Fleetwood Mac’s Lindsey Buckingham & Stevie Nicks: 1973 Album Reissue Tops iTunes Charts Worldwide

Buckingham Nicks: A breakdown of the iTunes charts worldwide on day six of it’s re-release

When Lindsey Buckingham and Stevie Nicks’ elusive 1973 debut finally hit streaming, fans around the world rushed to rediscover it — and the iTunes Albums Charts tell the story.

In Norway, the record stormed straight to #1, while New Zealand crowned it at #2. The U.S., Netherlands, and Belgium all agreed on a #3 peak, underscoring the duo’s enduring pull across continents. The U.K. and Australia weren’t far behind at #4, and Canada locked it inside the Top 5 at #5.

In total, the album landed in the Top 10 in 11 countries, including the Philippines (#10), South Africa (#6), Austria (#10), and Ireland (#8). Across Europe, it held steady mid-chart in Germany (#11), Luxembourg (#12), Finland (#14), Denmark (#18), and Sweden (#19).

Even farther afield, the record resonated in Israel (#23), Switzerland (#28), Turkey (#45), Hong Kong (#68), and Mexico (#183), proving that the Buckingham Nicks legacy isn’t bound by borders.

The median global chart peak was #12, meaning half the territories placed it at or above that level, while the average peak was ~#29, dragged down by a few lower results. The spread between Norway’s #1 and Mexico’s #183 tells the tale of a record that was both a global rediscovery and a localized phenomenon.

For an album unavailable for decades, Buckingham Nicks’ sudden digital debut made a decisive global impact, cementing its place not just as a lost prelude to Fleetwood Mac, but as a chart-topping moment in its own right.


10 Chart Stats That Prove the Buckingham Nicks Reissue Is a Global iTunes Success

1. Top 5 Global Success

The album reached the Top 5 in at least 7 countries: Norway (#1), New Zealand (#2), United States (#3), Netherlands (#3), Belgium (#3), Australia (#4), and United Kingdom (#4)

2. Multiple #3 Peaks

It peaked at #3 in three major markets (US, Netherlands, Belgium) – showing consistent mid-top-tier performance across very different regions

3. Nordic Dominance

Scandinavia proved especially strong: Norway gave the album its highest global peak (#1), while Finland (#14), Denmark (#18), and Sweden (#19) all placed it within the Top 20

Every major English-speaking market charted it inside the Top 10:US (#3)

• UK (#4)
• Australia (#4)
• Canada (#5)
• New Zealand (#2)

This indicates strong resonance in its core target regions.

5. European Mid-Chart Presence

Beyond the Top 10, it reached Italy (#22), Switzerland (#28), Luxembourg (#12), Ireland (#8), Germany (#11), and Cyprus (#47). These middle-tier placements reflect moderate traction in non-English European markets

6. Wider Global Spread

The album still managed to chart in far-flung regions like Philippines (#10), South Africa (#6), Israel (#23), Turkey (#45), Hong Kong (#68), Mexico (#183), showing wide international interest

7. Lowest Notable Peak

Its weakest showing came in Mexico (#183) – over 180 chart spots lower than Norway’s #1 placement, a striking 182-position spread between best and worst

8. Average Chart Peak

Calculating across all 25 countries listed, the average peak position is ~29.5, which is skewed upward by the deep Mexico (#183) and France (#147) placements

9. Median Chart Position

The median chart peak is #12 (Luxembourg) – meaning half of the listed countries placed the album at #12 or better, underscoring a generally strong worldwide debut

10. Top 10 Concentration

In total, the album cracked the Top 10 in 11 countries – nearly half of the reporting regions – highlighting its strong commercial impact upon digital reissue

 

Region	Peak Position	Highlight
Norway	#1	Highest Global Peak
New Zealand	#2	Strong Oceania Launch
USA / Netherlands / Belgium	#3	Consistent Tri-Nation Peak
UK / Australia	#4	Top 5 in Both
Canada	#5	Solid North America Support
South Africa	#6	Surprise Global Market
Ireland / Austria / Philippines	#8–10	Expanded Top 10 Reach
Germany / Luxembourg / Nordics	#11–19	Strong European Showing
Italy / Israel / Switzerland	#22–28	Steady Mid-Chart
Turkey / Cyprus / Hong Kong	#45–68	Broader Spread
France / Mexico	#147 / #183	Lowest Chart Placements

