1. “Walk a Thin Line” (on Tusk, 1979) - A Buckingham moment of clarity. Predates all indie and twee pop. Better than any song released on an independent label between the years 1990 and 2005.

2. “Sentimental Lady” (on Bare Trees, 1972) - Original and superior version of the song that Bob Welch would ride to the top as a solo artist. Bare Trees was Welch’s second of five albums with the Mac. He would depart right before they exploded, to keep his sinuses from doing the same. Though often a pop savant, Bob Welch was a visually disturbing man.

3. “Hypnotized” (on Mystery to Me, 1973) - Another example of Welch’s supernatural pop handywork. The first substantial US radio hit for the Mac. A beautiful song.

4. “The Chain” (on Rumours, 1977) - Only a semi-sentient assbag would dismiss the power of “The Chain.” 1990 - 2005? This song wrote the rest.

5. “The Ledge” (on Tusk, 1979) - Before Buckingham’s maniacal coke-a-coaster derailed into a vortex of crap, he would spit examples of knockdown brilliance onto Tusk. This is one of them. Weirder than whatever you consider weird.

6. “Tusk” (on Tusk, 1979) - Notable only because the mid-song drum solo/freakout is the most fucked-up thing that you will ever hear on classic rock radio.

7. “Woman of a 1,000 Years” (on Future Games, 1971) - Dreamy, along with….

8. “Future Games” (on Future Games, 1971) - Welch on a drug that is obviously not cocaine. Or Welch in bed. Alone.

9. “Dreams”/”Gold Dust Woman” (on Rumours, 1977) - Nicks could belt out the Afternoon Rock, and I, for the record, made up that term ten years ago.

10. “Sara” (on Tusk, 1979) - See above description.

Honorary Mention: “Trouble” (from Lindsay Buckingham’s Law and Order, 1981) - Buckingham’s only real radio hit as a solo artist was serious business in terms of uber-catchy funny business.