NEW Buckingham Nicks Single "Frozen Love" Released PLUS Merchandise

 New Buckingham Nicks Merchandise Announced 

PLUS "Frozen Love" released digitally 

STREAM "FROZEN LOVE"

BUCKINGHAM NICKS 

LIMITED EDITION PRINT

$75.00

LIMITED EDITION - ONLY 500 AVAILABLE

Hand Numbered printed on high quality sundance felt stock.

18x24 paper, with 1" bleed for easy framing.

Pre-Order at Rhino.com

BUCKINGHAM NICKS T-SHIRT

$35.00

Black, unisex t-shirt with Buckingham Nicks album artwork on the front.

Pre-order at Rhino.com

Fleetwood Mac The Legends of Yacht Rock

 

With Stevie Nicks and Lindsey Buckingham on board, Fleetwood Mac's self-titled 1975 album was the first record by what became the band's most beloved and successful line-up-and the moment where the planets aligned for them.

Classic Rock Platinum Series

From the makers of Classic Rock

The Legends of Yacht Rock

Order a copy online

The Legends of Rock is a 132 page Special Edition.

Three big sections dedicated to Fleetwood Mac 24 pages over all plus the cover.

Fleetwood Mac’s Bare Trees Returns in Audiophile Glory

Fleetwood Mac’s 1972 classic Bare Trees is set for a deluxe comeback this fall, with a new 180-gram LP pressing arriving October 17, 2025, as part of Rhino’s Rhino Reserve series. This premium reissue highlights the final Fleetwood Mac album to feature guitarist Danny Kirwan, showcasing timeless tracks like “Sentimental Lady” and the atmospheric “Sunny Side of Heaven.”

Track list:

01 Child of Mine

02 The Ghost

03 Homeward Bound

04 Sunny Side of Heaven

01 Bare Trees

02 Sentimental Lady

03 Danny's Chant

04 Spare Me a Little of Your Love

05 Dust

06 Thoughts on a Grey Day

What is Rhino Reserve?
Launched by Rhino Records, the Rhino Reserve line focuses on high-fidelity vinyl editions of legendary albums. Each title is pressed on heavyweight vinyl with audiophile care, packaged to preserve the original character while delivering superior sound. The Bare Trees reissue also ties into Rhino’s annual Rocktober campaign—a month-long celebration spotlighting essential rock classics in collectible vinyl form.

Look for this title on October 17th at your local record store or check a local record store online as many offer pre-sales

Fleetwood Mac’s Tusk Returns on Exclusive Cobalt Blue Vinyl

Fleetwood Mac’s daring 1979 double album Tusk is making a bold return on October 10, 2025, with an exclusive translucent cobalt blue 2LP edition, released as part of Rhino Records’ Rocktober series.

A true statement of artistic freedom, Tusk shattered expectations following the success of Rumours. Driven by Lindsey Buckingham’s restless creativity, the album weaves together pop, rock, new wave textures, and even disco flourishes, redefining what a Fleetwood Mac record could sound like. Stevie Nicks delivers some of her most memorable performances, from the sweeping balladry of “Sara” to the hypnotic pulse of the title track, underscoring the band’s fearless evolution.

Look for this title at your local record store on October 10th or look for a local retailer online to pre-order.

Fleetwood Mac’s Rumours is charting with the vigor of a streaming-era blockbuster

Fleetwood Mac’s Chart Resurgence: “Rumours” Rules, “Greatest Hits” Climbs, and the 1975 Breakthrough Returns in Style

Billboard Charts for the week ending August 30, 2025

Rumours: Still Rock’s Benchmark

If Fleetwood Mac’s Rumours were a living artist, it would be in its late forties, basking in legacy status. Instead, the album is charting with the vigor of a streaming-era blockbuster.

• Billboard 200: Rumours dipped to No. 21 (Aug. 23) before climbing back to No. 17 (Aug. 30), keeping it locked inside the Top 20.
• Top Rock Albums: After briefly slipping to No. 4, it rebounded to No. 1 — proof that vinyl and streaming are fueling steady interest.
• Top Vinyl Albums: up to No. 9 from No. 12, showing just how much collectors are driving momentum.
• Indie Store Album Sales: Re-entered at No. 24, highlighting the loyalty of record-store buyers.

