’70s lineup delivered one of its tightest live performances at Sausalito’s Record Plant. Featuring Bob Welch, Christine McVie, Mick Fleetwood, and John McVie, this set captures the melodic, R&B-tinged direction the band was forging on Heroes Are Hard to Find.

The 2025 2-LP red vinyl edition, part of Rhino’s Start Your Ear Off Right campaign, marks the first time the concert receives a wide vinyl release. The pressing features improved mastering sourced from the original broadcast tapes, expanded liner notes, and upgraded packaging, a major upgrade from earlier bootleg-quality versions.

Fleetwood Mac – Mirage

Mobile Fidelity Sound Lab 45RPM 2-LP

Released: February 2025

Original album release: June 18, 1982

Fleetwood Mac’s early-’80s soft-rock masterpiece gets the Mobile Fidelity Sound Lab treatment in 2025. Originally released in 1982, Mirage brought the band back to a warmer, more California-pop sound after the ambitious Tusk.

MoFi’s 45RPM 2-LP edition offers greater sonic clarity, wider stereo imaging, and deeper low-end detail than any previous vinyl release. Cut from MoFi’s proprietary mastering chain, this edition is specifically designed to provide ultra-quiet surfaces, more dynamic range, and enhanced texture, especially noticeable on “Gypsy,” “Hold Me,” and “Love in Store.”

Fleetwood Mac – 1975–1987 Boxed Set

6-LP Crystal Clear Vinyl + Bonus 12-inch Single

Released: March 2025

This massive anthology compiles the band’s most commercially dominant era — from the 1975 self-titled album through Tango in the Night. Each LP comes pressed on crystal-clear vinyl, and the accompanying 12-inch single of "Go Your Own Way" and "Silver Springs" included in a limited edition was a cool inclusion.

Compared to past box sets, this edition uniquely focuses on audiophile transparency and limited-edition presentation, making it one of the most collectible package releases of the decade.

Fleetwood Mac – Fleetwood Mac (1975)

Record Store Day Picture Disc – 1-LP

Released: April 2025

Original album release: July 11, 1975

The album that introduced Stevie Nicks and Lindsey Buckingham gets the Record Store Day picture disc treatment. While this pressing focuses more on visual collectibility than audiophile quality, the artwork recreates the iconic 1975 cover on a glossy full-image disc.

This edition is distinct from the later August 2025 Rhino High Fidelity release, making 2025 remarkably rich in versions of the breakthrough album.

Fleetwood Mac – Greatest Hits (1988)

Walmart Exclusive Translucent Forest Green 1LP

Released: May 2025

Original album release: November 15, 1988

A staple of any classic-rock collection, Greatest Hits compiles the band’s biggest singles from the mid-’70s through Tango. This Walmart exclusive introduces a translucent forest-green pressing, celebrating the album’s enduring popularity—especially remarkable as it continues to chart weekly worldwide.

The packaging mirrors the original release but with updated hype stickers and a collector-focused color variant.

Fleetwood Mac - Fleetwood Mac

50th Anniversary Rhino High Fidelity 1-LP + 2 Bonus Singles

Released: August 8, 2025

For the album’s 50th anniversary, Rhino’s prestigious “High Fidelity” line delivers its highest-grade vinyl edition yet — AAA mastering, tip-on jacket, and a meticulously recreated analog soundstage. The two bonus 7-inch singles (limited edition) include faithful reproductions of the original U.S. releases for “Over My Head” and “Rhiannon,” offering a premium archival experience.

Dolby Atmos Blu-Ray Edition

Released: August 8,2025

Alongside the vinyl release, the Fleetwood Mac Atmos Blu-Ray brings immersive audio to the album for the first time. With swirling harmonies, isolated channels, and a full spatial remix, this edition gives fans a new way to experience the landmark 1975 LP.

Fleetwood Mac – Tango in the Night

Rhino Reserve 180g 1-LP

Released: August 2025

Original album release: April 13, 1987

One of the band’s most lushly produced albums returns on 180g audiophile vinyl through the limited-edition Rhino Reserve line. The lacquers on this version were cut from original analog masters (for the first time) by Matthew Lutthans at The Mastering Lab and pressed on premium vinyl with upgraded jackets and improved mastering. This 2025 reissue brings renewed clarity to the album’s shimmering digital-era production. 

Fleetwood Mac – Bare Trees

Rhino Reserve / Rhino Rocktober 180g 1-LP

Released: October 2025

Original album release: March 1, 1972

The cult-favorite Bob Welch-era classic receives its most elegant reissue yet for Rocktober. Bare Trees sounds warmer and more atmospheric thanks to improved analog-sourced mastering, restoring the dreamy textures of “Sentimental Lady,” “Spare Me a Little,” and “Future Games.”

