Saturday, May 31, 2025

Nearly 50 Years Later, Fleetwood Mac’s Masterpiece Shows No Signs of Fading

Fleetwood Mac’s Rumours Defies Time Once Again With Historic Return to the Top of the Charts


Nearly 50 Years Later, Fleetwood Mac’s Masterpiece Shows No Signs of Fading

In a musical landscape dominated by short attention spans and algorithm-driven trends, few albums have managed to defy time quite like Rumours. Released in 1977, Fleetwood Mac’s iconic album was instantly hailed as a pop-rock masterclass—one that would go on to define a generation. Today, almost half a century later, Rumours is proving that classics don’t just age well—they evolve, endure, and sometimes, even outperform themselves.

This week, Rumours has made headlines once more by breaking into the Top 30 on Billboard’s Top Streaming Albums chart—reaching a new all-time peak of No. 30, up five positions from the previous week. It marks a significant moment for Fleetwood Mac, as the legendary band has not only maintained a presence on major charts for decades but is now riding the crest of a digital revival.

A Viral Spark Fuels the Climb

The latest surge in Rumours’ streaming numbers is widely attributed to a perfect storm of nostalgic social media content, a renewed interest in classic rock vinyl, and the viral resurgence of “The Chain” on TikTok, which has soundtracked everything from emotional breakup montages to motivational gym edits. While “Dreams” has enjoyed viral fame in recent years—most notably thanks to a longboarding cranberry juice moment in 2020—this time it’s the entire album seeing widespread rediscovery.

Fleetwood Mac’s label, Warner Records, also recently launched a digital campaign spotlighting the 1975 self titled Fleetwood Mac album’s 50th anniversary this year, fueling renewed curiosity and pushing longtime fans to revisit the bands catalog.

Chart Dominance Across the Globe

In addition to its new streaming peak, Rumours is holding firm across nearly every major Billboard album chart. The set remains steady at No. 3 on Top Rock Albums, No. 4 on Top Rock & Alternative Albums, and No. 26 on the Billboard 200, marking its 634th week on the all-genre chart—an astonishing feat for any album, let alone one released in the ‘70s.

On the Top Album Sales chart, Rumours moves slightly from No. 20 to No. 23, and on Vinyl Albums, it maintains a top 15 position, now sitting at No. 12.

Internationally, the love affair with Rumours is just as strong. In the UK, the album climbs to No. 21 on the Top 100 Albums Chart, while in Canada, it rises to No. 25. The album is even gaining momentum in Australia, where it jumps from No. 31 to No. 25 on the ARIA Top 50 Albums Chart.

Meanwhile, the companion compilation 50 Years – Don’t Stop continues its own run, reaching No. 6 in the UK and No. 4 in Ireland.

A Legacy Rewritten in Real Time

Originally certified 2x Platinum just months after its release, Rumours has since been certified 21x Platinum in the U.S., with global sales surpassing 45 million copies. Its continued relevance in the streaming era is not only a testament to the songwriting and production but also to the emotional intensity that defined its creation. From the heartbreak of “Go Your Own Way” to the spiritual strength of “Dreams,” the album remains a mirror for human relationships—brilliantly fractured, yet undeniably beautiful.

“Every time someone hits play on Rumours, it becomes relevant again,” said a Marketing executive in a recent interview. “That’s not nostalgia—that’s timelessness.”

What’s Next for Fleetwood Mac?

With the previously announced Fleetwood Mac Documentary expected from Apple Original Films in 2026 —Fleetwood Mac’s influence is poised to grow even more in the coming years. Although the band is currently on an indefinite hiatus following the 2022 passing of Christine McVie, individual members like Stevie Nicks, Lindsey Buckingham and Mick Fleetwood have hinted at new solo projects, and fans remain hopeful for some sort of reunion of the surviving members of the band in the future.

Until then, Rumours continues to tell its story—one stream, one chart, and one generation at a time.

Here's a rundown of album charts in North America, Australia and in the UK (previous week in brackets)

Friday, May 30, 2025

New Release - Stevie Nicks (Rhino Hi-Fi) Bella Donna

 

Rhino High Fidelity (Rhino Hi-Fi) continues its acclaimed series of limited-edition, high-end vinyl reissues with the solo debut from Stevie Nicks.


