Celebrating 50+ years of Progressive Rock with the Top 70 prog songs of the 1970s (1 Viewer)

[Ghost Rider]

I love Rush, but The Fountain of Lamneth shouldn't have been anywhere near this list. It has its moments, but is ultimately a choppy and inconsistent mess. Call it their epic rough draft, and then they got it right on the next record.

 

[Eephus]

Playlist updated. The only version of "Five Bridges Suite" on Spotify is from Live at Fillmore East.

Thanks to an inconsistent and choppy mess, the average song length jumps to 8 min 33 seconds. At a minute shy of six hours, the playlist is now long enough to occupy your time on a flight from Seattle to Miami.

 

[Leroy Hoard]

My favorites from the last 2 lists include:

Catherine Parr - Rick Wakeman
Conquistador - Procol Harum
Starship Trooper - Yes
Father to Son - Queen
Hocus Pocus - Focus

I never heard the Queen song before, the rest are old favorites.

 

[pecorino]

I love Rush, but The Fountain of Lamneth shouldn't have been anywhere near this list. It has its moments, but is ultimately a choppy and inconsistent mess. Call it their epic rough draft, and then they got it right on the next record.

I waffled between top 20 and bottom 20 but it was going to appear somewhere. The critics' reviews of it are, well, critical. I like most of it and it's seminal in the band's development so felt comfortable with it outside the top 30. But I totally get the thought process that it is just not good enough. Incidentally, I read even more criticism of the Five Bridges Suite from the Nice but I absolutely love that piece and had it in the top ten for a moment. I'd imagine most folks have never heard it so I would welcome thoughts on that one.

 

[Ghost Rider]

I love Rush, but The Fountain of Lamneth shouldn't have been anywhere near this list. It has its moments, but is ultimately a choppy and inconsistent mess. Call it their epic rough draft, and then they got it right on the next record.

I waffled between top 20 and bottom 20 but it was going to appear somewhere. The critics' reviews of it are, well, critical. I like most of it and it's seminal in the band's development so felt comfortable with it outside the top 30. But I totally get the thought process that it is just not good enough. Incidentally, I read even more criticism of the Five Bridges Suite from the Nice but I absolutely love that piece and had it in the top ten for a moment. I'd imagine most folks have never heard it so I would welcome thoughts on that one.

I never put any stock into what critics think (they were never kind to Rush until the 21st century), but while I agree that the band needed to write Fountain first to be able to do it a lot better with 2112, I still don't think it's noteworthy enough to make a list like this. Not a big deal obviously, as this is all just for fun.

 

[pecorino]

#	Song	Artist	Album	Year
28	Dancing with the Moonlit Knight	Genesis	Selling England by the Pound	1973
27	Dogs	Pink Floyd	Animals	1977
26	Karn Evil 9	ELP	Brain Salad Surgery	1973
25	YYZ	Rush	Moving Pictures	1981
24	Tubular Bells, Part 1	Mike Oldfield	Tubular Bells	1973
23	Starless	King Crimson	Red	1974
22	Awaken	Yes	Going for the One	1977

#28) Band: Genesis, Song: Dancing with the Moonlit Knight, Album: Selling England by the Pound (1973)

The selections this week (and in the final three weeks) are all such fine compositions that it pains me that they are not more widely known. Every single one of these top-28 tracks represent some of the most sophisticated and interesting music of any rock period, let alone 70s progressive specifically. I get that these songs do not translate well to the radio and that some are not easy to listen to. But a major impetus for putting together a list like this is to spread the word about these two-dozen-plus jewels that are just waiting to be discovered.

This particular Genesis song is emblematic of their evolution at the time of releasing Selling England by the Pound. By this point, they had found their sound–heavy mellotron, evocative lyrics, refined musicianship. This album, along with what King Crimson, Yes, and Pink Floyd were doing at the time, represent the apex of prog rock. In several places on the album, the acoustic piano is highlighted (I assume it is a grand piano) played by Tony Banks. The contrast between the lyrical lines of Banks’ piano playing against the wall of sound created by the mellotron presents an appealing pairing.

This song opens with vocals reminiscent of a fairy-tale accompanied by airy guitar work from Steve Hackett. When the piano arrives shortly thereafter, it gives the song a juicy roundness and seriousness. The build is slow but powerful as the fantasy-laden lyrics are met with the full force of the mellotron. By the two-minute mark, we’re off and running on this rollicking tune. So fun, not overwrought or overly long–this is peak, prog Genesis supported by relentless drumming by Phil and a full band masterclass in playing.

Dancing with the Moonlit Knight by Genesis

#27) Band: Pink Floyd, Song: Dogs, Album: Animals (1977)

The case could be made (has been made) that this entire album deserves recognition. There are no weak spots on it and the whole thing hangs together conceptually. That is certainly true. But for my money, “Dogs” is the standout track. One killer guitar riff follows another. This song contains a series of melodies that flow seamlessly from one to the next and even tio the other songs on the album. It’s also relevant that instead of whimsical, fantastical lyrics, this song (and album) tackles societal issues, making this track more weighty, relevant and worth your time.

Dogs by Pink Floyd

#26) Band: Emerson, Lake & Palmer. Song: Karn Evil 9, Album: Brain Salad Surgery (1973)

“Karn Evil 9” is a roughly half-hour suite of songs spanning just a bit more than one full side of the album Brain Salad Surgery. You may have encountered slices of this song in your travels–it was diced up for radio play like Thick as a Brick–but the whole suite deserves your attention. The music speaks for itself as the trio covers a ton of ground, keeping the listener engaged throughout. Keith Emerson was on the cutting edge of synthesizer technology at the time so you’ll get to hear some of that. It also informs the lyrics where the band explores the future of computer technology, presaging elements of the Matrix by a couple decades. In the end, at least in my reading of the lyrics, the computers win this one.

Karn Evil 9 by ELP

#25) Band: Rush, Song: YYZ, Album: Moving Pictures (1981)

While this is not the most “prog” song on this seminal album (that would be “Camera Eye”), it is the most instrumental, literally. It’s also fun, punchy, short, and catchy. The title comes from the airport code for Toronto (YYZ) and the main rhythm is derived from the Morse code series of dots and dashes of those three letters. That factoid makes this song progressive enough to include on this list. And the sheer quality of the writing and playing make it worthy, too. This link is to the studio version but I also highly recommend the live version from the album Exit…Stage Left which includes an extended Neil Peart drum solo.

YYZ by Rush

#24) Band: Mike Oldfield, Song: Tubular Bells, Part One, Album: Tubular Bells (1973)

Mike Oldfield was 19 years old when this album was released. Some consider it one of the first in the genre of “New Age” but it’s reasonable to classify it as progressive rock. Oldfield played all of the instruments and revisited “Tubular Bells” over the years of his songwriting, releasing many variations. The opening repeated melody is well-known as the theme to the Exorcist. But I doubt you’ve actively listened to this full piece (let alone side two). Give it a try.

