Coming Soon Limited Edition Stevie Nicks Bella Donna Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP Box Set

Stevie Nicks Bella Donna

(45RPM 2LP Box Set) $125.00

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Stevie Nicks Breaks Out as a Solo Force on Bella Donna: 1981 Album Features Extraordinary Vocal Performances and Four Hits, Including “Edge of Seventeen” and “Stop Draggin’ My Heart Around”

Experience the Record’s Spontaneous Feel and Raw Emotions in Definitive Sound on Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP Box Set: Strictly Limited to 4,000 Numbered Copies

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

Stevie Nicks had much to prove when she stepped out on her own for the first time and crafted Bella Donna. Despite attaining superstar success with Fleetwood Mac, the singer often took a back seat to the band’s other members — and, due to the group’s approach, faced limitations in getting her songs on an album. Along with Nicks’ status as a significant artistic force in her own right, that all changed with the timeless Bella Donna.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and strictly limited to 4,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set of the 1981 benchmark plays with superb transparency, dynamics, and detail. Benefitting from extraordinary groove definition, an ultra-low noise floor, and extremely quiet surfaces, this vinyl edition captures what went down in the studio with tremendous realism and presence.

Spotlighting the striking visual elements that further make Bella Donna immediately identifiable, the gorgeous presentation of this UD1S version confirms the reissue's definitive standing. Housed in a deluxe slipcase, it features premium foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. This keepsake is for listeners who want to immerse themselves in everything involved with the album, including the celebrated cover art depicting a gowned Nicks staring at the camera, holding a perched cockatoo, and standing beside a tambourine adorned with roses. The hypnotic color scheme — dark blues, deep violets, creamy whites, golden yellows — mirrors the spirit, mysticism, strength, and contrasts of the music within.

Teaming with simpatico producer Jimmy Iovine and fellow rock ’n’ roll icon Tom Petty, Nicks asserted control over the creative process for the first time in her career. She allowed the material to develop spontaneously — a characteristic you readily experience via the natural, balanced sonics and raw emotionalism. Nicks’ organic methods owed to both her desire to collaborate with the studio musicians as well as necessity.

Because the personnel who played on the record had demanding schedules, no one had time to sit around and get take after take in pursuit of perfectionist goals or technical aims. The warm, extended, tonally rich soundscapes you hear — instrumentation that feels live, vocals that float and yet sound altogether innate, synergy between the players that places them in the same room together — remain as integral to Bella Donna as its personalized songs.

About those songs. Nicks recorded 16 tracks and picked from material she wrote as far back as a decade prior. Though she deemed Bella Donna a “sort of chronology of [her] life,” she felt proudest about its songs’ ability to speak to issues to which everyone could relate. Her intuition proved prophetic. The public embraced her solo debut en masse, sending the album to No. 1 on its way to selling more than four million copies — numbers that make Bella Donna more successful in the U.S. than any Fleetwood Mac effort apart from Rumours.

The enthusiastic commercial and critical reception was well deserved. From a musical perspective, the playing on Bella Donna alone warrants the highest praise. The makeshift band on a majority of the fare consists of guitarist Waddy Watchel, drummer Russ Kunkel, organist Benmont Tench, bassist Bob Glaub, percussionist Bobbye Hall, and guitarist Davey Johnstone — all of whom claim sterling resumes and tackle their parts with utmost professionalism, restraint, and chemistry. Nicks also wrangled E Street Band pianist Roy Bittan to sit in on five songs, and started the beginning of a long relationship with backing vocalists Sharon Celani and Lori Perry.

For the first single, “Stop Draggin’ My Heart Around,” Nicks duetted with its author, Tom Petty, and nearly all the Heartbreakers, with legendary bassist Donald “Duck” Dunn filling in for Ron Blair. The sweeping, sassy tune reached No. 3 on the Billboard charts and captures the fiercely independent mood Nicks embraces throughout the record. She, Petty, and the Heartbreakers hit upon similar aural gold on the shivering “Outside the Rain,” which echoes toughness, sinew, and determination.