Stevie Nicks’ Bella Donna (1981) is available now exclusively at Rhino.com and internationally at select WMG stores. Each release is limited to 5,000 individually numbered copies and priced at $39.98. Available while supplies last at Rhino.com.


  • AAA Cut From The Original Stereo Master Tapes By Kevin Gray
  • Pressed On 180-Gram Heavyweight Vinyl At Optimal
  • Heavyweight Glossy Gatefold Jacket
  • Features An Exclusive Insert With Liner Notes From Bob Mehr

  • Limited Numbered Edition Of 5,000
  • Exclusive To Rhino.com


ABOUT THE RHINO HIGH FIDELITY SERIES
Rhino is synonymous with high-quality reissues, setting the standard with award-winning audio releases for the past 45 years. Now we've raised the bar with a premium vinyl series, Rhino High Fidelity. These high-end, limited-edition vinyl reissues of classic albums represent the pinnacle of sound and packaging.


To ensure consistent sonic excellence, Kevin Gray will cut lacquers for all Rhino Hi-Fi releases, and Optimal will press the 180-gram vinyl records. The releases boast high-quality glossy covers and “tip-on” jackets, an old-school aesthetic that evokes the golden age of vinyl.


Rhino.com

BELLA DONNA (RHINO HIGH FIDELITY)

$39.98





Thursday, May 29, 2025

MOJO The Collectors’ Series: Fleetwood Mac Rumours 1967-2025

 MOJO’s New Fleetwood Mac Special Is Out Now!

Order Your Copy Today or buy from

Celebrity Magazine


MOJO The Collectors’ Series: Fleetwood Mac Rumours 1967-2025


Fifty years ago in 1975, Fleetwood Mac replaced departing guitarist Bob Welch with a glamorous Californian couple named Lindsey Buckingham and Stevie Nicks – and in doing so created one of the most beguiling and musically successful ensembles in rock history.


To celebrate 50 years of the iconic ‘Rumours’ line-up coming together, MOJO has compiled its finest writing on Fleetwood Mac into a deluxe 132-page bookazine. Via in-depth features and exclusive interviews, we chart their entire story, from the group’s early days on the London blues scene in the late ’60s, to their relocation to America in the 1970s that resulted in Buckingham and Nicks’ recruitment. We then follow their career through the band members’ tempestuous break-ups, love affairs, reconciliations and rock’n’roll excess that fed into their extraordinary, heartfelt music.


The first chapter opens with the salutary tale of Peter Green, the group’s gifted but troubled founder member, who suffered an LSD-induced breakdown in 1970, after which he famously gave away all his possessions. His departure left Mick Fleetwood and husband-and-wife team, John and Christine McVie, to forge on through several line-up changes and dwindling album sales, until Lindsey and Stevie’s arrival turned them into mega-selling global superstars. MOJO’s encounters with the group unveil the turbulent times behind the making of 1977’s ‘Rumours’ and its challenging follow-up, ‘Tusk’, as well as the Mac’s difficult 1980s and subsequent reunion tours and recording sessions. And, to provoke and entertain, the MOJO team also presents their run-down of the 50 Greatest Fleetwood Mac songs.


Illustrated with rare and iconic photographs, Fleetwood Mac Rumours 1967-2025 is an essential purchase for the group’s fans and all music connoisseurs.


Buy now




Saturday, May 24, 2025

🎤 TOUR NEWS UPDATE: Stevie Nicks & Billy Joel Joint Shows Canceled


In disappointing news for fans across the globe, Billy Joel has officially canceled all upcoming concert dates — including the highly anticipated co-headlining shows with Stevie Nicks — following a recent medical diagnosis.

On May 23, 2025, Joel announced he has been diagnosed with normal pressure hydrocephalus (NPH), a neurological condition affecting balance, vision, and hearing. The 76-year-old singer-songwriter has been advised by his medical team to halt all performances while he undergoes physical therapy and treatment.