Tubular Bells by Mike Oldfield

#23) Band: King Crimson, Song: Starless, Album: Red (1974)

The title track, “Red”, off this masterpiece LP would be right at home on this list especially the same week that YYZ is presented. Both are relatively short instrumentals with YYZ being more funky and rhythmic while “Red” brings the trademark King Crimson power. It’s a fantastic opener to this album. But even better is the album closer, “Starless”, with the warm vocals provided by bassist John Wetton who also wrote most of this song. Beautiful, cryptic lyrics accompany this long piece which was originally written for their preceding album “Starless and Bible Black.” Doesn’t get much better than the second half of this song which is a six-minute monster crescendo of the repeated main motif. Fripp and company bringing the power–turn it up.

Starless by King Crimson

#22) Band: Yes, Song: Awaken, Album: Going for the One (1977)

This is the chronologically latest piece of Yes to make the list but don’t sleep on their last two albums of the era: Tormato (1978) and Drama (1980). Each of those contain some good songs but not quite at the level of their earlier work. There is zero fat on the Going for the One album, with four great songs plus one epic track, Awaken. Rick Wakeman returned to the Yes lineup for this album, making his mark with flourishes on grand piano to kick off the tune. The main theme lifts off around 90 seconds in, featuring interesting guitar lines from Steve Howe elevated by the vocals. By the middle of the track, Wakeman moves to an organ sound as the song mellows into an atmospheric build. Nice patience by the band before they launch into the final third of the piece which brings a satisfying conclusion. A wonderful song that Yes rediscovered for live performances into the ‘90s and later, so you can also find good live versions online.

Awaken by Yes

 

[Ghost Rider]

I don't always buy Selling England by the Pound as being one of the top prog rock albums ever, but it does have three absolutely amazing songs, and Dancing with the Moonlit Knight is one of them.

Dogs is my favorite song from Animals and easily a top 10 Floyd tune in my book. Incredible song, both musically and lyrically.

Karn Evil 9 gets a bit ponderous in the back half when viewing all four movements as a singular whole, but the most popular bit of it (Ist Impression, Part 2) is still pretty awesome, and there are some other great moments in the other three parts.

When it comes to rock instrumentals, few are as good or better than YYZ. It manages to be a technical marvel, while also being super melodic.

King Crimson is more miss than hit for me, but Starless is beyond amazing. There are days where I think the last minute and change of the song is the greatest end to a song ever.

I like Awaken, but I have never quite viewed as an upper echelon Yes song like many do. The horribly thin production of Going for the One doesn't help its cause.

 

[Pip's Invitation]

Not only did I have Dogs as #1 in Anarchy’s Pink Floyd consensus rankings, I had it as #1 in Krista’s British Isles countdown. So needless to say, it’s one of my favorite songs of all time.

 

[pecorino]

Not only did I have Dogs as #1 in Anarchy’s Pink Floyd consensus rankings, I had it as #1 in Krista’s British Isles countdown. So needless to say, it’s one of my favorite songs of all time.

Can't argue with that. It speaks to the strength of the band that I've got Dogs at #4 from their catalog.

 

[Eephus]

Playlist updated. Average song length passes the nine minute mark at 9:06*. We did it!

* Counting Karn Evil 9 as four separate tracks. It would be 9:39 if you count it as one single song which it isn't.

 

[pecorino]

Playlist updated. Average song length passes the nine minute mark at 9:06*. We did it!

* Counting Karn Evil 9 as four separate tracks. It would be 9:39 if you count it as one single song which it isn't.

Thanks again. I'm surprised that Karn Evil 9 is not considered one track. That's how I've always thought of it (one track, several movements.) I told you to take the over.

 

[zamboni]

Not only did I have Dogs as #1 in Anarchy’s Pink Floyd consensus rankings, I had it as #1 in Krista’s British Isles countdown. So needless to say, it’s one of my favorite songs of all time.

Can't argue with that. It speaks to the strength of the band that I've got Dogs at #4 from their catalog.

Pip and I had some discussions during Anarchy's Floyd consensus. He had Dogs at #1 and I had it at #2. A different song not to be spotlighted here was the #1 for me and #2 for Pip.

ETA: username does not check out in this post

 

[Ghost Rider]

Playlist updated. Average song length passes the nine minute mark at 9:06*. We did it!

* Counting Karn Evil 9 as four separate tracks. It would be 9:39 if you count it as one single song which it isn't.

Thanks again. I'm surprised that Karn Evil 9 is not considered one track. That's how I've always thought of it (one track, several movements.) I told you to take the over.

Because the average prog fan in general thinks "the longer, the better" and loves the idea of saying their favorite band has a song "insert the biggest number possible"-minutes long (trust me, as a former prog snob, I used to think that way), they will always say that something like Karn Evil 9, which is obviously a suite consisting of four songs, is a singular song, when in reality it is four songs that go together to comprise a greater whole, similar to how something like The Dark Side of the Moon is 10 songs that go together perfectly to make a thematic record.

 

[Uruk-Hai]

Playlist updated. Average song length passes the nine minute mark at 9:06*. We did it!

* Counting Karn Evil 9 as four separate tracks. It would be 9:39 if you count it as one single song which it isn't.

Thanks again. I'm surprised that Karn Evil 9 is not considered one track. That's how I've always thought of it (one track, several movements.) I told you to take the over.

Because the average prog fan in general thinks "the longer, the better" and loves the idea of saying their favorite band has a song "insert the biggest number possible"-minutes long (trust me, as a former prog snob, I used to think that way), they will always say that something like Karn Evil 9, which is obviously a suite consisting of four songs, is a singular song, when in reality it is four songs that go together to comprise a greater whole, similar to how something like The Dark Side of the Moon is 10 songs that go together perfectly to make a thematic record.

DSOTM is an EP of 4 songs fleshed out by sonic tissue.

 

[pecorino]

Playlist updated. Average song length passes the nine minute mark at 9:06*. We did it!

* Counting Karn Evil 9 as four separate tracks. It would be 9:39 if you count it as one single song which it isn't.

Thanks again. I'm surprised that Karn Evil 9 is not considered one track. That's how I've always thought of it (one track, several movements.) I told you to take the over.

Because the average prog fan in general thinks "the longer, the better" and loves the idea of saying their favorite band has a song "insert the biggest number possible"-minutes long (trust me, as a former prog snob, I used to think that way), they will always say that something like Karn Evil 9, which is obviously a suite consisting of four songs, is a singular song, when in reality it is four songs that go together to comprise a greater whole, similar to how something like The Dark Side of the Moon is 10 songs that go together perfectly to make a thematic record.

I disagree with your premise that fans assume "the longer, the better." Even without looking it up, I can recall songs from most of the top bands on my list that have bloated, uninteresting long songs (Yes--pretty much the whole Tales album, ELP--Pirates, King Crimson--Fractured, Devil's Triangle, there are many, Rush--the Necromancer (though it is not that bad), Genesis--the Battle of Epping Forest, Renaissance have a bunch of long songs that are just ho-hum).