This edition is pressed on 180g vinyl with premium packaging, distinguishing it from earlier standard reissues.

Fleetwood Mac – Tusk

Rhino Rocktober – Cobalt Blue 2-LP

Released: October 2025

Original album release: October 12, 1979

The band’s wildly experimental double album returns in a bold cobalt-blue vinyl pressing. Though sourced from the same recent remasters as the 2015 deluxe editions, this variant is notable for its unique colorway and collectible presentation, appealing to vinyl completists, especially given Tusk’s growing critical appreciation.

Fleetwood Mac – Live 1975

Record Store Day Black Friday – 2-LP

Released: November 28, 2025

Recorded during the early days of the Buckingham–Nicks era, Live 1975 captures the band shortly after the breakout success of the 1975 album. This new RSD edition is mastered for vinyl, pressed on heavyweight LPs, and features expanded artwork.

It represents the earliest officially released full-length concert from the classic lineup.

Fleetwood Mac – Greatest Hits (1988)

Target Exclusive Translucent Purple 1-LP

Released: December 2025

Closing out the year is another color variant of Greatest Hits, this time in translucent purple, exclusive to Target. Collectors who enjoy variant-hunting will appreciate the contrast between this edition and the Walmart green pressing from earlier in the year.

WHAT’S COMING IN 2026 – Fleetwood Mac

Fleetwood Mac – Future Games

Rhino Reserve / Start Your Ear Off Right

Release Date: January 2, 2026

Original album release: September 3, 1971

A long-awaited audiophile reissue of one of the band’s most atmospheric early-’70s albums. Expect upgraded mastering, deluxe packaging, and special variant vinyl as part of SYEOR 2026.

With Future Games celebrating renewed critical interest, this release is poised to be one of the standout early-’70s reissues of the new year.

Fleetwood Mac – Fleetwood Mac (1975)

Mobile Fidelity 45RPM Ultradisc One-Step 2-LP and 

Mobile Fidelity Hybrid SACD

Release Dates: TBA

Following MoFi’s Bella Donna expansion, the 1975 album will receive both the ultra-premium One-Step treatment and a new hybrid SACD edition. These will likely become the most sonically ambitious versions of the album ever issued, offering collectors multiple formats for the iconic LP.

STEVIE NICKS – 2025 REISSUES

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Stevie Nicks – Bella Donna

Rhino High Fidelity 180g 1-LP

Release date: May, 2025

Original album release: July 27, 1981

Stevie Nicks’ solo debut—already considered one of the great albums of the early ’80s receives the RHF audiophile upgrade with all-analog mastering and premium print reproduction. The soundstage is warmer and more dynamic than typical reissues, highlighting the richness of her vocals and the layered production.

Stevie Nicks – Bella Donna

Mobile Fidelity Ultradisc One-Step 45RPM 2-LP and

Mobile Fidelity Hybrid SACD

Release date: November 2025

This 2-LP 45RPM One-Step edition represents MoFi’s highest-tier vinyl format, offering extreme clarity, superior dynamics, and minimal noise floor. It’s designed for audiophiles who want the definitive vinyl experience.

Mobile Fidelity Hybrid SACD – November 2025

The SACD edition is ideal for digital collectors, offering both high-resolution and Redbook layers with MoFi audiophile mastering.

STEVIE NICKS – WHAT’S COMING IN 2026

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Stevie Nicks – Rock a Little (1985)

40th Anniversary Editions

Mobile Fidelity 180g 45RPM 2-LP
Mobile Fidelity Hybrid SACD

Release Dates: TBA

2026 brings a major celebration for Rock a Little, which turns 40. Expect high-quality MoFi remastering, expanded artwork, and the first ultra-audiophile editions of this mid-’80s synth-driven classic.

Given the historical success of I Can’t Wait, and Talk to Me, these reissues will likely rank among the most anticipated Stevie Nicks releases of the decade.

Lindsey Buckingham – 20th Century Lindsey

Rhino Start Your Ear Off Right – 4-LP Box Set

Released: January 2025

Original boxset release date: June 14, 2024

Lindsey Buckingham’s 20th Century Lindsey 4-LP box set joins Rhino’s Start Your Ear Off Right 2025 campaign as one of the most anticipated solo projects from any Fleetwood Mac member. This collection spotlights Buckingham’s groundbreaking studio work from his prime creative years — stretching across his late-’70s, ’80s, and ’90s output — and showcases the evolution of his distinctive production style, guitar innovations, and experimental pop sensibilities.