Stevie Nicks Shares Letter to Family while Recording Buckingham Nicks

Stevie shared a letter she had written back in the early '70s while making the Buckingham Nicks album.  She indicated the letter was one that her mother had kept for all these years.  For anyone who remembers seeing the Sound City Documentary that Dave Grohl put together back in 2013, you may recall Stevie reading some of the letter in the documentary.  It was cool then, and it's cool now to read it in its entirety. What a piece of history, and look back at the early stage of her career before it really had even taken off. She was wise then and is still wise now. 

Dear Mom and Dad and Chris,

Well, here I am - once again at the “famous” Sound City Recording Studio. I am getting very tired of sitting around listening to 12 hours of music per day. Oh well, I know it will pay off in the end, and when I am sitting in my small but luxurious Beverly Hills home overlooking my small but tasteful pool that is totally secluded, where I can sun in the nude and tan my entire fat body while waiting for my plastic surgery leg lift - it will all be worth it. Otherwise, everything here is just “peach-y”.

I hope that all of my little family is doing fine and not working too hard. I am sure that dad is already beautifully tan and lythe - making those gorgeous blue grey eyes even more sparkling than they usually are. How sickening that he looks better than I do at 47(?) and I’m only 25. (Give me a break, Dad!)

Speaking of being almost 25 - I have decided that we should set aside the entire month of May to celebrate the fact that I am now 1 quarter of a century old. A new landmark like this should not simply be passed over as yet another birthday, but should include a gala celebration. I shall leave it to the three of you to plan it. By the way, presents will be accepted any time after the first of May - no C.O.D’s please.

Moving right along - I just want to say that I certainly do miss you all, and wish you could be here to hear some of this stuff. By the way - Dad and Chris - that rock and roll tune that you both liked (“Baby Baby, don’t treat me so bad”) with the fancy guitar work is almost finished and Lindsey may go down in history as one of “greats” in guitar playing. It really is quite amazing.

Well, no more news as of yet

- so much love to you all - and hold good thoughts about this thing.

I love you,
Stevie

 

 

Buckingham Nicks a short but energetic work of art.

“Buckingham Nicks:” the prequel to Fleetwood Mac reissuedByMaleena Muzio
The Daily Campus

Rating: 4.75/5

“Buckingham Nicks,” the once-forgotten album produced by rock icons and ex-lovers, Stevie Nicks and Lindsey Buckingham, was remastered and re-released on Friday, Sept. 19.

“Buckingham Nicks” was originally released in September of 1973, in the pre-Fleetwood Mac era, when Nicks was just 25 and Buckingham was 24. The album was not a commercial success and was pulled from the shelves by Polydor Records months after its release. The record has been a rare find since then, only existing on vinyl and bootleg digital sources.

Despite “Buckingham Nicks” being initially unsuccessful on the market, it is one of the major reasons as to why drummer Mick Fleetwood recruited Buckingham and Nicks into his band at the end of 1974, setting them up for a lifetime of fame and acknowledgement.

The album also served as a source of inspiration for Fleetwood Mac. “Crystal,” on “Buckingham Nicks” was originally written by Nicks and sung by Buckingham, and appears on the 1975 self-titled album, “Fleetwood Mac.” The song “Don’t Let Me Down Again” has extremely similar instrumentals as the hit “Second Hand News,” which opens Fleetwood Mac’s most popular album, “Rumors.”

“Lola (My Love),” a duet between Buckingham and Nicks, features the same guitar riffs in the intro as “The Chain,” which may be Fleetwood Mac’s most successful song.

Ten songs make up the entirety of “Buckingham Nicks,” only allowing it to play for 35 minutes total. The album is a short but energetic work of art. The album quite literally ends on a bang with the best and most intense song, “Frozen Love.”

“Frozen Love” is a duet cowritten by both artists and encapsulates the same energy that many live performances of “The Chain” hold, introducing the passion between Buckingham and Nicks that we all know and love. It is also the longest song on the record, playing for seven minutes, including a climactic guitar solo.