As a result, all scheduled stadium shows with Stevie Nicks — part of the ongoing “Two Icons, One Night” tour — have been canceled. This includes dates in North America and the UK that fans had eagerly been looking forward to since their powerhouse performances began in 2023.

Ticket holders will receive automatic refunds via their original point of purchase.

Stevie has not issued a formal statement yet regarding the cancellation or potential rescheduling, but fans are encouraged to keep an eye on her official website and social channels for updates.

Our thoughts are with Billy as he focuses on recovery, and those fans who were excited to see Stevie shine on stage once again.  

Stevie has a number of solo shows booked for this year that she may expand on. Check out her official website stevienicksofficial.com

Stay tuned for any further updates.

Thursday, May 22, 2025

New Release Fleetwood Mac Like Crying: The Songs of Danny Kirwan

 


Fleetwood Mac Celebrates Danny Kirwan with New Compilation Album
Like Crying: The Songs of Danny Kirwan
Released Digitally May 16, 2025 | Warner Records

Fleetwood Mac’s legacy continues to expand with the release of Like Crying: The Songs of Danny Kirwan, a 23-track digital-only compilation honoring the songwriting brilliance and guitar craftsmanship of the late Danny Kirwan. Issued by Warner Records on May 16, 2025, this collection highlights Kirwan’s pivotal contributions during his tenure with the band from 1968 to 1972.

Spanning four influential albums—Then Play On (1969), Kiln House (1970), Future Games (1971), and Bare Trees (1972)—the compilation includes standout tracks such as “Coming Your Way,” “Like Crying,” “One Sunny Day,” “Woman of 1000 Years,” and the haunting “Bare Trees.”

In addition to these familiar favorites, the set features rarities like “Dragonfly,” “Purple Dancer,” and “Trinity”—now available digitally for the first time—making this release essential for longtime fans and completists alike.

While Like Crying does not introduce new or unreleased recordings, it serves as a carefully curated anthology that shines a spotlight on Kirwan’s underrated genius. His melodic guitar style and deeply emotive songwriting were instrumental in shaping Fleetwood Mac’s transitional years before their mid-’70s superstardom.

The compilation is available for streaming on major platforms, including Spotify, Apple Music, Amazon Music, Youtube and TIDAL.


Track Listing – Like Crying: The Songs of Danny Kirwan

  1. Coming Your Way

  2. When You Say

  3. One Sunny Day

  4. Although the Sun Is Shining

  5. Without You

  6. My Dream

  7. Like Crying

  8. World in Harmony

  9. Station Man

  10. Jewel Eyed Judy

  11. Earl Gray

  12. Tell Me All the Things You Do

  13. Dragonfly

  14. Purple Dancer

  15. Woman of 1000 Years

  16. Sands of Time

  17. Sometimes

  18. Trinity

  19. Child of Mine

  20. Sunny Side of Heaven

  21. Bare Trees

  22. Danny's Chant

  23. Dust

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."

Thursday, May 15, 2025

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. 

Monday, April 28, 2025

Fleetwood Mac Returns to the Billboard 200 with Record Store Day Surge

Fleetwood Mac’s 50-Year-Old Album Charts Higher Than Ever

Forbes

By Hugh McIntyre



Fleetwood Mac continues to do what few others can: remain a chart force with music that’s been out for decades. his week, the band manages to do so with a set that’s been available half a century, almost to the month. The beloved group’s classic Fleetwood Mac album (sometimes called the White Album, as it’s the rockers’ second self-titled effort) mounts an impressive comeback, reaching new highs, returning to several charts, and even debuting on another tally.


Fleetwood Mac Appears on Five Billboard Charts

Released in 1975, the second Fleetwood Mac reappears on a slew of Billboard charts in America. The legendary collection reenters four tallies and debuts on one more, bringing its total number of current appearances to five. That kind of showing would be impressive for any project, but for a title nearing its fiftieth anniversary, it’s almost unbelievable.


