Rhino Reserve Fleetwood Mac's Tango in The Night August 29 Release date

Coming August 29, 2025: Available at Rhino.com and at select retail.  

You can pre-order now at Elusive Disc

• Part of Audiophile Vinyl Series Rhino Reserve! 
• Lacquers Cut from Analog Tapes (for the first time) by Matthew Lutthans at The Mastering Lab! 
• Pressed on 180g Premium-Quality Vinyl at Fidelity Record Pressing!

Label: Rhino

Size: 12"

Format: 33RPM

This 3x Platinum-certified 1987 studio album features the classic lineup of Stevie Nicks, Christine McVie, Lindsey Buckingham, John McVie, and Mick Fleetwood. This is their most sonically advanced album featuring stellar production work by Lindsey Buckingham and longtime associate Richard Dashut. Pressed locally on 180-gram premium-quality vinyl at Fidelity Record Pressing's brand-new plant in Oxnard, California as part of Rhino's Rhino Reserve line.

Features

• Rhino Reserve Audiophile Series
• 180g Premium-Quality Vinyl
• Vinyl LP
• Lacquers Cut from Original Analog Masters by Matthew Lutthans at The Mastering Lab
• Pressed in Oxnard, California at Fidelity Record Pressing

Tracklisting

Side 1:

1. Big Love
2. Seven Wonders
3. Everywhere
4. Caroline
5. Tango in the Night
6. Mystified

Side 2:

1. Little Lies
2. Family Man
3. Welcome to the Room...Sara
4. Isn't It Midnight
5. When I See You Again
6. You and I, Pt. II

In December 2024, Rhino Entertainment launched Rhino Reserve, a premium vinyl series designed for audiophiles and collectors alike. This new line offers legendary albums reissued on 180-gram black vinyl, with a focus on exceptional sound quality and faithful packaging.

Pressed at the state-of-the-art Fidelity Record Pressing plant in Oxnard, California, Rhino Reserve titles promise top-tier audio fidelity. Titles will be cut by acclaimed mastering engineer Matthew Lutthans at The Mastering Lab.

True to Rhino’s reputation for quality, each Rhino Reserve release is housed in heavyweight board jackets with original-style packaging. Additional touches include Rhino Reserve-branded labels and a custom Fidelity-branded poly sleeve to ensure both durability and aesthetic appeal.

Priced at $31.98, these meticulously crafted reissues are available at Rhino.com and select retail locations. For vinyl enthusiasts seeking a high-fidelity listening experience without compromising the spirit of the original album, Rhino Reserve sets a new benchmark.

The Difference between Rhino Reserve and Rhino High Fidelity

Rhino Reserves and Rhino High Fidelity are both audiophile-grade vinyl reissue series from Rhino Entertainment, but they differ in their focus and pricing. Rhino Reserves emphasizes preserving the original album's packaging and sound, using original analog tapes and period-correct artwork, while Rhino High Fidelity focuses on delivering a high-fidelity listening experience, potentially with some modern adjustments to the sound, and often with unique features like tip-on jackets and custom OBI strips. 

Rhino Reserves:

• Focus: Authenticity of the original release.
• Packaging: Emphasizes replicating the original album's jacket, potentially including heavy board jackets.
• Source Material: Cut from original analog tapes.
• Price: Priced lower than the Rhino High Fidelity series.
• Example: The series might include a reissue of an album that closely mirrors the original pressing, including its sonic characteristics. 
  

Rhino High Fidelity:

• Focus:
  Delivering a high-fidelity listening experience, potentially optimizing sound for modern equipment. 
• Packaging:
  May include high-gloss, heavy-weight gatefold "tip-on" jackets and custom OBI strips. 
• Source Material:
  Typically cut from original analog tapes as well, but potentially with adjustments made during the mastering process to enhance clarity and detail. 
• Example:
  A reissue might feature a more dynamic and detailed sound than the original, with a modern mastering approach that emphasizes clarity and impact. 
• Features:
  May include exclusive content like new interviews, essays, and notes. 
  

In essence, Rhino Reserves aims to be a purist's choice, preserving the original experience as closely as possible, while Rhino High Fidelity aims to offer a premium listening experience, potentially with some adjustments to the original sound. 

“This is High Fidelity without the bells and whistles,” says Rhino senior director of A&R Patrick Milligan. “But these are in retail,” unlike the Rhino High Fidelity releases, which are only sold online. Milligan says the series will be sourced from analog masters, with the same attention to detail as the High Fidelity Series, and that the records will be pressed at Fidelity Records Pressing, the new plant owned by company behind Mobile Fidelity reissues. (The High Fidelity series is pressed at Optimal, in Germany.) They will be cut by mastering engineer Matthew Lutthans.