But a long song presents opportunities that are not available to the 3:05 radio track. I recall an interview with a member of Phish asking about an extended improvisation jam and why it ran 30+ minutes. Trey or Page, whoever it was, said something to the effect that what was played / experienced in minute thirty would not have been possible without the first twenty-nine. It's apples and oranges, of course, because that's an improv situation versus a composed piece but the upshot remains that certain peaks cannot possibly exist without laying the groundwork over time. Starless is a great example--the power and the payoff comes with the patient build and development of the main themes. I find Beethoven's 9th to be similar with the Ode to Joy being utterly triumphant partly because of the long and patient layering.

 

[pecorino]

Playlist updated. Average song length passes the nine minute mark at 9:06*. We did it!

* Counting Karn Evil 9 as four separate tracks. It would be 9:39 if you count it as one single song which it isn't.

Thanks again. I'm surprised that Karn Evil 9 is not considered one track. That's how I've always thought of it (one track, several movements.) I told you to take the over.

Because the average prog fan in general thinks "the longer, the better" and loves the idea of saying their favorite band has a song "insert the biggest number possible"-minutes long (trust me, as a former prog snob, I used to think that way), they will always say that something like Karn Evil 9, which is obviously a suite consisting of four songs, is a singular song, when in reality it is four songs that go together to comprise a greater whole, similar to how something like The Dark Side of the Moon is 10 songs that go together perfectly to make a thematic record.

DSOTM is an EP of 4 songs fleshed out by sonic tissue.

Pretty sure I strongly disagree with this statement about Dark Side of the Moon, though I'm not exactly sure what you're saying.

 

[Uruk-Hai]

though I'm not exactly sure what you're saying.

Join the rest of the world (including two ex-wives)

Alan Parsons should've won a Nobel Prize fore stitching that mess together. I'm being generous when I say DSOTM is 4 songs. Look, I understand the import of that LP (I've lived with it for 50+ years) and I know that's the album Floyd is gonna be remembered by. But it's a mirage. It's half an album with a bunch of gimmicks trying to tie a fuzzily thought out "concept" together. I'm doing P-Funk in the latest MAD countdown and they suffer the same problem on some of those late 70s Parliament albums.

 

[Eephus]

Thanks again. I'm surprised that Karn Evil 9 is not considered one track. That's how I've always thought of it (one track, several movements.) I told you to take the over.

Emerson composed Karn Evil 9 as a three movement concerto which are typically presented on classical recordings as separate tracks. The nearly 30 minute length of the piece exceeded the technical limits of LP records. I've always thought it would have made more sense to put the first and second impressions on one album side with the entire third movement on the flip side but the band decided to split the first movement so they could use the "Welcome back my friends to the show that never ends" lyric to open side two.

 

[shuke]

though I'm not exactly sure what you're saying.

Join the rest of the world (including two ex-wives)

Alan Parsons should've won a Nobel Prize fore stitching that mess together. I'm being generous when I say DSOTM is 4 songs. Look, I understand the import of that LP (I've lived with it for 50+ years) and I know that's the album Floyd is gonna be remembered by. But it's a mirage. It's half an album with a bunch of gimmicks trying to tie a fuzzily thought out "concept" together. I'm doing P-Funk in the latest MAD countdown and they suffer the same problem on some of those late 70s Parliament albums.

This could possibly be the worst music take I've seen on this board, bro. "Generous" with 4 songs? OK, let's say Speak to Me is part of Breathe, and Eclipse is part of Brain Damage. And let's say On The Run and Any Color You Like are "gimmicky" interludes. Which 2 of these aren't songs?

Speak to Me/Breathe
Time
Great Gig In The Sky (you better not say this is one of them)
Money
Us and Them
Brain Damage/Eclipse

 

[zamboni]

though I'm not exactly sure what you're saying.

Join the rest of the world (including two ex-wives)

Alan Parsons should've won a Nobel Prize fore stitching that mess together. I'm being generous when I say DSOTM is 4 songs. Look, I understand the import of that LP (I've lived with it for 50+ years) and I know that's the album Floyd is gonna be remembered by. But it's a mirage. It's half an album with a bunch of gimmicks trying to tie a fuzzily thought out "concept" together. I'm doing P-Funk in the latest MAD countdown and they suffer the same problem on some of those late 70s Parliament albums.

This could possibly be the worst music take I've seen on this board, bro. "Generous" with 4 songs? OK, let's say Speak to Me is part of Breathe, and Eclipse is part of Brain Damage. And let's say On The Run and Any Color You Like are "gimmicky" interludes. Which 2 of these aren't songs?

Speak to Me/Breathe
Time
Great Gig In The Sky (you better not say this is one of them)
Money
Us and Them
Brain Damage/Eclipse

UH is as respected as they come in our music world here, but his distaste for Floyd often comes out in droves.

 

[shuke]

though I'm not exactly sure what you're saying.

Join the rest of the world (including two ex-wives)

Alan Parsons should've won a Nobel Prize fore stitching that mess together. I'm being generous when I say DSOTM is 4 songs. Look, I understand the import of that LP (I've lived with it for 50+ years) and I know that's the album Floyd is gonna be remembered by. But it's a mirage. It's half an album with a bunch of gimmicks trying to tie a fuzzily thought out "concept" together. I'm doing P-Funk in the latest MAD countdown and they suffer the same problem on some of those late 70s Parliament albums.

This could possibly be the worst music take I've seen on this board, bro. "Generous" with 4 songs? OK, let's say Speak to Me is part of Breathe, and Eclipse is part of Brain Damage. And let's say On The Run and Any Color You Like are "gimmicky" interludes. Which 2 of these aren't songs?

Speak to Me/Breathe
Time
Great Gig In The Sky (you better not say this is one of them)
Money
Us and Them
Brain Damage/Eclipse

UH is as respected as they come in our music world here, but his distaste for Floyd often comes out in droves.

I know he is, and he knows I'm a big fan of his, but this is over the line.

 

[Pip's Invitation]

though I'm not exactly sure what you're saying.

Join the rest of the world (including two ex-wives)

Alan Parsons should've won a Nobel Prize fore stitching that mess together. I'm being generous when I say DSOTM is 4 songs. Look, I understand the import of that LP (I've lived with it for 50+ years) and I know that's the album Floyd is gonna be remembered by. But it's a mirage. It's half an album with a bunch of gimmicks trying to tie a fuzzily thought out "concept" together. I'm doing P-Funk in the latest MAD countdown and they suffer the same problem on some of those late 70s Parliament albums.

This could possibly be the worst music take I've seen on this board, bro. "Generous" with 4 songs? OK, let's say Speak to Me is part of Breathe, and Eclipse is part of Brain Damage. And let's say On The Run and Any Color You Like are "gimmicky" interludes. Which 2 of these aren't songs?

Speak to Me/Breathe
Time
Great Gig In The Sky (you better not say this is one of them)
Money
Us and Them
Brain Damage/Eclipse

UH is as respected as they come in our music world here, but his distaste for Floyd often comes out in droves.