On the follow-up single, “Leather and Lace,” Nicks turns to another famous luminary in the form of Eagles vocalist-drummer and former romantic interest, Don Henley. Filled with disparate images, the acoustic-based ballad climbed to No. 6 and remains notable for its lack of embellishment. Reflective, conversational, and pure, the song blooms with heartfelt emotion and honesty. When Nicks sings, “I am stronger than you know,” it doubles as the mantra for Bella Donna.

Indeed, Nicks’ gritty and glam-kissed vocals on this set rank among the finest performances of her career. She invests in every word, summons her trademark rasp on cue, and explores a wide range with seeming effortlessness. Nicks weaves magical spells and haunting breathiness amid ghostly webs of notes on “Kind of Woman”; conveys heavy caution, contemplation, and consequence on the slow-building title track; and throws herself with abandon into “After the Glitter Fades,” a Top 40 lamentation framed by piano motifs, pedal-steel fills, and country accents.

As for the record’s signature moment, the contagious favorite Rolling Stone ranks the 217th Greatest Song of All Time? Nicks finds rare air on “Edge of Seventeen,” its helicopter-chop riffs and chugging rhythms corresponding with her ascending and descending vocal flights, call-and-response harmonies, and throaty timbre. The definition of cool, she remains poised throughout, probing grief in an inimitable fashion that sounds more pertinent now than four decades ago.

Long may that white dove soar.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior

Mobile Fidelity Sound Lab’s UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called “converts”) are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

Why Isn’t This UD1S Pressed on MoFi SuperVinyl?

Bella Donna is among the Mobile Fidelity Sound Lab UltraDisc One-Step sets released since the advent of MoFi SuperVinyl that is pressed on 180g black vinyl rather than MoFi SuperVinyl. Why? Quite simply, it sounds better on 180g black vinyl. After closely auditioning Bella Donna on several different vinyl profiles — a time-consuming and expensive endeavor no other label pursues — MoFi’s expert engineers determined the music on this 1981 album translates with superior definition, clarity, presence, dynamics, and balance on this format. The opening of MoFi’s sister plant, Fidelity Record Pressing — and its peerless ability to press dead-quiet 180g black vinyl — means the label’s engineers now have more options when it comes to high-quality vinyl. All of which benefits the original artists and their intent, and you, the listener.

Side One:

1. Bella Donna
2. Kind of Woman

Side Two:

1. Stop Draggin’ My Heart Around
2. Think About It
3. After the Glitter Fades

Side Three:

1. Edge of Seventeen
2. How Still My Love

Side Four:

1. Leather and Lace
2. Outside the Rain
3. The Highwayman

Stevie Nicks Bella Donna
(Hybrid SACD) $34.99

Pre-Order
Availbility TBA

Experience the Record’s Spontaneous Feel, Raw Emotions, and Organic Arrangements in Transparent Sound on Mobile Fidelity’s Numbered-Edition Hybrid SACD

Sourced from the original analog master tapes and housed in mini-LP-style gatefold packaging, Mobile Fidelity's numbered-edition hybrid SACD

"Fleetwood Mac The album that turned the band into superstars

‘Fleetwood Mac’ at 50: A Marvel of Serendipity and Perfectionism

The album that turned the band into superstars is getting an anniversary rerelease that shows why it still gleams.

By Jon Pareles
New York Times

With its 10th album, Fleetwood Mac was making yet another new start in a meandering career. But its 1975 LP, “Fleetwood Mac,” would catapult the band from midlevel FM airplay and modest sales to hit singles, platinum certifications and decades of arena tours. The album gets the 50th-anniversary treatment on Friday, rereleased on deluxe vinyl and with spatial audio Atmos and surround sound remixes on Blu-ray. After half a century, the music still gleams.

“Fleetwood Mac” was made by a British band — Mick Fleetwood on drums, John McVie on bass and his then-wife, Christine McVie, on keyboards, vocals and songwriting — that had relocated to Los Angeles. When its guitarist and frontman left, Fleetwood happened to hear the duo of Stevie Nicks and Lindsey Buckingham. It was serendipitous; it was transformative.

“The way our band works when we write is that we try to stumble towards each other, then work it all out,” Fleetwood wrote in his autobiography, “Play On: Now, Then and Fleetwood Mac.” The newly reconfigured band, with its members still getting to know one another, did more than stumble; it found synergy.