20th Century Lindsey marks the first time his early solo era has been curated into a unified vinyl anthology. Each LP is pressed on high-quality vinyl with upgraded remastering designed to highlight the crisp fingerpicking, layered harmonies, and percussive textures that define his signature sound.

FINAL THOUGHTS

Between Fleetwood Mac, Stevie Nicks, and Lindsey Buckingham 2025 is arguably the most reissue-heavy year fans have ever seen. With top-tier audiophile labels, exclusive retail variants, anniversary editions, and long-lost live shows unearthed and restored, collectors have dozens of new pressing options and even more coming in 2026.

Lindsey Buckingham and Mick Fleetwood Feature on Miley Cyrus New Song "Secrets"

MILEY CYRUS ENLISTS MICK FLEETWOOD AND LINDSEY BUCKINGHAM FOR ‘SECRETS’

Singer says track — off the Something Beautiful deluxe — was written as a "peace offering" for her father, Billy Ray Cyrus

By ANGIE MARTOCCIO
Rollingstone

The Rumours are true: Miley Cyrus has officially released “Secrets,” her new single featuring Mick Fleetwood and Lindsey Buckingham.

The collaboration appears on the deluxe edition of Something Beautiful, out today. “Secrets/I want to keep your secrets,” Cyrus sings, across the legendary rhythm section. “Like sunlight in the shadow/Like footsteps in the grass.”

“This song was written as a peace offering for someone I had lost for a time but always loved,” Cyrus said on Instagram. “In my experience, forgiveness and freedom are one and the same. Thank you to Lindsey Buckingham & Mick Fleetwood for bringing magic to the music. This song is for my dad.”

Check ou the song below... Has that Fleetwood Mac vibe to it. 

Mick Fleetwood and Lindsey Buckingham Play on Miley Cyrus Birthday Song To Dad

Miley Cyrus Recruits Fleetwood Mac Members for Special Birthday Song for Dad Billy Ray Cyrus: 'I Love You Mile'

Billy Ray Cyrus celebrated his birthday with a very special gift from his daughter Miley Cyrus — an unreleased song that includes some rock royalty.

Billy Ray turned 64 on Monday, Aug. 25 and marked the occasion by sharing a snippet of the song that Miley, 32, wrote for him, titled “Secrets.” The country star said Miley had even recruited members of Fleetwood Mac to play on the track.

Band members Lindsey Buckingham and Mick Fleetwood play on the song, 

and both are credited on the track.

People Magazine

Lindsey Buckingham on joining Fleetwood Mac with Stevie Nicks

“I’ve never felt any need to try to fit into anyone else's shoes. I just do what I do.” Lindsey Buckingham on joining Fleetwood Mac with Stevie Nicks and cutting their breakthrough hit album 50 years ago.

The uniquely gifted guitarist helped lead the storied blues group formed by Peter Green to become one of the biggest hit acts of the 1970s


By Christopher Scapelliti
Guitarplayer.com

Fleetwood Mac was a storied group with an eight-year history when Lindsey Buckingham and Stevie Nicks joined them in late 1974. The group was founded by guitarist Peter Green, bass guitarist John McVie and drummer Mick Fleetwood after the trio departed John Mayall’s Bluesbreakers in 1967. The band eventually added McVie’s then-wife Christine on as keyboardist and singer, and endured several lineup changes through the early 1970s.

But aside from a few Green-era singles — including “Albatross,” “Oh Well” and “The Green Manalishi (With the Two-Pronged Crown”) — and 1973’s “Hypnotized,” cut by the group with guitarist/singer Bob Welch, they never enjoyed mainstream success.

That all changed once Buckingham and Nicks joined. The debut album from this lineup, 1975’s Fleetwood Mac — now celebrating its 50th anniversary — would make them one of the 1970s’ most famous hit groups and pave the way for its smash followup, 1977’s Rumours.

It was shortly before Rumours’ release that Buckingham sat down with Guitar Player for what would be an increasingly rare press opportunity with the guitarist. His conversation with Dan Forte was among the first to detail not only how he and Nicks came to join the group but also his gear in his early years with the Mac.

The story behind Fleetwood Mac’s most successful lineup is legendary. After playing with their group Fritz for years, Buckingham and Nicks tried to make a go of it on their own. In 1973 they recorded their sole album, Buckingham Nicks, using a lineup of studio musicians that included guitarist Waddy Wachtel, who would go on to be Nicks’ main man in her hugely successful solo career.

The album was tracked by engineer Keith Olsen at Sound City studio, in San Fernando Valley. Everyone involved loved what they had created, but the album — which is slated for a deluxe reissue from Rhino this fall — failed to make a dent upon its release in September 1973.