I know he is, and he knows I'm a big fan of his, but this is over the line.

Did someone say Over the Line?

 

[Uruk-Hai]

though I'm not exactly sure what you're saying.

Join the rest of the world (including two ex-wives)

Alan Parsons should've won a Nobel Prize fore stitching that mess together. I'm being generous when I say DSOTM is 4 songs. Look, I understand the import of that LP (I've lived with it for 50+ years) and I know that's the album Floyd is gonna be remembered by. But it's a mirage. It's half an album with a bunch of gimmicks trying to tie a fuzzily thought out "concept" together. I'm doing P-Funk in the latest MAD countdown and they suffer the same problem on some of those late 70s Parliament albums.

This could possibly be the worst music take I've seen on this board, bro. "Generous" with 4 songs? OK, let's say Speak to Me is part of Breathe, and Eclipse is part of Brain Damage. And let's say On The Run and Any Color You Like are "gimmicky" interludes. Which 2 of these aren't songs?

Speak to Me/Breathe
Time
Great Gig In The Sky (you better not say this is one of them)
Money
Us and Them
Brain Damage/Eclipse

UH is as respected as they come in our music world here, but his distaste for Floyd often comes out in droves.

I know he is, and he knows I'm a big fan of his, but this is over the line.

You're right - it was over the line. I sometimes try to install trim nails with a sledgehammer.

Look...... I like a lot of Pink Floyd's songs. It's not that I despise them (they're certainly better than Billy Joel). My problems with them are twofold and one of those is larger than the band itself.

1. I don't like Waters' world view. It's depressing and often leads to turgid, self-possessed music. I have the same problem with grunge and its offshoots. All of this is to say that I'm a hypocrite, because I love the Wish You Were Here LP, which has even less real songs than DSOTM and is not the most emotionally uplifting experience itself.

2. I'm wary of the whole idea of "concept" albums that's been sold to us by Jann Wenner & crew since Sgt Pepper came out as being some sort of "higher" art. That's not Pink Floyd's fault, but I often use them as an example of what is wrong with thinking that these kinds of records are elevated above "normal" albums. To me, What's Going On (another "whole" that's more than the sum of its parts) is the greatest concept album of all time, but it never gets mentioned when hip folks discuss these kinds of things.

So, I'm both a) wrong on multiple fronts and b) inconsistent with my measuring sticks.

 

[zamboni]

1. I don't like Waters' world view. It's depressing and often leads to turgid, self-possessed music.

I'm with you there - I despise Waters as a human, but I have been able to separate politics from the music itself. And I became enamored with their music way before Waters started getting even more political in recent years. Guess I'm much more of a melody/instrumental guy than a lyrical guy (did much better on my math SATs than my verbal SATs).

 

[Uruk-Hai]

1. I don't like Waters' world view. It's depressing and often leads to turgid, self-possessed music.

I'm with you there - I despise Waters as a human, but I have been able to separate politics from the music itself. And I became enamored with their music way before Waters started getting even more political in recent years. Guess I'm much more of a melody/instrumental guy than a lyrical guy (did much better on my math SATs than my verbal SATs).

Oh no, I'm the same. I didn't know anything about Waters' politics when I encountered PF. It was just that his view of things is so depressing, it makes the music depressing too. And I'm not a lyric guy. His band did make some gorgeous music.

 

[pecorino]

#	Song	Artist	Album	Year
21	La Villa Strangiato	Rush	Hemispheres	1978
20	Achilles Last Stand	Led Zeppelin	Presence	1976
19	Echoes	Pink Floyd	Meddle	1971
18	The Musical Box	Genesis	Nursery Cryme	1971
17	Terrapin Part 1	Grateful Dead	Terrapin Station	1977
16	The Gates of Delirium	Yes	Relayer	1974
15	Red	King Crimson	Red	1974

#21) Band: Rush, Song: La Villa Strangiato, Album: Hemispheres (1980)

We’re going to open and close this week with brilliant instrumentals. I often lump this song in with YYZ since both are instrumentals at the turn of the 80s. Both are expertly crafted, concert favorites. But while YYZ is so clean and punchy, La Villa Strangiato is more sprawling and epic. Beginning with a spanish guitar intro, the tune quickly gets going into a rock-heavy, power chord groove. But this is not simplistic kids stuff. The song shifts seamlessly from movement to movement though none of the changes are jarring. In fact, I’ve never paid much mind to the dozen, oddly-titled subsections. The piece holds together quite well as a singular slice of prog rock. This is Rush at their peak of musicianship and craftsmanship. Again, the link is to the studio version but any live rendition is recommended as well. Alex and company make it look so easy but this is a complicated yet listenable tune.

La Villa Strangiato by Rush

#20) Band: Led Zeppelin, Song: Achilles Last Stand. From the Album: Presence (1976)

The drumming and bass on this track may cause you to get a hefty ticket so please refrain from listening to this while driving down the highway. It’s ten minutes of sheer power harnessed with solid musicianship. This track sounds so different from the rest of the Zeppelin catalog. I mean, they have other long songs but most live in a Blues/Rock space, plus whatever you’d call Kashmir, a bit of a drone song. This fits the prog profile with deft changes between distinct movements. It employs minor chords and unusual time changes. So interesting and in-your-face but it keeps you coming back for more. Note that I feel like there should be an apostrophe after the “s” in the name “Achilles” but none of my sources show it that way. Just trying to stave off the grammar police.

Achilles Last Stand by Led Zeppelin

#19) Band: Pink Floyd, Song: Echoes. From the Album: Meddle (1971)

This song began as several different songs that were eventually stitched together to form the back side of the LP Meddle. This is not atypical for a prog rock song–the ability to smooth those edges is what separates the goop from the sublime. It could not start any simpler than with the repeated radar ping but within its 23-minute running time, this track gets into the funk as well as laying down several memorable melodies with beautiful guitar work from David Gilmour. To me, this is the signature sound of Pink Floyd–atmospheric, sprawling, patient and melodic. It’s an unusual progressive rock song in that the lyrics address issues of humanity and communication but I find the lyrics difficult to discern by listening so you may want to search them up online to follow along.

Echoes by Pink Floyd

#18) Band: Genesis, Song: The Musical Box. From the Album: Nursery Cryme (1971)

The cover art to this LP features Victorian youths playing croquet with severed heads. So this twisted song fits the album title and vibe. The music begins like a fairy tale but in un-Genesis fashion, this one ends with some raucous closing bars. Live in concert pre-1975, Peter Gabriel would literally don masks onstage as he embodied the characters in the songs. The closing refrains of the old man are chilling when paired with Peter’s visuals. Though I’m uncertain as to the true meaning of the lyrics, I can’t help but associate the narrator as a truly creepy, dirty old man thanks to Peter’s choice of mask at the end of this song. The screaming guitars halfway through usher in the galloping second-half which concludes with some of the most intense vocals accompanied by two-tone guitar harmonies. One of the great endings in all of rock and roll.