“Fleetwood Mac” is one analog-era album that still sounds current, mainly thanks to the sheer perfectionism that the band and its co-producer, Keith Olsen, brought to every layer of instruments and vocals, long before quantization, digital editing or Auto-Tune. The tempos may fluctuate a little, and the vocals are (rightly) human and not superhuman. But all the tracks still feel flawless.

For decade upon decade, “Fleetwood Mac” and its turbulent, torturously recorded, blockbuster 1977 successor, “Rumours,” have been endlessly imitated. They showed generations of bands and producers how to blend voices and to make guitars sparkle or bite with fastidiously shaped tones. Current country studio production often harks back to Fleetwood Mac for steadfast drumming and a punctilious mix of acoustic and electric guitars. Indie-flavored rockers like Haim and boygenius are clearly disciples.

In 1975, Fleetwood Mac was no one’s winning pop formula. What were journeyman English musicians doing with American strivers whose 1973 debut album, “Buckingham Nicks,” had flopped? (That LP will be rereleased September 19th.)

During a career that had already been messy enough to break up any less tenacious band — with booze, drugs, cults, mismanagement, lawsuits and infidelity — Fleetwood Mac had evolved from British blues-rock stalwarts into an Anglo-American pop-rock band. The California-born guitarist and songwriter Bob Welch was a frontman from 1970 to 1974. Furthering their Americanization, Fleetwood and the McVies moved to Los Angeles in 1974. When Welch suddenly decided to leave the band, Fleetwood realized he had already heard a successor.

Olsen, the engineer and producer for “Buckingham Nicks,” had played the album for Fleetwood to show what his studio, Sound City, could do. Fleetwood immediately recognized the impressive guitar work on the album’s finale, “Frozen Love.” He wasn’t sure about adding a second female singer and songwriter to a band that already had Christine McVie, but Buckingham and Nicks were, again luckily, a package deal.

Nicks was working as a waitress at a flapper-themed restaurant, and she was still in costume when she and Buckingham met Fleetwood and the McVies at a Mexican restaurant to discuss joining forces. Over margaritas, both camps said yes. Buckingham and Nicks also brought strong new songs that they had been performing live: “Monday Morning” and “Rhiannon.”

No A&R person, bean counter or algorithm could have ordered up the 1975 Fleetwood Mac. It wasn’t just the band’s particular blend of British restraint and American exuberance; it was also a marvel of interlocking musicianship. The new band had a rhythm section that never showed off. Instead, it supported a front line that could be a lone voice or a gorgeous tangle of guitars and harmonies.

On “Fleetwood Mac,” the drum parts are always solidly in place yet rarely call attention to themselves. Fleetwood leans into the muscle of tom-toms rather than the flashiness of snare and cymbals. John McVie’s bass lines stay unobtrusively on the roots of the chords, only occasionally hopping upward to keep things interesting. That rhythm-section reticence leaves ample room for guitars, keyboards and voices: Christine McVie’s understated serenity, Nicks’s scratchy urgency, Buckingham’s nervy eagerness. Somehow, those disparate voices converge.

The songs on “Fleetwood Mac” carom through contradictory feelings and subtle musical feats. Songs by Buckingham bookend the album, bragging and complaining about wanderlust — his own and his lover’s — in “Monday Morning” and sinking into paranoia and despair (with massed guitars to rival Queen) in “I’m So Afraid.” Christine McVie basks in afterglow amid melting guitar lines in “Warm Ways,” then worries over a mercurial but irresistible partner in the determinedly chipper “Over My Head” and “Say You Love Me.”

Nicks conjures a crescendo of witchcraft over gnarled guitars in “Rhiannon,” then ponders aging — she was 27 — in “Landslide.” And Buckingham and Christine McVie trade and share troubled verses over a skein of perpetual-motion guitar picking in “World Turning,” which also glances back at “The World Keep on Turning” from the band’s 1968 debut album. It’s a predigital Easter egg, quietly insisting on Fleetwood Mac’s continuity.

“Fleetwood Mac,” like most albums of the analog era, came from one concentrated stretch of work by a handful of people, an effort of songwriting and arranging and producing that was a combination of honeymoon and marathon. (Fleetwood’s autobiography notes that cocaine fueled long studio hours.) Voices, fingers, minds and hearts all aligned somehow.