Check out this interesting youtube video with Steve Westman, Patrick Milligan, Matthew Lutthans 

They talk about the 1975 Hi Fidelity Fleetwood Mac release and the Tango in The Night Rhino Reserve release - which Matt states that after he was sent the reels and analyzing them these masters were never used before. So this vinyl version is cut from the half inch 30 IPS original mixdown master that's never been done before.

Buckingham Nicks CD, Digital and Vinyl Variants Available Sept 19

Buckingham Nicks, the only studio album by Lindsey Buckingham and Stevie Nicks as a duo, will be reissued for the first time on September 19th.

Originally released in 1973 and unavailable for decades, the album has been sourced from the original analog master tapes for its CD and release.

Released on September 5, 1973, recorded at Sound City Studios in Los Angeles and produced by Keith Olsen, the album introduced Nicks and Buckingham’s tightly wound harmonies and sharply contrasting songwriting voices across 10 tracks—ranging from the folk-rock shimmer of “Crystal” to the sunbaked strut of “Don’t Let Me Down Again.”

In late 1974, Mick Fleetwood visited Sound City while scouting studios to record Fleetwood Mac’s next album. To showcase both his production work and the studio’s sound, Olsen blasted “Frozen Love” for Fleetwood in Studio A. The song reflected the full scope of the album’s ambition and chemistry—and immediately caught the drummer’s attention.Soon after, when Fleetwood Mac guitarist Bob Welch left the band, Fleetwood reached out to offer Buckingham the spot. Instead of agreeing, Buckingham insisted that he and Nicks were a package deal. Fleetwood agreed, and on New Year’s Eve 1974, the two officially joined Fleetwood Mac—launching one of the most celebrated chapters in the band’s history.

Buckingham Nicks will be available on CD and digitally remastered by Chris Bellman, who also cut lacquers for several 1LP vinyl variants: 

Buckingham Nicks (Rhino High Fidelity) was cut by Kevin Gray from the original masters and pressed on 180-gram vinyl.

CD Pre-order available on Amazon.UK

Baby Blue Vinyl Version

Amazon Exclusive Custard Version

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

 

Fleetwood Mac’s ‘Rumours’ Reclaims the Throne: 48 Years Later, It’s Still Breaking Hearts and Breaking Charts

“You can go your own way,” they said. Instead, the world is going right back to Rumours again.


There are chart comebacks... and then there’s whatever Fleetwood Mac’s Rumours is doing in 2025.

Nearly five decades after its original release, Rumours isn’t just making a quiet return to the charts it’s dominating them. This week, the 1977 pop-rock masterpiece has soared to No. 14 on the Billboard 200, up a full ten spots from last week’s already-impressive position at No. 24.

And that’s just the beginning.

Vinyl Spins, Digital Streams, and Pure Nostalgia Power

Let’s be clear: Rumours isn’t just coasting on dusty vinyl sales and Gen X sentimentality (though there’s plenty of that too). This week, the album also makes serious noise across every major Billboard format:

Top 50 Album Sales:
No. 15 (up from No. 26)

Top 50 Streaming Albums:
No. 17 (up from No. 31)

Top 25 Vinyl Albums:
No. 5 (up from No. 13)

That vinyl surge? Not a fluke. It’s the clearest sign yet that younger listeners aren’t just discovering Fleetwood Mac they’re collecting them, needle and all. If TikTok was their gateway drug, wax is their endgame.

Rock Charts Crown the King (and Queen and Queen and Kings)

Where Rumours really plants its flag this week is on the Rock charts, and make no mistake: the crown fits.

Top 50 Rock & Alternative Albums:
No. 1 (up from No. 4)

Top 25 Rock Albums:
No. 1 (up from No. 2)

That’s right Rumours is currently the No. 1 rock album in America, in 2025. Take a moment.

Meanwhile, the ever-dependable Greatest Hits also makes waves, climbing to No. 23 on Rock & Alternative and No. 18 on the Rock Albums chart. It even rockets back into the Billboard 200 at No. 95, up from No. 127. That’s a 32-position jump for a compilation album that first charted when CDs were a novelty.

The Songs That Keep Coming Back for More

And it’s not just the albums making noise Fleetwood Mac's individual tracks are finding new life in the digital era too.

“Dreams” the ever-mystical, endlessly memed anthem is sitting at No. 22 on the Top 50 Streaming Songs chart, up from No. 31. Just five years ago, a guy on a skateboard drinking cranberry juice reignited this track’s global relevance. Apparently, the world hasn’t stopped sipping.

Then there’s “The Chain,” perhaps the most dramatic breakup song ever built around a bass solo. It re-enters the Rock Digital Song Sales Chart at No. 9 a reminder that when it comes to tension, harmony, and pure musical drama, few bands ever did it better.