Roughly a year later, Mick Fleetwood was looking for a studio in which to record Fleetwood Mac’s followup to Heroes Are Hard to Find. He visited Sound City, where he got his first listen to Buckingham and Nicks.

“About two months before we ended up cutting Fleetwood Mac [in January/February 1975], Mick was looking for a studio to use,” Buckingham explained. “Someone haphazardly turned him onto this place in San Fernando Valley called Sound City. So he talked to Keith Olsen out there, and Keith put on ‘Frozen Love’ from the Buckingham Nicks album to show him what the studio sounded like and what his work was like.”

Fleetwood loved what he heard in the duo’s music and performance, although as Buckingham explained to GP, the drummer wasn’t shopping for new musicians. Fleetwood Mac was intact at that point with guitarist and frontman Welch. “[Olsen] wasn't trying to showcase us,” Buckingham said, “because Bob Welch was already in the band at that time.”

That changed in just a matter of days.

“A week later Welch decided to leave the group, and Mick just acted intuitively and called up Keith to get in touch with us,” Buckinham explained.

Buckingham and Nicks had dinner with Fleetwood and the McVies, and by the end of the evening were invited to join the band and start recording on a tight schedule.

“We rehearsed for about two weeks and then just cut the LP,” Buckingham stated.

The guitarist was certainly familiar with Fleetwood Mac’s music. “Peter Green, oddly enough, had a little bit of influence on me,” he says. “I really liked his style of playing where a few notes mean a lot — even one note.”

That style would typify Buckingham’s tastefully minimal approach to performing solos and fills. At the same time, he said he felt no pressure to live up to any period of Fleetwood Mac’s history.

“There was never any conscious effort to try to fit into their styles other than, say, doing their [old] songs onstage,” he said. “But even so, I didn't listen to those records and try to copy what was on them. We just started playing, and that was what came out.

“I’ve never felt any need to try to fit into anyone else's shoes. I just do what I do, whatever. Maybe one of the reasons Fleetwood Mac has been able to survive for so long is that they've been able to change.”

On the recording of Fleetwood Mac, Buckingham used a Fender Stratocaster for his electric work. “Before I joined the band I'd been playing a Stratocaster, which I love dearly, but for some reason it didn't sound quite full enough live,” he said.

Onstage, Buckingham favored the white 20th anniversary model Gibson Les Paul Custom he was frequently photographed with at the time. The Strat would be set aside and used only for the Fleetwood Mac hit “Over My Head.” “I keep it tuned to open D onstage for ‘Over My Head,’” Buckingham said.

Sometime after recording Fleetwood Mac, Buckinham had Rick Turner from Alembic install his Stratoblaster onboard preamp booster in the guitar. His Turner-modified Strat, with the Stratoblaster gain at maximum and played through Hiwatt Custom 100 amps, would go on to become the celebrated guitar sound on Rumours.

"I still use a Stratocaster more in the studio than the Gibson,” Buckingham explained to GP, "but the Les Paul seems to be a very good, basic, solid stage guitar with a lot of output and fullness. I'm really happy with it."

He also required an acoustic guitar for live performances of the “Landslide,” the Stevie Nicks composition that became both a hit and a signature tune for her in the group.

“For ‘Landslide’ my acoustic is an Ovation onstage, although I used a Martin D-18 on the recording,” Buckinham said. “The Ovation's got a built-in pickup; it's great. It doesn't really sound like an acoustic guitar, but it works so much better live than to mic a real acoustic.”

Around the time of this interview, and following the recording of Rumours, Buckingham switched from Hiwatts to Marshall Plexi 1959SLP heads.

“I used to use Hiwatts, but they all of a sudden somehow became real dirty-sounding,” he explained. “So I got Marshall 100-watts, and they seem to have a lot of bite. I use these tape recorder guts for fuzz.”

An important part of his sound back then resulted from the preamp from a Sony two-track tape recorder that he used in front of his amp.

“When I got out of Fritz and started doing lead, I bought a Sony 630 tape recorder deck for demo tapes,” he said. “Then I got an Ampeg four-track and started using the Sony two-track for slap echo and effects like that with the preamp output of the deck into an amp. It's just an amazing fuzz device.

“Since then I've taken the guts out of the preamp and put them in a little box, and that's what I use both onstage and in the studio. I also use a Roland Space Echo and a Cry Baby wah.”

But the gear meant nothing without Buckingham’s technique, and background, which was itself unusual for a guitarist in 1970s rock. He grew up in the early 1960s during the folk boom.