The unity didn’t last. Fleetwood Mac’s upheavals have continued for another 50 contentious years, sometimes with superb musical results. The moment captured on “Fleetwood Mac” was more precarious than it seemed. But in all its dexterity, confidence and grace, there’s no denying what’s on those master tapes.

Rhino.com

Fleetwood Mac Returns to No. 1

Fleetwood Mac Charts A No. 1 Single In America — In The Year 2025

Forbes

“Dreams” has remained one of Fleetwood Mac’s biggest hits ever since it was first released in the spring of 1977. The tune arrived just before the group’s iconic album Rumours, which followed about a month later.

Both “Dreams” and Rumours hit No. 1 on their respective charts, and in the decades since, they’ve remained hugely successful commercially. This week is especially notable for “Dreams,” as the nearly half-century-old cut rises across every major ranking.

Fleetwood Mac Returns to No. 1

Fleetwood Mac is once again in control of the Rock Streaming Songs chart, Billboard’s ranking of the most successful individual rock tracks on platforms like Spotify, Apple Music, and iHeartRadio in the U.S. “Dreams” steps up from No. 2 to No. 1, replacing “Back to Friends” by newcomer Sombr.

A Resurgence That Started in 2020

“Dreams” first conquered the Rock Streaming Songs chart almost half a decade ago. The track debuted on the list in February 2020 and climbed to the summit in October of that year. Including that period, “Dreams” has now led the tally for nine nonconsecutive stretches.

Over the past five-plus years, “Dreams” has spent 287 weeks somewhere on the Rock Streaming Songs ranking. That easily makes it the band’s longest-running win. In fact, its tenure outpaces both “The Chain” and “Landslide,” which have collectively managed just 91 frames on the same list.

A Strong Performance Across Multiple Rankings

Fleetwood Mac sees “Dreams” climb on all four Billboard tallies where it currently appears in the U.S. It’s even performing well enough to rise on the all-genre Streaming Songs chart, where it jumps from No. 38 to No. 29. The smash becomes a top 40 hit again on the Billboard Global 200 again, narrowly jumping into that region as it lands at No. 40. At the same time, it pushes to No. 106 on the Billboard Global Excl. U.S.

Fleetwood Mac is lucky to have one track that’s still popular enough after decades to appear on the Rock Streaming Songs ranking, which is a relatively uncommon feat for any legacy act – but that’s not the end of the story. The group also claims a second spot on the same list, as “The Chain” dips from No. 17 to No. 23.

Billboard Charts for the week August 2, 2025

Billboard Albums Charts:

Billboard 200

• Rumours — No. 19 (21)
• Greatest Hits — No. 102 (95)

Catalog Albums

• Rumours — No. 2 (1)
• Greatest Hits — No. 36 (38)

Top Rock & Alternative Albums

• Rumours — No. 2 (2)
• Greatest Hits — No. 25 (25)

Top Rock Albums

• Rumours — No. 2 (1)
• Greatest Hits — No. 21 (20)

Top Streaming Albums

• Rumours — No. 20 (20)

Top Album Sales

• Rumours — No. 27 (22)

Vinyl Albums

• Rumours — No. 11 (12)

Indie Store Album Sales

• Rumours — No. 21 (15)

Billboard Canadian Albums

• Rumours — No. 16 (13)
• Greatest Hits — No. 82 (75)

Billboard Songs Charts:

Billboard Global 200

• Dreams — No. 40 (54)
• The Chain — No. 157 (172)

Billboard Global Excl. US

• Dreams — No. 106 (113)

Streaming Songs (US) all genres

• Dreams — No. 29 (38)

Rock Streaming Songs (US)

• Dreams — No. 1 (2)
• The Chain — No. 23 (17)

Australia Songs

• Dreams — No. 20 (21)

Ireland Songs

• Dreams — No. 24 (22)

New Zealand Songs

• Dreams — No. 15 (13)

Fleetwood Mac’s Back On The Rise

Fleetwood Mac’s 1977 album, Rumours, surges due to streaming en-couraged by TikTok and July 4 (when classic rock typically performs well). On the former, creators TerryAndKani-yia posted a video on July 1 reacting to “The Chain,” which netted 29 million global views on TikTok through July 13. On the Billboard 200,Rumours rises 24-14. The set scores its best streaming week — 26.6 million on-demand official streams for its songs July 4-10 — since the Oct. 24, 2020 -dated charts, when the tracks tallied 30.6 million, spurred by a viral clip of user Nathan Apodaca skateboarding to the set’s “Dreams.”