The opening song of the album, “Crying in the Night,” is another highlight of the work, this time written and sung exclusively by Nicks (with Buckingham only on backing vocals). “Crying in the Night” contains hints of Nicks’ later solo career, reminding me of songs on her popular album, “Bella Donna.”

Other great songs on the album are “Long Distance Winner” and “Without a Leg to Stand On.”

“Long Distance Winner,” a song primarily sung by Nicks, is an honest confession about her relationship with Buckingham. With intense lyrics, like “Love somebody, save their soul // Tie them to your heaven, erase their hell” and truthful ones like, “ Love their lifestyle if you feel it // Don’t try to change them, you never will” we get some poetic insight to the pair’s powerful relationship even before the Fleetwood Mac days.

“Without a Leg to Stand On” is a gentler duet between the two artists, showing a softer side of Buckingham and Nicks’ relationship. The song expresses the two depending on each other, which is ironic today, considering their very public breakup.

It is no wonder that this brief album snagged the interest of Mick Fleetwood, who was initially drawn to Buckingham’s guitar playing. The instrumentals are intricate and generally upbeat. However, the album nor Fleetwood Mac would have ever been complete without Nicks’ unique voice and songwriting. Together, Buckingham and Nicks proved themselves to be one of the greatest romantic and musical duos in rock.

Buckingham Nicks 4 ½ crystals out of 5

Time cast a spell on ‘Buckingham Nicks’: record gets second life in reissue

Charlotte Karner, Senior Life&Arts Reporter

The Daily Texan

September 21, 2025

4 ½ crystals out of 5

“She’s back in town.” Before Fleetwood Mac, there was Buckingham Nicks — the only studio album recorded solely by Lindsey Buckingham and Stevie Nicks. The record, initially released in 1973, was reissued on Friday after being out of print for almost 50 years. Largely considered a commercial failure, the original release came a little over a year before their introduction into the decades-defining band.

“We’re so happy this album is getting a second life,” Buckingham and Nicks wrote in a collaborative Instagram post Friday.

The release marked the album’s streaming and CD debut, mint for next-generation fans. It features original singles “Crying in the Night,” “Don’t Let Me Down Again,” and a third single chosen for the reissue, “Frozen Love” — the song which Buckingham and Nicks both cryptically posted the lyrics of on their social media in July.

The naked imagery of the album cover parallels the honest dialogue present throughout the tracks, two lovers struggling to reconcile their differences. It’s clear that the emotional appeal of Fleetwood Mac started with the toxic romantic tension in Buckingham Nicks. Through heartfelt harmonies, the pair previews the best of Fleetwood Mac — the inescapable “sound of the woman that loves you.”

Nicks said in a 1989 interview that the opening track, “Crying in the Night,” depicts a TV character played by Lesley Ann Warren. At face value, the song appears to be disconnected from the rest of Buckingham Nicks, but when looked at closer, the “wrong kind of girl” that Nicks sings about seems to represent the girl that she fears she cannot be for her then-partner, Lindsey Buckingham.

After a full listen of the album, the connection between the songs and Buckingham and Nicks’ relationship cannot be denied — with the sexy blues-rock track “Lola (My Love)” depicting a fantasy woman for Buckingham, who “knows how to treat her man” and “does everything a woman can.”

Fleetwood Mac recorded the most widely known version of “Crystal” as a band, but the ballad debuted on Buckingham Nicks. Fleetwood Mac’s version refines the instrumentals, but the Buckingham Nicks original feels raw and exposed. Paired with “Stephanie,” an A-side instrumental from the original release composed by Buckingham as a love song for Nicks, whose full name is Stephanie, the narrative still stains the pages without words.

One universal theme exists in the work: running away from love, heartbreak and loss. Nicks tries to keep up with her lover, “running down the hill,” but he runs too fast, coming out as the “Long Distance Winner.” After the sprint, they find that “Races are Run,” where “some people win,” and “some people always have to lose.”

“Frozen Love” feels like the aquifer seeping into the “Silver Springs.” Buckingham and Nicks cry out for a love shivering in the “cold freezing air” in this 7-minute track. At the chorus, they agree, “If you go forward, I’ll meet you there.”