Fleetwood Mac’s Album Hits New Peaks on Several Lists

This frame, Fleetwood Mac reaches brand new highs on three different charts. The set reenters the Top Album Sales and Top Rock Albums lists at No. 17 on both. Meanwhile, it also cracks the top 20 for the first time on the Top Rock & Alternative Albums roster, appearing at No. 20 — a milestone it hadn't reached before.


Fleetwood Mac’s Classic Debuts on the Vinyl Chart

In addition to its impressive returns, Fleetwood Mac also breaks onto a Billboard ranking it’s never been seen on before. The collection debuts on the Vinyl Albums chart, narrowly missing the top 10 as it enters at No. 12. The new arrival gives the group its eighth appearance on the roster dedicated solely to the bestselling vinyl releases in the U.S.


Fleetwood Mac Returns to the Billboard 200

Fleetwood Mac also reappears on the Billboard 200 this week, the ranking that tracks the most consumed albums across the country using a blend of metrics. The title is far from new to the all-genre tally. It lands at No. 94 on the list during this frame, its one-hundred-and-sixty-ninth on the Billboard 200. At one point, it even climbed all the way to No. 1.



A Huge Record Store Day Sales Surge

In the latest tracking period, Fleetwood Mac moved 12,500 equivalent units in the U.S., with 7,000 of those being pure sales. That sales figure represents an almost 2,000% increase from just a few days prior, as interest in the collection skyrocketed.


The surge is attached to Record Store Day, as a special picture disc vinyl of the album was released to celebrate its upcoming fiftieth anniversary. Only about 6,500 copies of the new edition were pressed, yet somehow the title managed to sell more than that figure, as other versions were also available to purchase.


Top 200 Albums Chart - US

No. 30 - “Rumours”

No. 94 - “Fleetwood Mac” (re-entry)


Top 50 Albums Sales - US

No. 17 - “Fleetwood Mac” (re-entry)

No. 36 - “Rumours”


Top 25 Vinyl Albums Chart - US

No. 12 - “Fleetwood Mac (re-entry)


Top 25 Indie Store Album Sales - US

No. 10 - “Fleetwood Mac” (re-entry)


Top 25 Rock Albums - US

Noh. 3 - “Rumours”

No. 17 - “Fleetwood Mac” (re-entry)


Top 50 Rock and Alternative Albums

No. 4 - “Rumours”

No. 20 - “Fleetwood Mac” (re-entry)


Top 50 Streaming Albums - US

No. 49 - “Rumours”


Top 50 Streaming Songs - US

No. 46 - “Dreams” (re-entry)

Saturday, April 26, 2025

FLEETWOOD MAC Picture Disc 8th Best Record Store Day Seller

Fleetwood Mac's 7x platinum 1975 self-titled album released in celebration of it's 50th Anniversary was the 8th best selling album for Record Store Day 2025.

Top-Selling Record Store Day 2025 Exclusive Albums at Independent Record Stores in the U.S.


Rank, Artist, Title

1. Post Malone, Post Malone Tribute to Nirvana (yellow-colored vinyl)

2. Gracie Abrams, Live From Radio City Music Hall (double vinyl)

3. Rage Against the Machine, Live On Tour 1993 (double vinyl)

4. Laufey, A Night at the Symphony: Hollywood Bowl (double vinyl)

5. Charli xcx, Number 1 Angel (apple-colored vinyl)

6. Wallows, More (evergreen and white-colored vinyl)

7. Talking Heads, Live On Tour (double vinyl)

8. Fleetwood Mac, Fleetwood Mac (picture disc vinyl)

9. Gorillaz, Demon Days Live From the Apollo Theater (red-colored double vinyl)

10. The Doors, Strange Days 1967: A Work In Progress (translucent blue-colored vinyl)

Marty Callner Director of Many Stevie Nicks and Fleetwood Mac Videos Passed Away

 

Marty Callner, director of dozens of classic MTV-era music videos as well as numerous comedy specials and creator of HBO‘s Hard Knocks, has peacefully passed away at his home in Malibu. He died on March 17 of natural causes and surrounded by loved ones, according to his son, Jazz. He was 78.