Watch the reaction video here

Fleetwood Mac’s ‘Rumours’ Rocks To A New Chart Peak

July 20, 2025
Forbes

No matter how many greatest hits compilations or box sets Fleetwood Mac releases, Rumours will always be the focus for millions of listeners around the world. It remains one of the most successful albums of all time, and it’s still very much alive on the charts.

The full-length sounds almost like a singles compilation, as many of the group's most famous tunes are featured on its tracklist. Decades after its release, Rumours remains a bestseller and powerful streamer in the United States, and plays on platforms like Spotify, Apple Music, Deezer, and others help the Grammy-winning set soar higher than ever this week.

Rumours jumps on the Top Streaming Albums chart this week, rocketing from No. 31 to No. 17 on Billboard's ranking of the most successful projects on major streaming platforms. That position marks a new peak for the full-length and for the band, as Rumours is, so far, the only release by Fleetwood Mac to reach the Top Streaming Albums chart. That means every time it lifts to a never-before-seen position, the group raises the bar again.

Fleetwood Mac’s Rumours Vs. Greatest Hits

Rumours first reached the Top Streaming Albums chart in October 2023, many decades after it was originally released. Billboard didn’t introduce the tally until several years ago, and so far, Fleetwood Mac’s classic has now spent 41 frames somewhere on the ranking.

Somewhat surprisingly, the group’s Greatest Hits has never reached the Top Streaming Albums list, as American fans apparently prefer to press play on the original album itself.

Two Fleetwood Mac Songs Help Power Rumours

Two Fleetwood Mac singles appear on Billboard's streaming rankings, and an increase in plays of those cuts may have played a major role in sending Rumours higher on the Top Streaming Albums tally.

"Dreams" climbs to No. 22 on the Streaming Songs chart, lifting from No. 31. At the same time, it holds in the runner-up spot on the Rock Streaming Songs list.

Fleetwood Mac doubles up on the ranking of the most-streamed rock tracks in America as "The Chain" reenters that tally at No. 17.

Rumours Is a Hit on Multiple Billboard Charts

Rumours lives on half a dozen Billboard charts this week, climbing on all of them — though it only reaches a new peak on the Top Streaming Albums tally. The bestselling set sits inside the top 10 on half of those rosters and occupies space within the top 20 on the other three.

Billboard Charts for the week July 19, 2025

Billboard Albums Charts:

Billboard Top 200

• Rumours — No. 14 (24)
• Greatest Hits — No. 95 (127)

Catalog Albums

• Rumours — No. 2 (1)
• Greatest Hits — No. 39 (Re-entry)

Top Rock & Alternative Albums

• Rumours — No. 1 (4)
• Greatest Hits — No. 23 (28)

Top Rock Albums

• Rumours — No. 1 (2)
• Greatest Hits — No. 18 (23)

Top Streaming Albums

• Rumours — No. 17 (31)

Top Album Sales

• Rumours — No. 15 (26)

Vinyl Albums

• Rumours — No. 5 (13)

Indie Store Album Sales

• Rumours — No. 14 (19)

Billboard Canadian Albums

• Rumours — No. 12 (18)
• Greatest Hits — No. 85 (Re-entry)

Billboard Songs Charts:

Billboard Global 200

Global 200 is the week's most popular songs based on streaming and sales activity from over 200 territories around the world (including the US)

• Dreams — No. 44 (71)
• The Chain — No. 141 (Re-entry)

Billboard Global Excl. US

Global 200 is the week's most popular songs based on streaming and sales activity from over 200 territories around the world (Excluding the US)

• Dreams — No. 115 (173)

Streaming Songs (US) all genres

• Dreams — No. 22 (31)

Rock Streaming Songs (US)

• Dreams — No. 2 (2)
• The Chain — No. 17 (Re-entry)

Rock Digital Song Sales

• Dreams — No. 9 (3)

Australia Songs

• Dreams — No. 18 (Re-entry)

New Zealand Songs

• Dreams — No. 10 (12)