Buckingham Nicks feels like a direct pipeline to Fleetwood Mac’s Rumours. The record sparked the catalyst for Fleetwood Mac’s success, shown through the emotion that flows through their crystalline harmonies.

Categorically FALSE... Fleetwood Mac NOT Playing J.K. Rowling Party

News reports spreading online over the weekend that Fleetwood Mac is playing JK Rowlings 60th birthday party is false.

No, Fleetwood Mac Is Not Playing J.K. Rowling’s Birthday Party... Reports stated Fleetwood Mac was set to reunite at J.K. Rowling’s birthday party, but a rep for the band tells Rolling Stone that is not true.

By JODI GUGLIELMI
Rollingstone

While there are legions of fans desperately wishing and waiting for an official Fleetwood Mac reunion, it most certainly will not happen at J.K. Rowling’s birthday party. After reports began circulating over the weekend that Stevie Nicks, Lindsey Buckingham, John McVie, and Mick Fleetwood were set to perform at the Harry Potter author’s upcoming party in November, Rolling Stone confirmed that no such reunion will take place.

“This is categorically false,” a representative for Fleetwood Mac tells Rolling Stone. “It’s not in the realm of true.”

The closest thing fans might get to a reunion any time soon will come in the form of a documentary, which was announced last year. Filmmaker Frank Marshall is set to helm the authorized feature-length project for Apple.

The film is currently untitled, and a release date has yet to be announced, but the project is set to include new interviews with the f our core surviving members, as well as never-before-seen footage, and new and archival interviews with McVie. The film will find Fleetwood Mac reflecting on their more than five decades together, from their heyday in the Seventies up through the present.

Buckingham Nicks storms global iTunes charts with long-awaited digital debut

Updated September 28th adding Brazil to the list of countries the album charted in on iTunes

- Black star indicates peak position

Buckingham Nicks Finally Gets Its Moment

When Buckingham Nicks—the only studio album by Lindsey Buckingham and Stevie Nicks as a duo—was reissued on digital platforms September 19, it was more than just a long-awaited release. For decades, the 1973 record had been a cult item, whispered about by fans, passed around in bootlegs, and endlessly requested. Its long-delayed digital debut sparked an immediate global response, and the iTunes charts over the first two days tell the story of rediscovery.

Day 1: From Obscurity to the Top 10

By sunrise on September 19, the album was already stirring internationally, with early iTunes Top 10 appearances in New Zealand (#7), Australia (#8), and a surprise breakthrough in the United States (#9). As the hours passed, momentum snowballed. By mid-afternoon, the album had surged to #4 in the U.S., #5 in the Netherlands, #6 in both the U.K. and Australia, and Top 10 in Canada and Germany.

By evening, the duo had cracked the Top 3 in both the U.S. and Netherlands, with multiple other countries—Luxembourg, Sweden, Ireland—pulling the album into their national charts. The reissue had instantly transformed from a niche archival release into a bona fide international chart event.

Day 2: Sustaining Global Heat

If Day 1 was about surprise momentum, Day 2 showed staying power. On the morning of September 20, Buckingham Nicks held Top 5 positions in the U.S., U.K., Australia, Norway, and Canada simultaneously—an impressive feat for a 52-year-old record that had never before been available digitally.

By late morning, the Netherlands had the album soaring to #9 on Apple Music, while iTunes continued to place it high in territories as far-flung as Germany, Israel, Hong Kong, and South Africa. The U.S. market proved especially resilient, holding firm in the Top 3 across multiple updates.

The Takeaway: A Global Reintroduction

The charts tell a clear story: Buckingham Nicks wasn’t just unearthed, it was embraced. Within 48 hours of release, the album had:Top 3 placements in the U.S. and Netherlands.
Top 5 runs across at least five major markets (U.S., U.K., Australia, Canada, Norway).
Charting presence in over 25 countries, from Cyprus to Mexico.

For an album once thought lost to licensing limbo, this debut is nothing short of a second life. The digital era has finally given Buckingham and Nicks’ first chapter the worldwide audience it was denied in 1973.