Canada Loves the Classics Too

North of the border, Rumours also makes a major move on the Canada Top 100 Albums Chart, jumping to No. 12 from No. 18. And Greatest Hits isn’t far behind, re-entering the chart at No. 85 because apparently, even Canada can’t quit Fleetwood Mac (and who would want to?).

Why Now? Why Again? Why Always?

Why is Rumours charting like Taylor Swift’s Midnights in 2025?

Because heartbreak doesn’t go out of style. Because harmony literal and emotional hits deeper when it’s real. Because we’re still collectively fascinated by how five people in a band could break up, get back together, write songs about each other, and perform those songs night after night with frightening precision and a lot of velvet.

And most importantly: because Rumours is just that good.

From the aching vulnerability of “Never Going Back Again” to the spiky spite of “Go Your Own Way” to the hypnotic pull of “The Chain,” this isn’t just music it’s mythology, pressed to tape.

The Takeaway: Legends Never Age They Chart

This isn’t a blip. It’s a sustained, multi-format takeover. While other legacy acts may land on a chart once every few years due to a sync or a tribute, Fleetwood Mac is showing everyone how it’s really done.

No tour. No new music. No drama at least, not lately (sort of). Just one of the greatest albums ever made, reminding us it still matters.

In 1977, Rumours captured a moment. In 2025, it’s become a movement.

Fleetwood Mac didn’t just write the book on emotional rock.

They're still signing autographs on the cover.

Fleetwood Mac Dominate UK Charts with Two Top 20 Albums and a Timeless Trio of Singles

From stadium anthems to vinyl bins, Fleetwood Mac continue to own the moment again.

If America’s gone full Rumours-mania (see this weeks US Charts), then the UK is deep in a full-blown Mac attack of its own.

Fleetwood Mac just pulled off the rarest of feats in the British music scene: two albums in the Top 20, three classic singles charting simultaneously, and a resurgence across every measurable metric from vinyl to downloads to digital streams. And they’ve done it not with a flashy tour or a viral scandal, but by simply being well Fleetwood Mac.

Let’s unpack the full scope of their chart conquest.

Albums: A Legacy in Double Vision

On the UK Top 100 Albums Chart, Fleetwood Mac currently have two albums in the Top 20:

No. 9 – 50 Years – Don’t Stop (down from No. 6, with a healthy 8,223 copies sold)
No. 17 – Rumours (slipping slightly from No. 14)

That means half a century after forming and nearly five decades after their landmark album, the band is still doing what most contemporary artists can only dream of out-charting acts a third their age.

And that’s just the surface.

Singles: Dreams Never Die They Just Rechart

On the UK Top 100 Singles Chart, three Mac staples are once again proving that timeless songwriting always finds new ears:

No. 51 – “Dreams” (up from No. 58)
No. 79 – “Everywhere” (holding near steady from No. 78)
No. 86 – “The Chain” (sliding from No. 76, but still clinging on with grit)

In the age of shuffle playlists and short attention spans, these tracks have become comfort food for the ears proof that Stevie Nicks whispering “Now here you go again” never really gets old.

Streaming: Holding Strong Where It Matters

The digital front tells a similar story.

UK Top 100 Streaming Chart:
No. 41 – “Dreams”
No. 69 – “Everywhere”
No. 73 – “The Chain”

And on the UK Streaming Albums Chart:
No. 6 – 50 Years – Don’t Stop (unchanged)
No. 18 – Rumours (down slightly from No. 19)

It’s a simple equation: Gen Z discovers The Chain on a Netflix docuseries or TikTok edit. Gen Z listens once. Gen Z never stops listening. Repeat.

Vinyl and Physical Sales: The Old School Still Rules

In the world of wax, Rumours continues its victory lap:

UK Vinyl Albums Chart:
No. 20 – Rumours (down from No. 13)

UK Albums Sales Chart:
No. 33 – Rumours (down from No. 22)

UK Album Downloads Chart:
No. 40 – Rumours (down from No. 23)
No. 98 – Greatest Hits (a quiet re-entry, like a well-worn cassette unearthed from an attic)

Fleetwood Mac aren’t just being streamed they’re being bought. That means fans want something they can touch. Something they can frame. Something they can hand down.

Because this isn’t just music it’s heirloom listening.

Scotland, Ireland, and Australia: Still Riding the Mac Wave

Scotland has kept Rumours locked at No. 23 this week unchanged, unmoved, unbothered. A stiff upper-lip chart performance if ever there was one.