His career as a director of music videos started with Twisted Sister’s “We’re Not Going to Take it,” followed by Pat Benatar’s “We Belong,” both of which saw near-constant play on MTV in their heyday.


What followed were hundreds more, including Cher’s “If I Could Turn Back Time,” a slew of Aerosmith hits including “Cryin’,” “Crazy”, “Amazing,” “Livin’ on the Edge,” “Sweet Emotion,” “Dude Looks Like A Lady” and “Love in an Elevator.” Others of note include Whitesnake’s “Here I Go Again,” Poison’s “Every Rose Has a Thorn” and Stevie Nicks’ “Stand Back.” He also worked with Bon Jovi, Britney Spears, Fleetwood Mac, Heart, Patti LaBelle, Diana Ross, Kiss, Scorpions, The Bangles and ZZ Top.




What Marty had to say about filming Stevie for the first time on the Bella Donna Tour:


When I met Stevie I had only heard of her. To say I fell in love is an UNDERSTATEMENT. I had not and still have not met anyone so pure about their art as Stevie. She was just embarking on her first solo tour away from Fleetwood Mac and she was so happy and emotional with this band she put together. This piece was shot on the last night of this very short extremely special tour, the now infamous "Belladonna". In her heart she didn't want it to end. I shot it with so much love and I was blessed to have the opportunity to capture her brilliance and especially her magic.


Stevie is the reason I got into Rock and Roll. When I met her I was floored, and thought everyone in rock was going to be like her. Boy was I wrong! This clip is from "Bella Donna Live" in 1981, and was the first time we worked together. This was the last night of a very short, emotional tour, and I was the lucky guy who got to capture it. Stevie is my all time favorite!



Tango In The Night "Seven Wonders" video shoot

Marty on the Seven Wonder video:


Fleetwood Mac "Seven Wonders." I have a long and amazing relationship with Fleetwood Mac and especially Stevie Nicks. I first worked with Stevie when I directed her Bella Donna special for HBO. I then directed the Fleetwood Mac concert at the forum for HBO on their Mirage tour. I then went on to direct several videos for Stevie, a bunch of videos for Fleetwood Mac and I even did a video for Mick's band The Zoo. This video is really special to me because it shows the rare and playful side of the relationship between Stevie and Lindsey. Rare moments and a true classic.




When Christine McVie passed here’s what Marty had to say:


Absolutely devastated to hear the news of Christine McVie’s passing. Completely in shock. Fleetwood Mac was formative for me as a director, as an artist and as a person. I first directed Stevie Nicks “Belladonna,” and not long after that got the call to direct Fleetwood Mac “Live Mirage Tour.” The pic attached is one of the most pivotal shots of my career, an incredible rack focus during The Chain between Stevie and Christine. I went on to do several music videos for Fleetwood Mac as well. Christine was as gracious as they came, and truly the glue that held Fleetwood Mac together, both sonically and personally. Her harmonies are haunting, and her songwriting is incredible. It can’t be stated how important she was to the band. This feels like the end of an era and I’m heartbroken. Praying that her family finds the strength to get through this time, and grateful for all that Christine gave to humanity.


Among the many videos and concert that he directed, here is a list of the videos he worked on for Fleetwood Mac and Stevie Nicks:


  • Stevie Nicks “Blue Denim” video (Director) 1994
  • Mick Fleetwood’s Zoo “Shakin’ The Cage” video (Director) 1992
  • Stevie Nicks “Sometimes It’s A Bitch” video (Director) 1991
  • Stevie Nicks “Rooms On Fire” video (Director) 1989
  • Stevie Nicks “Live at Red Rocks” video (Director) 1987
  • Fleetwood Mac “Tango In The Night” Live VHS/DVD (Director - Stevie Nicks add'l photography) 1988 
  • Fleetwood Mac “Seven Wonders” video (Director) 1987
  • Stevie Nicks “I Can’t Wait” video (Director) 1986
  • Stevie Nicks “Talk To Me” video (Director) 1985
  • Fleetwood Mac in Concert: “Mirage Tour ’82” HBO (Director) 1983
  • Stevie Nicks “White Wing Dove Concert” video HBO (Director) 1982