“I listened to stuff like the Kingston Trio and Ian and Sylvia, which didn't highlight any really hot guitar,” he said. “I listened to Chet Atkins a little bit. The Travis, three-finger picking pattern got me into what I'm doing now.”

Buckingham was referring to his deft use of fingerpicking, which continued through his career in rock and became a hallmark of his playing style.

“That's the funny thing — I still don't use a flatpick,” he said. “I always use my fingers onstage; I kind of thrash out the lead with my fingernails. I don't use any picks at all, just the bare meat. My fingernails take quite a pummeling sometimes, but it's just something you get used to — I've got a lot of calluses on the ends of my fingers. The only time I ever used fingerpicks was for bluegrass banjo, but I never used a flatpick for anything.”

Stevie Nicks and Lindsey Buckingham seem to be putting aside their differences

‘Buckingham Nicks,’ the missing link of the Fleetwood Mac saga, is back

Stevie Nicks and Lindsey Buckingham’s 1973 album prefigured their pop triumphs in Fleetwood Mac but was lost in the streaming era. That could change Sept. 19.

Sean Scheidt/For the Washington Post

By Ethan Beck
Washington Post

Lineups came and went, but only one version of Fleetwood Mac became a legend. After joining the group in 1974, vocalist Stevie Nicks and singer-guitarist Lindsey Buckingham supercharged the then-B-tier British blues act with a California folk sensibility. What resulted was the glistening, drama-spiked pop rock of “Dreams,” “Don’t Stop,” “Gypsy” and more than a dozen other hits over the next 15 years.

But before Fleetwood Mac — and way before their creative partnership ruptured, seemingly permanently — Buckingham and Nicks made an album together. And for years, hearing it wasn’t easy.

That’s seemingly about to change. Last weekend, the two musicians each posted a line from “Frozen Love” across their social media accounts. It’s an aching tune from the album “Buckingham Nicks,” the commercially unsuccessful album they released in 1973. Mick Fleetwood, the band’s drummer, joined in on the fun and posted a video of him listening to “Frozen Love,” prompting glee from fans.

Their “marriage of coming into Fleetwood Mac when they did, it’s all in this song,” said Fleetwood in the video. “It’s in the music, played on for so many years. It was magic then, magic now. What a thrill.”

The questions began: Would they finally put “Buckingham Nicks” on streaming services, from which it has been absent? Is it getting remastered? What about a reunion? On Monday, a billboard of the “Buckingham Nicks” album cover and the date “Sept. 19” appeared on Sunset Boulevard in Los Angeles, all but announcing its rerelease. Beyond Nicks and Buckingham’s social media posts, they haven’t confirmed anything.

The 1973 album set out the duo’s Laurel Canyon-inflected sound, which convinced drummer Mick Fleetwood to ask Buckingham to join his band. Fleetwood sought out the guitarist after hearing “Frozen Love” at Sound City Studios, and Buckingham told him that he and Nicks — musical and romantic partners — were a package deal. The pair quickly joined Fleetwood Mac. “That album holds up pretty well,” Buckingham said a 2024 interview with Dan Rather. “It did not do well commercially, but it certainly was noticed. And more important, it was noticed by Mick Fleetwood.”

The apparent reissue, which Buckingham and Nicks teased frequently throughout the 2010s, follows decades of fan bootlegs. After Polydor Records let “Buckingham Nicks” go out of print, it endured as a coveted find at used record stories and in bits and pieces scattered across Nicks’s and Buckingham’s discographies. The duet “Crystal” was remade for Fleetwood Mac’s 1975 self-titled album, a notch more polished than the more biting Buckingham Nicks arrangement. The bouncing “Don’t Let Me Down Again” appeared on almost 15 years of Fleetwood Mac set lists, finding a home on 1980′s “Live.” When touring in 1974 as Buckingham Nicks, the duo tried out a handful of future Fleetwood Mac hits, including “Rhiannon” and “Monday Morning,” for the first time live

The original “Buckingham Nicks” record remains the best place to understand how Nicks and Buckingham would shake up Fleetwood Mac and classic rock. Nicks’s assured, fierce voice shines throughout, while Buckingham’s steely, fingerpicked acoustic guitar anchors a majority of the songs. But you can also hear what’s missing. As good as Nicks and Buckingham sound together, it’s natural to long for Christine McVie to round out their harmonies. Meanwhile, the session musicians — including ones who played with Elvis Presley, John Lennon and Bob Dylan — don’t match drummer Fleetwood’s might or John McVie’s supportive, thoughtful bass lines. (But how many ever did?)