The Musical Box by Genesis

#17) Band: The Grateful Dead, Song: Terrapin Part 1. From the Album: Terrapin Station (1977)

Another long song that comprises the second side of an LP. The Dead have several songs that might be classified as progressive but this is my favorite and arguably the best composition in their catalog. The seven sections meld easily as the song flows along. The accompanying strings fit the feel perfectly. The band played the first few sections of the suite in concert often but never the full seven sections.

Terrapin Part 1 by The Grateful Dead

#16) Band: Yes, Song: The Gates of Delirium. From the Album: Relayer (1974)

Whereas Genesis’ “The Musical Box” ends with a flurry of power after a light-hearted opening, “The Gates of Delirium” reverses that pattern with the soothing movement “Soon” to close out this monstrosity of a song. On any given day, this song could be placed in the top five. For this list, the inaccessibility and oddness inspired me to temper that. Personally, I find the 20+ minutes fly by in a flash as the tune pushes forward inexorably and powerfully throughout. The subject is war and peace, and the band does their darndest to capture that conflict sonically. Paired with the similary raucous “Soundchaser” and then wrapped up with the denouement of “To Be Over,” the trio of songs which make up the Relayer album make it an all-time prog great LP.

The Gates of Delirium by Yes

#15) Band: King Crimson, Song: Red, Album: Red (1974)

The year 1974 strikes again. Between Red from King Crimson and Relayer from Yes, the case is made that we’re celebrating the 50th anniversary of the apex of prog rock. I mentioned last week that “Red” would be right at home on this list and here it is. The introspective, modest Robert Fripp brings the rock and roll with this tight instrumental. In my opinion, Fripp laid the groundwork for what would become heavy metal. This tune gets us part of the way there. This whole evolution could not be more odd with the cerebral Fripp paving the way but he did what he did. This isn’t even the heaviest that King Crimson would play but this track marries power and melody as well as anything in rock.

Red by King Crimson

 

[zamboni]

#	Song	Artist	Album	Year
21	La Villa Strangiato	Rush	Hemispheres	1978
20	Achilles Last Stand	Led Zeppelin	Presence	1976
19	Echoes	Pink Floyd	Meddle	1971
18	The Musical Box	Genesis	Nursery Cryme	1971
17	Terrapin Part 1	Grateful Dead	Terrapin Station	1977
16	The Gates of Delirium	Yes	Relayer	1974
15	Red	King Crimson	Red

Monster group of songs here. Hard to get much better than these collectively.

 

[Eephus]

Playlist updated

Average song length = 9 min 41 sec

 

[Leroy Hoard]

#	Song	Artist	Album	Year
21	La Villa Strangiato	Rush	Hemispheres	1978
20	Achilles Last Stand	Led Zeppelin	Presence	1976
19	Echoes	Pink Floyd	Meddle	1971
18	The Musical Box	Genesis	Nursery Cryme	1971
17	Terrapin Part 1	Grateful Dead	Terrapin Station	1977
16	The Gates of Delirium	Yes	Relayer	1974
15	Red	King Crimson	Red

Monster group of songs here. Hard to get much better than these collectively.

Yes, probably my favorite group of 7 so far.

 

[pecorino]

#	Song	Artist	Album	Year
14	Xanadu	Rush	A Farewell to Kings	1977
13	Song of Scheherazade	Renaissance	Live at Carnegie Hall	1976
12	Firth of Fifth	Genesis	Selling England by the Pound	1973
11	Shine on You Crazy Diamond	Pink Floyd	Wish You Were Here	1975
10	Heart of the Sunrise	Yes	Fragile	1971
9	Tarkus	ELP	Tarkus	1971
8	Larks' Tongue in Aspic	King Crimson	Larks' Tongue in Aspic	1973

#14) Band: Rush, Song: Xanadu, Album: A Farewell to Kings (1977)

This is among the simpler compositions in the catalog of Rush. Although it runs long, the key doesn’t change. Alex really doesn’t shred on guitar nor does Neil go bananas on the drum kit. The allure of this song is elusive. The music and the lyrics complement each other quite well–evocative, shrouded in mystery, captivating. It’s like a mini-Lord of the Rings with our hero journeying, seeking paradise rather than Mount Doom. Another concert favorite and another reason to check out “Exit…Stage Left” but I’ll stick with the studio version here.

Xanadu by Rush

#13) Band: Renaissance, Song: Song of Scheherazade, Album: Renaissance Live at Carnegie Hall (1975)

Renaissance’s masterpiece “Song of Scheherazade” appears on a studio album in 1975 but this link is to their live version from Carnegie Hall the following year. I find that the narration adds to the song not to mention, you know, the New York Philharmonic Orchestra. Some rock songs sound better when you add some strings to bring color or depth to the tune. This is not a rock song with dressing. The strings, the bassoon, the piano–that’s the heart of the song. This is a classical piece of music with interludes of vocals or pop melodies interspersed throughout. Though the Moody Blues may disagree, “Song of Scheherazade” may illustrate the best synergy of rock and classical with orchestral instrumentation ever recorded. The song is structured in nine parts, running 29 minutes (the studio version is five minutes shorter without the narration). It presents as a full suite of songs tied together with the theme connected to “1001 Nights” but it’s actually a wholly created “theatrical musical” without ties to older work. Even the classical flourishes are not lifted from Bach or elsewhere as they had been in earlier songs. This song demands multiple listens.

Song of Scheherazade by Renaissance

#12) Band: Genesis, Song: Firth of Fifth, Album: Selling England by the Pound (1973)

Tony Banks lays down an opening minute of pure grand piano, reminiscent of a concerto, that sets the stage for the rest of the piece. Beautifully written, flawlessly played, which morphs into a traditional rock song bolstered by strong vocals from Peter. The piano returns with a flute about halfway through the piece then a synth solo reprises the opening melodies before taking us into a Steve Hackett guitar solo. Tasteful and melodic–the guitar sings through the main melody before passing the baton back to Peter and Tony who bring the song to a close. Another patient, well-crafted song from Genesis which leans into classical more than rock. The pace is languid more than frenetic which, on my list, lands it just outside the top ten. But a case could be made that this is an all-time top-three prog rock piece.

Firth of Fifth by Genesis

#11) Band: Pink Floyd, Song: Shine on You Crazy Diamond, Parts I - V and VI - IX, Album: Wish You Were Here (1973)

Twentieth-century mathematician Paul Erdos talked enigmatically of “The Book” which contains only the choicest, most beautiful pieces of mathematics ever created. Such a text doesn’t actually exist but when one is confronted with an extraordinary bit of mathematics, it’d be in there. It was probably the closest Erdos ever came to being a theist, stating that these nuggets would have been hand-picked/hand-created by God himself. I feel the same way about certain pieces of music, and sometimes mere snippets or bars. The whole of “Pet Sounds” is in The Book, so is most of what Jimi Hendrix did on stage with a guitar. God knocking at the door (the four notes of Beethoven’s Fifth which even grade-school kids know) and Ode to Joy–in The Book, of course.