In Ireland, Fleetwood Mac are thriving:
No. 4 – 50 Years – Don’t Stop (down one from No. 5)
No. 13 – Rumours (up three from No. 16)

Meanwhile, Australia still has Rumours inside the Top 15:
No. 13 – Rumours (down slightly from No. 11)

From Dublin to Melbourne, it’s clear that Fleetwood Mac isn’t just a British-American export it’s a global emotional language.

Why It Still Works (And Always Will)

There are legacy acts, and then there’s Fleetwood Mac. This isn’t just a catalogue this is a cultural memory, preserved in melody. They don’t need box sets or deluxe editions to remind people of what they meant. The charts are doing that for them.

The lyrics still cut. The production still shines. And the stories infused in every harmony and hook still feel alive, even in a digital age.

This week’s UK and international charts prove one thing: Fleetwood Mac aren’t riding a wave of nostalgia. They are the wave.

Fleetwood Mac once told us, “Players only love you when they’re playing.”

Apparently, they were wrong because the whole world is still playing them.

Primary Wave Strikes Catalog Deal with Estate of Fleetwood Mac Founder Peter Green

Fleetwood Mac Founder Peter Green’s Catalog Acquired by Primary Wave

NEW YORK, NY (July 15, 2025) – Primary Wave Music, the leading independent publisher of iconic and legendary music in the world, have announced today their deal with the Estate of the legendary Peter Green. An English singer-songwriter and guitarist, Green was the founder and original lead of the critically acclaimed band Fleetwood Mac, originally called Peter Green’s Fleetwood Mac. Terms of the deal will see the dynamic publisher acquire the assets comprised in Green’s Rattlesnake music publishing catalog, and his interest in all compositions written by him, as well as certain recordings by the Grammy Lifetime Achievement Award recipient.

Born in 1946, Green began playing the guitar aged 10 and professionally by the early age of 18. In 1965, Peter would cross paths with Mick Fleetwood, but it wasn’t until two years later that he would form Fleetwood Mac. While best known for his guitar work, Green quickly became an acclaimed songwriter and either wrote or contributed to many of Fleetwood Mac’s successful songs, all included in this deal such as the hits “Albatross,” “Black Magic Woman,” and “Oh Well,” among others.

 

Released in 1968, “Albatross” is a guitar-based instrumental song off the band’s English Rose album. It’s said the song inspired not one, but two songs from the Beatles. The song saw success across several countries and to this day is the band’s only number 1 hit in the UK. While “Albatross” was considered a departure from the band’s regular repertoire, it received critical acclaim and has since been listed on a number of “best of” lists including Paste Magazine’s and The Guardian’s “30 Greatest Fleetwood Mac songs”.

“Black Magic Woman” also appeared on English Rose. While the song did well for Fleetwood Mac, it was Santana’s version of the song that really made it a hit. “Black Magic Woman” was the first single off Santana’s Abraxas album and would go on to reach the top 4 in the U.S. and Canada. The song became a staple for Santana and his version spent thirteen weeks on Billboard’s Hot 100 chart. Abraxas would top the album charts and would go on to sell more than four million copies thanks to the success of “Black Magic Woman.”

 

“Oh Well” was released in 1969 and appeared on Fleetwood Mac’s Then Play On album, as well as their Greatest Hits album that was released in 1971. The song was composed in two parts, Part 1 as an A Side and Part 2 as a B Side. Upon release, the band was unsure “Oh Well” would be successful, but the single would go on to chart in a number of territories, reaching number 2 in the UK and charting on the Billboard Hot 100 in the U.S., the band’s first single to do so.

Peter Green, born Peter Greenbaum, was a British blues rock singer-songwriter and guitarist. He is the founder of Fleetwood Mac and was inducted into the Rock and Roll Hall of Fame in 1998. Green’s writing credits include Fleetwood Mac songs such as “Albatross,” “Black Magic Woman,” “Oh Well,” “The Green Manalishi (With the Two Prong Crown),” and “Man of the World.” Rolling Stone ranked Green at number 58 in its list of the “100 Greatest Guitarists of All Time.”

Commenting on the deal, Primary Wave’s Robin Godfrey Cass said, “When I look at the definition of a musical genius, Peter Green ticks every box. As a musician, songwriter, and founder of Fleetwood Mac, he is an icon. It has been over 60 years ago since he began writing his body of legendary songs which are still in use every day. I am ecstatic that the estate has given Primary Wave the reins to continue his amazing legacy.”

Primary Wave

This partnership marks the latest Fleetwood Mac-related deal for Primary Wave.

In December 2020, the company acquired a majority stake in the publishing catalog of another (later) Fleetwood Mac member, Stevie Nicks. The Wall Street Journal reported at the time that Primary Wave bought an 80% interest in the copyrights, which its sources said were valued at approximately $100 million.