Just last year, singer-songwriters Madison Cunningham and Andrew Bird released “Cunningham Bird,” their full-length cover of the “Buckingham Nicks” album, where the arrangements focused on Bird’s violin parts and Cunningham’s muted guitar playing. Yet the melodies still jump out, especially on the stripped-down renditions of “Crystal” and “Lola (My Love),” which Cunningham described as a “sex blues ballad.” Bird said the lack of a “Buckingham Nicks” rerelease was a good reason to record it.

“It’s this storied prequel to Fleetwood Mac, and you hear all the kind of drama brewing in the songs,” Bird said to Variety. “So that appealed to me, that it was inaccessible to a lot of people.”

That drama would become almost as famous as the music. After dating in the early 1970s, Buckingham and Nicks broke up after joining Fleetwood Mac, and theirs wasn’t the only contentious relationship in the group (that’s a whole other article). Shrapnel from the romance damaged their working relationship, and Buckingham eventually left Fleetwood Mac after the success of 1987′s “Tango in the Night,” while Nicks followed in 1991. The golden-era lineup reunited in the ’90s, but Buckingham was eventually kicked out in 2018. (Christine McVie, who had already stepped back from the group, died in 2022.) Just last year, Nicks said, “There is no chance of putting Fleetwood Mac back together in any way” in an interview with Mojo.

The music, of course, endures, and the intra-band intrigue was most vividly captured on 1977′s “Rumours,” one of the most successful albums of all time (it is still charting, hitting No. 21 on the Billboard 200 for the week of July 26). But the group’s tense power is previewed on “Frozen Love,” which erupts into a solo so dramatic and wailing that it can only be seen as a precursor to 1977′s “The Chain.” During the jolting, stirring chorus, Nicks and Buckingham sing, “And if you go forward/ I’ll meet you there,” which is the line they shared on their respective Instagram accounts. After years of animosity, Nicks and Buckingham seem to be putting aside their differences to share some of this early, thrilling material.

Surprise! "Buckingham Nicks" Set for Long-Awaited Re-Release This Fall

Surprise! "Buckingham Nicks" Set for Long-Awaited Re-Release This Fall

After more than 50 years, the iconic 1973 duet album Buckingham Nicks — the cult classic that introduced Stevie Nicks and Lindsey Buckingham to the world — is finally getting an official re-release. A mysterious billboard spotted at 7365 Sunset Blvd has confirmed the date: September 19, 2025.

Once thought lost within the entanglement of Stevie and Lindsey's relationship (They both own the masters), I thought this day would never come.  This album helped launch the duo into Fleetwood Mac — and rock history!. Fans, mark your calendars. The wait (and it appears the war) is over.

Timing wise this makes perfect sense. The Fleetwood Mac documentary at Apple Original Films is in production with a release date reported to be in the spring of 2026. Re-releasing Buckingham Nicks is brings the duo full circle.

Will be interesting to see how Stevie and Lindsey handle the promotion of this... If they do anything together at all.  Given this surprise billboard and the two of them posting recently on Instagram lyrics to "Frozen Love" and Mick's video post to kick everything off who knows. We may see them perform live together... Maybe a few shows. 

Official announcement should follow soon.

1st Photo: ChristinaD23

 

New Album Spring 2026 for Lindsey Buckingham

Some news via Gambino Landscaping on a new album for Lindsey Buckingham and mention of the Fleetwood Mac documentary.  

There is growing speculation that Lindsey Buckingham is planning to release his next solo album to coincide with the premiere of the forthcoming Apple Original Fleetwood Mac documentary.  Confirmed in part by updates shared by Rick Gambino—the film could be slated for release in the spring of 2026. Strategically, timing an album drop to align with a high-profile documentary would make perfect sense, especially given the renewed interest it’s likely to generate in the band’s legacy and its key members. 

Adding to the intrigue, both Mick Fleetwood and Stevie Nicks are also reportedly working on new solo material. While details remain sparse on their solo projects, if all three—Buckingham, Fleetwood, and Nicks—do in fact release solo albums around the same time, it would mark the first time in decades that these core members of Fleetwood Mac simultaneously put out new solo work. 

With the visibility and momentum the Apple documentary is expected to generate, it would be an ideal moment to capitalize on public interest, both nostalgically and musically.

In short, spring 2026 could shape up to be a landmark moment not just for Fleetwood Mac fans, but for the individual artistic legacies of its most iconic members.

"Lindsey Buckingham Lead singer/Guitar player extraordinaire (solo and Fleetwood Mac), longtime client of Gambino Landscape Lighting (2 homes). Stopped by our job today and we spoke for about 1/2 hour. He's got a new album coming out in the spring of next year along with a documentary about Fleetwood Mac. / asked if there was a possibility that they would ever perform together again and he said that all depends upon Stevie (who is also a client of ours."