Across formats — streaming (No. 20), pure sales (No. 25), and catalogue consumption — Rumours is balancing like a trapeze artist: perfectly steady, slightly adjusting, but never falling.

Greatest Hits: The Quiet Comeback

Greatest Hits was nearly gone two weeks ago (No. 174 on Aug. 23), but stormed back to No. 100 on the Billboard 200 and rose sharply on the rock charts (No. 45 → No. 21 Alt Rock; No. 22 → No. 18 Rock Albums). This is a classic case of catalogue osmosis: Rumours’ continued dominance pulls casual fans to the hits package, where “Everywhere” and “Little Lies” get rediscovered anew.

It also re-entered Canada’s Top 100 at No. 80, a quiet reminder that Fleetwood Mac’s appeal north of the border has never faded.

The 1975 Self-Titled Album: A Reissue with Bite

The most intriguing development of the last two weeks is the return of Fleetwood Mac’s 1975 self-titled album.

Reissued by Rhino Records in a limited-edition High Fidelity vinyl package, the record roared back to the charts:

• Billboard 200: No. 90 re-entry (Aug. 23).
• Top Album Sales: No. 16 — remarkably strong for a 50-year-old release.
• Top Vinyl Albums: No. 8 — outselling many contemporary LPs.
• Top Rock Albums: No. 20.
• Rock & Alternative Albums: No. 24.

This isn’t just a nostalgic bump. The 1975 album marked the debut of Stevie Nicks and Lindsey Buckingham, transforming Fleetwood Mac from a respected blues-rock outfit into a pop-rock juggernaut. Its re-emergence connects fans back to the genesis of the Rumours era, a reminder of just how seismic that lineup change was. Rhino’s prestige packaging isn’t just a marketing flourish — it’s recontextualizing this pivotal moment in the band’s history, and fans are responding.

Singles: “Dreams” and “The Chain” Keep the Spark Alive

On the singles side, Dreams continues its improbable streaming life:

• Global 200: No. 43 → 52 across two weeks.
• U.S. Streaming Songs: stable at No. 26–27.

Meanwhile, The Chain hovers on the Global 200 around No. 151 — a reminder that no other band has a bass break that doubles as a cultural shorthand.

The Takeaway

The past two weeks on the Billboard charts tell a layered story:

• Rumours remains a multi-format titan, untouchable on the rock charts and buoyed by vinyl culture.
• Greatest Hits is quietly climbing as the catalogue effect ripples outward.
• Most significantly, the 1975 Fleetwood Mac album — reintroduced in Rhino’s High Fidelity reissue — is not only charting, but competing in sales and vinyl categories at a level that most legacy acts could only dream of.

Nearly fifty years after it changed their fate, that album is reminding the industry that Fleetwood Mac didn’t just strike lightning once — they built a storm system that still dominates the skies in 2025.

Billboard charts for the week ending Aug 30th vs the week ending Aug 23.

Billboard Charts	Last Week	This Week	▲ or ▼
	August 23	August 30	Change
Billboard 200 - Rumours	21	17	▲ 4
Billboard 200 - Fleetwood Mac (1975)	90
Billboard 200 - Greatest Hits	174	100	▲ 74
Top Album Sales - Rumours	20	25	▼ 5
Top Album Sales - Fleetwood Mac (1975)	16
Top Streaming Albums - Rumours	22	20	▲ 2
Top Vinyl Albums - Rumours	12	9	▲ 3
Top Vinyl Albums - Fleetwood Mac (1975)	8
Top Indie Store Album Sales - Rumours	22	24	▼ 2
Top Rock & Alt Albums - Rumours	4	2	▲ 2
Top Rock & Alt Albums -Fleetwood Mac (1975)	24
Top Rock & Alt Albums - Greatest Hits	45	21	▲ 24
Top Rock Albums - Rumours	4	1	▲ 3
Top Rock Albums - Fleetwood Mac (1975)	20
Top Rock Albums - Greatest Hits	18	18	—
Top Canadian Albums - Rumours	16	14	▲ 2
Top Canadian Albums - Greatest Hits		80	Re-entry
Billboard Global 200 - Dreams	43	52	▼ 9
Billboard Global 200 - The Chain	158	151	▲ 7
Global 200 (Excl US) - Dreams	113	126	▼ 13
Streaming Songs (All-Genre) - Dreams	26	27	▼ 1

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.”