The four notes of “Shine on You Crazy Diamond” which occur just before the four minute mark are definitely in The Book. Sometimes called “Syd’s Theme,” it’s an example where I wish I knew more about music theory to understand why these four notes are so effective. Perfectly enigmatic, beautiful but also sad. An apt embodiment of Syd Barrett who, legend has it, materialized at these recording sessions as “Shine On You Crazy Diamond” was being committed to tape. Apparently he sat quietly in a corner without being noticed for quite some time. Syd had gained weight and lost much of his faculties by then, a shell of his former self. That the song was written for him, about him, and Syd emerged to be there just adds to the mystique. For this list, I want to include all nine parts as a whole even though the band split them into two pieces to bookend the album. Fans like me were eager to paste them together so that’s the link. If you want the true album feel, listen to the whole thing including the three great tracks that form the meat of that musical sandwich. But Shine On You Crazy Diamond holds it all together.

Shine on You Crazy Diamond by Pink Floyd

#10) Band: Yes, Song: Heart of the Sunrise, Album: Fragile (1971)

“Heart of the Sunrise” was my entrance into progressive rock. I had heard “Roundabout” on the radio, of course, and knew that the Fragile album earned accolades. I’ve never really thought of “Roundabout” as a prog rock song because it got so much radio play and it wasn’t quite experimental enough for my taste. That’s ridiculous, of course, it is one of the greats. But “Heart of the Sunrise” scratched an itch that I didn’t know existed. Around that time, “Abacab” by Genesis was big. I remember thinking that, if I was a musician, I would not want to be constrained by the “ABACAB” form which was prevalent enough in popular music to warrant a song of that name. Yes comes charging out of the gate, akin to “21st Century Schizoid Man”, with some epic bass bombs by Chris Squire in the first half-minute. I was struck at how interesting, if sparse, the drumming was in the second theme, and also how varied the forms were throughout the track. I took out a sheet of paper to “ABACAB” Heart of the Sunrise. It was glorious. So many movements and melodies with the band looping back to a theme from several minutes prior…I was hooked. If I remember correctly, there were at least six namable themes with the song closing where it began, back at “A”.

Heart of the Sunrise by Yes

#9) Band: Emerson, Lake & Palmer, Song: Tarkus, Album: Tarkus (1973)

Yes had their song about war in the prior grouping (“The Gates of Delirium”). Here is the “war, what is it good for” effort from their contemporaries ELP. The music speaks for itself–a well-crafted, seven-part suite featuring Keith Emerson working miracles at the keyboard, supported by the finest rhythm section in the world of Greg Lake and Carl Palmer. To my taste, it is appealing that the main characters include an armadillo-tank and a manticore, but that’s just me. I could see the argument that Emerson went too far with the absurdity. But when Greg Lake is on vocals, he could be singing the phone book and I’d be buying. This is not a well-known track so if you’ve never heard it, carve out 20 minutes and grab some popcorn.

Tarkus by ELP

#8) Band: King Crimson, Song: Larks’ Tongue in Aspic Part 1, Album: Larks’ Tongue in Aspic (1973)

Another song with two parts bookending an album but this time, the two parts are very different. I am choosing Part 1 which is the opening track of the album with the same name. Part II closes the LP. The band would later record parts III, IV and V, spanning a full thirty years of King Crimson. This album marks another new beginning of the band with Jamie Muir, John Wetton and Bill Bruford joining maestro Fripp and violinist David Cross. The sound was quite different, too. In fact, as the album begins (as this track begins), the listener hears practically no sound at all. How long does the song continue before we turn up the volume? Oh, wait, is that percussion coming through? It is so tough to make out what is happening. OK, I hear the violin now, a nice steady rhythm but no real melody to be found. Then at the 3:44 mark, six notes which are inscribed in The Book hammer the listener in a tour-de-force of dynamics and sheer power. It’s one of my favorite moments in all of prog history. Is this the moment that heavy metal is born? No, that would be overly dramatic and not accurate. But in 1973 and especially to listeners of progressive music, those six notes probably hit like Rage Against the Machine or Metallica. The song meanders in a not-unpleasant way for several minutes afterwards with some lovely strings. It ends with one more flourish, some spoken word then the final crescendo leaving the listener with a little melody as a palate cleanser. A lesson in dynamics and patience. Fripp’s done it again.

Larks' Tongue in Aspic by King Crimson

 

[pecorino]

My last post hit the character limit so I needed to cut this opening: Happy Holidays, everyone. Hope you enjoy these next seven tracks. Only seven more to go. In the meantime and since I have some time off work, I will include a bonus list later this week about where prog rock went after the 1970s and its effect on today's music.

 

[Pip's Invitation]

#	Song	Artist	Album	Year
21	La Villa Strangiato	Rush	Hemispheres	1978
20	Achilles Last Stand	Led Zeppelin	Presence	1976
19	Echoes	Pink Floyd	Meddle	1971
18	The Musical Box	Genesis	Nursery Cryme	1971
17	Terrapin Part 1	Grateful Dead	Terrapin Station	1977
16	The Gates of Delirium	Yes	Relayer	1974
15	Red	King Crimson	Red

Monster group of songs here. Hard to get much better than these collectively.

Yep.

LVS is a top 5 Rush song for me.

Achilles is my #1 Zep and I was the only participant in Anarchy's Zep countdown to rank it at the top. It is the birth of prog metal.

Echoes is my #2 Floyd and I was not the only participant in Anarchy's Floyd countdown to rank it at or near the top.

The Musical Box is genius, and was one of Wikkid's very favorite songs. When I listed it in my 1971 countdown, he said:

my #1. not then, but NOW..NOW..NOW.NOW..NOW!!!!!.

when my baby sister visits, she & me 96yo Da request that i not sing along to the "NOW" song during prime viewing hours, cuz i apparently cant hold back. masterpiece - top 5 thing i've seen live (was at their first American concert, Brandeis College, early '72?)

Wiki says this is what the song is about:

The lyrics are based on a Victorian-style fairy tale written by Gabriel, about two children in a country house. The girl, Cynthia, kills the boy, Henry, by cleaving his head off with a croquet mallet. She later discovers Henry's musical box. When she opens it, "Old King Cole" plays, and Henry returns as a spirit, but starts aging very quickly. This causes him to experience a lifetime's sexual desire in a few moments, and he tries to persuade Cynthia to have sexual intercourse with him. However, the noise causes his nurse to arrive, and she throws the musical box at him, destroying them both. The album cover shows Cynthia holding a croquet mallet, with a few heads lying on the ground.

Gates of Delirium is the closest Yes got to jazz. The dynamics are just ridiculous.

Red is one of the most powerful instrumentals of any genre.

 

[Eephus]

Playlist updated. Average song length is up to 10 min 13 seconds.