Lindsey Buckingham "We made something significant in spite of all the troubles"

The following interview with LINDSEY BUCKINGHAM was conducted by the Library of Congress on March 18, 2025.

Library of Congress

Library of Congress: How, and by whom, were you first contacted to join Fleetwood Mac?

Lindsey Buckingham: It was one of those very…kind of quirky things that often are happy accidents. Stevie and I had just finished and put out the “Buckingham/Nicks” album and we did that at what we called our “home away from home” which was Sound City studios in the Valley. And the guy there that was the main engineer, he was the one that helped in getting us to LA and even let us stay at his house and get us a record deal. Sound City was like family to us.

That album was not a huge thing commercially but it was sort of rearing its head regionally, in parts of the country, in the South, and we were wondering, “Would it really click if we gave it more time?” But that was something that was kind of in the rearview mirror, and that thought came and went. I mean we were proud of it and we were doing some touring…

We were at Sound City—like I said, our home away from home—and its owner Joe [Gottfried] gave us some free studio time in Studio B whenever we needed it. So, we were in Studio B one night working on a new album, just by ourselves. And [our engineer] Keith Olsen was there; Keith was always there doing one thing or another. He was in Studio A and I went over to say “hi.” So I left the control room and wandered across the hall to Studio B and, as I’m walking in, I’m hearing one of the “Buckingham/Nicks” songs, “Frozen Love,” being played at top volume. Its near the end of the song. That song has a screaming guitar solo; it wears its instrumental is on its sleeve for sure. And I go in and I see this very tall gent with his eyes closed and he’s bopping his head to the song. And Keith and he wave to me but we all wait for the song to finish. The music stops and Keith says, “Lindsey, I want you to meet Mick Fleetwood.”

What had been happening was that Mick--living down in Laurel Canyon—had been doing albums with various incarnations of the band, of Fleetwood Mac. It was a sign of the times and the decision making was from the top down [from the label]. The band was making no money for them but the label just kept Fleetwood Mac on to kind of see what happens.

So they wanted to make another album. Mick had met Keith and Keith didn’t show him the “Buckingham/Nicks” album, per se: what he did want to show Mick was something he was proud of as an engineer because they were thinking about using Keith for the next Fleetwood Mac album. So it was in the context of all that that I met Mick. Mick and I chatted for a minute; Mick was very complimentary.

Then I walk back to Studio B and I say to Stevie, “I just met Mick Fleetwood!” And I had been a fan of them, especially in the Peter Green format. [I thought] they were very progressive.

So… we went on with our session and thought no more of it. Then: a week or so later, I get a call from Keith first, I think, and he said, “Mick Fleetwood want to talk to you.” Then I get a call from Mick. Bob Welch had decided to depart the band.

Timing is a whole thing. Mick was wonderfully intuitive and he could just see the bigger picture. He got us from hearing that one song. He saw the skill set and the range that I had.

So he asked, “Would you like to join Fleetwood Mac?” I don’t remember saying “Let me think about it” or if we had a follow-up phone call… But I thought about it and thought about Stevie. And I eventually said, “That might be something I might consider but you have to take my girlfriend, too.”

Christine was already in the band and they had to discuss that with her. Christine in particular: I mean, was she open to another female in the band?...

He got back to me and said “okay” and we talked about it and… You know, it was not a clear…. Like I said, “Buckingham/Nicks” was connecting with southern radio… So it was not an easy, clear decision to make. Was there going to be a possibility for us just on our own?

But we decided, well let’s give it a shot.

LC: Were you hesitant about joining up with an already-established entity like Fleetwood Mac? Were you afraid that you—and Stevie—were going to get lost within the group?

LB: That was certainly one of the pieces of the puzzle, probably more for me than for Stevie. She was going to stand up there and sing in either group, whereas my thing was a bit more complicated. As a guitarist with his own distinct way of what I was doing, was I going to be able to fit into this established sound? They already had a sound and it wasn’t going anywhere--but was I going to have to adapt fully to it? And could I influence it? At the same time, they were what they were already, and I can’t remake them for my own agenda….

I think I needed to do, again, be mindful and figure out how to use my skills as a guitarist and as a producer and apply them all that to them. And, if I had to change, well, that’s part of being in a band….

We went and rehearsed before going into the studio. My songs had been demo-ed, they were already blocked out. But it was so profound for me—I could find a place for me that was effective and needed in Fleetwood Mac.