I hope I'm not jinxing the finale but I'm pleasantly surprised that all the songs so far have been available on Spotify. The only one that was close to the edge was the suite by The Nice. The studio version was unavailable but there's a live version that's four minutes shorter.

 

[zamboni]

Echoes is my #1 Floyd and I was not the only participant in Anarchy's Floyd countdown to rank it at the top.

Thought you had "Dogs" as #1 and Echoes #2, and I was in reverse, but could be wrong.

 

[Pip's Invitation]

Echoes is my #1 Floyd and I was not the only participant in Anarchy's Floyd countdown to rank it at the top.

Thought you had "Dogs" as #1 and Echoes #2, and I was in reverse, but could be wrong.

No, you’re right. I will edit.

 

[shuke]

Achilles, Echoes, Terrapin, Heart of the Sunrise all huge parts of my life.

I was trying to think of a better way of saying that which made more sense, but I can't. Great thread, @pecorino!

 

[Ghost Rider]

Xanadu (my 2nd favorite Rush song), Shine On You Crazy Diamond (probably my 4th or 5th favorite Floyd song) and Firth of Fifth (one of my two favorite Genesis songs) are all on my short list of favorite songs ever. Masterpieces, all of them.

I don't listen to ELP that much anymore, but Tarkus was a monster favorite of mine for a long time. Still a top tune, just not one I revisit much anymore.

I don't quite rate Heart of the Sunrise as high as many Yes fans, but it's still really, really good.

I get that many love Larks'... by King Crimson, but I do not.

 

[Leroy Hoard]

Some songs sound better live and Heart of the Sunrise was the one that did it for me. Chris Squire's bass was literally shaking the rafters of the old theater where I saw Yes.

 

[zamboni]

Some songs sound better live and Heart of the Sunrise was the one that did it for me. Chris Squire's bass was literally shaking the rafters of the old theater where I saw Yes.

That Squire opening is like a missile attack - so damn good.

 

[Uruk-Hai]

I know @zamboni thinks I hate Floyd (I understand why he thinks that and it's my fault for hitting the hammer so hard over the decades, but I really don't) but ".......Crazy Diamond" is a gorgeous piece of music.

 

[zamboni]

I know @zamboni thinks I hate Floyd (I understand why he thinks that and it's my fault for hitting the hammer so hard over the decades, but I really don't) but ".......Crazy Diamond" is a gorgeous piece of music.

You misspelled “Billy Joel” as “Floyd” - lol.

I know you don’t hate them - just not a big fan. I get it - I have similar dislike for bands that the masses seem to like.

 

[Uruk-Hai]

You misspelled “Billy Joel” as “Floyd” - lol.

I've typed that dude's name too many times over the years

 

[pecorino]

The top seven will be published on Sunday. In the meantime:

What came after?

As is readily evident from my list, the heavy hitters of this genre include Yes, Genesis, King Crimson, Pink Floyd, ELP, Rush and Renaissance. Yes and Renaissance continue today albeit with different lineups. Neither produced anything post-1981 that approaches the quality of their work in the 70s though a Yes spinoff (Anderson, Bruford Wakeman, Howe) created some interesting music around 1990. Yes also had two hit records with 90125 and Big Generator but I don’t consider either to be prog rock. In short, they sold out and made a boatload of money. They’re smart guys. Overall, the movement towards synthesizers especially integrated with percussion (digital drums) felt diametrically opposed to the wash of the mellotron not to mention the rise of punk, new wave and generic 80s pop. That’s fine; evolution in music happens, but the magic of prog in the 70s faded quickly.

Famous splits tore apart Pink Floyd and Genesis. Pink Floyd lost Roger Waters over creative and philosophical differences plus, I imagine, a decent amount of douchebaggery. Nick Mason and David Gilmour have carried the moniker of Pink Floyd since 1985 and produced some good work. A Momentary Lapse of Reason and The Division Bell were both fine albums. Though sparsely active, Pink Floyd is still officially a band. Genesis’ evolution is even better known with Peter Gabriel splitting from the band in 1975 (producing some great solo work in his own right) forcing Phil Collins to take over lead vocals. Phil was up to the task. After producing a few more fantastic progressive albums (Trick of the Tail, Wind and Wuthering, …And Then There Were Three, and Duke), the 1980s hit and Phil steered the band towards a more pop sensibility along with the rest of the world. Due to health issues from drumming for half a century, Phil cannot play anymore so the band stopped touring and disbanded in 2021. Looking back on my list, I’m surprised that only one track, One for the Vine, from those four post-Peter albums made the list . The reason is threefold: 1) an irrational dismissiveness towards a Phil-led Genesis since he’s not really a prog guy at heart, 2) a move towards more radio-friendly, less progressive tracks, and 3) especially with Trick of the Tail, these albums are wonderful cohesive pieces without standout individual songs. I highly recommend you check out Trick of the Tail if not all four post-Peter, pre-80s LPs.

King Crimson also recently turned off their amps for good in 2021 with Fripp being the only through-line in their fifty year existence. Their final album was produced in 2003 but the band toured in a variety of personnel lineups afterwards. With Fripp’s wheelhouse being power, dynamics, precision, and the general pushing of boundaries, he navigated the synth movement better than all others save Genesis. In short, King Crimson’s brand of music emerging out of Discipline in 1981 lent itself well to the 80’s and 90’s. And, to be sure, Fripp evolved. He discovered tape looping and invented “Frippertronics” which meant he could perform an entire show as a singleton performer. He opened schools and formed guitar circles to pass on his wisdom to other musicians. Fripp’s inventivess and deftness on his instrument carried him into the 2020’s when, unbelievably, he began publishing short videos made in his kitchen with his wife Toyah during Covid. Who knew the professor also sported a self-deprecating sense of humor?

After the 1970’s, ELP only really played together for one decade during the 90s. While they weren’t really a nostalgia act during the 90s, the fans were there to hear their earlier work, not the tepid tunes on Black Moon (1992) that the band was pushing. Only Carl Palmer is still with us as Greg Lake and Keith Emerson died within months of each other in 2016. Rush fans also dealt with the unfortunate death of a member of their trio when drummer Neil Peart died in 2020 from brain cancer. The band had been vibrant right up until that point, having released albums every five years or so. Their sound changed during / after Moving Pictures in 1981, leaving prog behind and re-embracing their rock and roll roots. Some fans recoiled from Geddy Lee’s integration of a synthesizer during the 1980s but most eventually came to embrace the added colors. Of all of the groups on this list, Rush has been the most stable with the three original members (sorry John Rutsey) for nearly fifty years, consistent quality and production, and a growing fan base that even included some females.

Of course, some new progressive bands formed in the 80s and 90s. Marillion is one of the best known and closest in vibe with prog from the 70s. They experienced some moderate success in the 80s and 90s. But the next big step would be a shift toward prog metal ushered in by bands like Dream Theater and Mastodon. This satisfied folks who were attracted to the power that Fripp introduced while with King Crimson. It also dovetailed with the phenomenon that was becoming Metallica. They combined prog rock with metal, leaning much more towards metal of course. In fact, the premise that Metallica played “progressive” may bring some pushback. I’d say, listen to “One” from “...And Justice For All” from 1991 and get back to me. A variety of prog metal subgenres have flourished over the last few decades but I’m not well-versed in that branch. Plenty of music to mine if you are so inclined.