The first night of rehearsal, we did [Christine’s] “Over My Head” and I changed the bridge. It was too angular originally. It didn’t go from where the song begins and it was hard to come back to where it had to go. Christine was open to it; she saw that the song immediately improved.

That first night: I could see how this was going to go. There was something else larger here going on. That’s how I approached that in my mind. I never thought I was losing myself.

But other dues do have to be paid. For years onstage, when we didn’t have a lot of our own material, I was just the guy covering Peter Green….

I think the “Tusk” album is when we were really started doing a set we could call our own.

LC: I wanted, of course, to ask about the making of “Rumours.” Legend has it that those were some notorious and emotional recording sessions. Is all that accurate?

LB: …We didn’t have Keith Olsen for that album. He’s one of the best engineers but there were places he didn’t want to go. It would frustrate me as a producer.

As I said, for that first album [“Fleetwood Mac,” 1975] we rehearsed, we worked the stuff, we worked out all of Christine’s stuff. It went very quicky—four months or so.

Then, unlike that album, [for “Rumours”] we discarded using Keith so that I could take on a larger role and flex my production muscles.

Everything by that time was quite different. First, John and Christine were in the process of breaking up but it was the early days. Stevie and I had had some problems; we were on again and off again, but, generally speaking, on.

“Rumours” was a year and a half to make. And, later, all of this dynamic… We had gone through and had come out the other side. John and Chrisine were divorced. Stevie and I were not together. The living situation was different; the guys were all living somewhere else. It was so stark. And it informed the material; it was ultra-autobiographical in a way. Just more focused on the trauma….

And also the fact that by that time it was clear…that first album had had three successful singles and sold several million. Then, suddenly, we went from starting from scratch (or what felt like scratch) to now seeing ourselves as a successful band. There was this sense of destiny to fulfill.

Unfortunately, it was difficult emotionally. There was no closure for anyone. We had to be around each other all the time. I didn’t get the chance to get over Stevie; I wasn’t over her. Then, as a producer and in bringing her songs to life in the studio, I had to be in touch with my better self. We saw it all as this destiny to fulfill. We were in a place where we had to –like it or not—get in touch with our better selves and rise above.

I think that was much of the appeal of the album’s appeal, how autobiographical it was. And that we made something significant in spite of all the troubles.

LC: Do you think that is why “Rumours” has so, so strongly connected with people both back then and up to today?

LB: Yes, a good portion of it. The band has a legacy. Even now, post-2018 between me and the band; I mean that was just a blip on the radar…. That does not affect my perception of the body of work we have done.

The repetition of what you are doing over the years is its own thing, too. You do a concert and look out and see three generations of people. It takes the equation of time to know if you have done your job properly and bought into existence something exemplary, rising above the bullshit on some level.

You know, maybe we [as individuals] didn’t even belong in the same band together but the sum was greater than the parts. I think that has had some effect on the album’s lasting popularity.

LC: Can you tell me about Christine McVie?

LB: Christine was great antidote. It was hard for John to be in a band after they weren’t together, as it was for me with Stevie after all those years. A part of me never got over Stevie and I think a part of her never got over me. There’s a great deal of denial going on.

Christine was the closest thing I ever had to a sister. Unlike Stevie who played minimal guitar, Christine knew her stuff musically. She and I had another bond in that way. Stevie never understood what I was doing with her songs though she appreciated it. But I don’t think she grasped the process that you need to get from point A to point B.

Christine was more hands on and appreciated what I could do being more skilled herself. She read music. I don’t read music; my guitar playing is all self-taught. It’s a big help to have around who is a schooled musician.

She was always that sisterly presence. Her spirit…just keeping things afloat. She could always help if things began to spiral down, she could bring it back.

LC: Over the years—and this is acknowledged in some of the liner notes of various Fleetwood Mac albums—you seemed to become the leader of the group. How did this role come about and was it something you wanted?

LB: I always liked it. It’s not like I wasn’t doing anything different from the very first album or from “Rumours” or “Tusk” or anything that followed.

Mick didn’t feel comfortable giving me production credit but my skill set and my contributions were not any less than when I was given credit. There’s a lot of inner politics of the band and I think, for a long time, the band just said, “Put ‘Produced by Fleetwood Mac.’”

I think it was by the time we got to the “Tango in the Night” album, at that point, I had paid certain dues and [was credited].

I didn’t care about that credit. What mattered to me was the outcome of the work.

LC: Looking back at the “Rumours” album from today, is there anything you wish you had done differently on it?

LB: I don’t think so…. We were in this moment. We were writing these songs—having these cross conversations with each other in the studio, in the songs. I think we got it pretty right. A little raw-er than the first album but with more of a sense of truth.