As is obvious from this list, I’m more interested in the multi-movement, intricate yet powerful prog epics. While those all but died out after 1981, a different subgenre picked up that torch and took it to the next step. I’m talking about the birth of the jam band movement, headlined by Phish from Vermont. The four-piece formed in 1983, molded by Zeppelin, Zappa, Crimson, the Beatles, the Dead, Pink Floyd and the like. Early works of Phish, mostly penned by prolific lead guitarist Trey Anastasio, featured the stuff right out of this list: jazz fusion, odd time signatures, multi-movement pieces, lyrics couched in fantasy or just plain absurdity. Trey cited progressive rock as a key influence on him, along with “mall music” that he would have heard growing up in suburban New Jersey. Phish’s music contained a strong prog bent throughout the 80s and into the 90s. Recommended “progressive” tracks include You Enjoy Myself, Fluffhead, Guyute and Petrichor. Their evolution moved away from composing intricate pieces and towards improvisation in the live setting. Their success in the 90s (and to date) recreated what the Dead did over their years of touring but with a more prog feel and with the support of the internet. Communication made it possible for the band to grow rapidly and their brand of “jam rock” emerged at the outset of the 21st century sprouting many similar-minded jam bands like moe., Umphrey’s McGee, the String Cheese Incident, Goose, and others. The two great offshoots of prog rock are still vibrant today, prog metal and the jam band scene. Will there ever be another “Firth of Fifth” or “Heart of the Sunrise”? Doubtful. But the whole point is progress. So while it is wonderful and worthy to look back and celebrate fifty years of the apex of the genre, I hope you get out there and listen to what the kids are playing nowadays. See you on tour!

 

[zamboni]

After the 1970’s, ELP only really played together for one decade during the 90s. While they weren’t really a nostalgia act during the 90s, the fans were there to hear their earlier work, not the tepid tunes on Black Moon (1992) that the band was pushing. Only Carl Palmer is still with us as Greg Lake and Keith Emerson died within months of each other in 2016.

I still own my vinyl copy of the short-lived offshoot Emerson, Lake & Powell. Not a very good output.

 

[Ghost Rider]

Along with Dream Theater, the biggest and best "progressive" band of the last 30+ years has been Porcupine Tree and by extension Steven Wilson's solo career.

 

[pecorino]

Along with Dream Theater, the biggest and best "progressive" band of the last 30+ years has been Porcupine Tree and by extension Steven Wilson's solo career.

Thanks, and I probably agree. It's just that I've never really delved into Porcupine Tree and Wilson's work though I've heard a ton about him. Seems like an apt New Years resolution for myself.

 

[pecorino]

After the 1970’s, ELP only really played together for one decade during the 90s. While they weren’t really a nostalgia act during the 90s, the fans were there to hear their earlier work, not the tepid tunes on Black Moon (1992) that the band was pushing. Only Carl Palmer is still with us as Greg Lake and Keith Emerson died within months of each other in 2016.

I still own my vinyl copy of the short-lived offshoot Emerson, Lake & Powell. Not a very good output.

Ya, pretty bad though I do fondly recall the tune "Touch and Go" which was kind of catchy.

 

[Pip's Invitation]

The top seven will be published on Sunday. In the meantime:

What came after?

As is readily evident from my list, the heavy hitters of this genre include Yes, Genesis, King Crimson, Pink Floyd, ELP, Rush and Renaissance. Yes and Renaissance continue today albeit with different lineups. Neither produced anything post-1981 that approaches the quality of their work in the 70s though a Yes spinoff (Anderson, Bruford Wakeman, Howe) created some interesting music around 1990. Yes also had two hit records with 90125 and Big Generator but I don’t consider either to be prog rock. In short, they sold out and made a boatload of money. They’re smart guys. Overall, the movement towards synthesizers especially integrated with percussion (digital drums) felt diametrically opposed to the wash of the mellotron not to mention the rise of punk, new wave and generic 80s pop. That’s fine; evolution in music happens, but the magic of prog in the 70s faded quickly.

Famous splits tore apart Pink Floyd and Genesis. Pink Floyd lost Roger Waters over creative and philosophical differences plus, I imagine, a decent amount of douchebaggery. Nick Mason and David Gilmour have carried the moniker of Pink Floyd since 1985 and produced some good work. A Momentary Lapse of Reason and The Division Bell were both fine albums. Though sparsely active, Pink Floyd is still officially a band. Genesis’ evolution is even better known with Peter Gabriel splitting from the band in 1975 (producing some great solo work in his own right) forcing Phil Collins to take over lead vocals. Phil was up to the task. After producing a few more fantastic progressive albums (Trick of the Tail, Wind and Wuthering, …And Then There Were Three, and Duke), the 1980s hit and Phil steered the band towards a more pop sensibility along with the rest of the world. Due to health issues from drumming for half a century, Phil cannot play anymore so the band stopped touring and disbanded in 2021. Looking back on my list, I’m surprised that only one track, One for the Vine, from those four post-Peter albums made the list . The reason is threefold: 1) an irrational dismissiveness towards a Phil-led Genesis since he’s not really a prog guy at heart, 2) a move towards more radio-friendly, less progressive tracks, and 3) especially with Trick of the Tail, these albums are wonderful cohesive pieces without standout individual songs. I highly recommend you check out Trick of the Tail if not all four post-Peter, pre-80s LPs.

King Crimson also recently turned off their amps for good in 2021 with Fripp being the only through-line in their fifty year existence. Their final album was produced in 2003 but the band toured in a variety of personnel lineups afterwards. With Fripp’s wheelhouse being power, dynamics, precision, and the general pushing of boundaries, he navigated the synth movement better than all others save Genesis. In short, King Crimson’s brand of music emerging out of Discipline in 1981 lent itself well to the 80’s and 90’s. And, to be sure, Fripp evolved. He discovered tape looping and invented “Frippertronics” which meant he could perform an entire show as a singleton performer. He opened schools and formed guitar circles to pass on his wisdom to other musicians. Fripp’s inventivess and deftness on his instrument carried him into the 2020’s when, unbelievably, he began publishing short videos made in his kitchen with his wife Toyah during Covid. Who knew the professor also sported a self-deprecating sense of humor?

After the 1970’s, ELP only really played together for one decade during the 90s. While they weren’t really a nostalgia act during the 90s, the fans were there to hear their earlier work, not the tepid tunes on Black Moon (1992) that the band was pushing. Only Carl Palmer is still with us as Greg Lake and Keith Emerson died within months of each other in 2016. Rush fans also dealt with the unfortunate death of a member of their trio when drummer Neil Peart died in 2020 from brain cancer. The band had been vibrant right up until that point, having released albums every five years or so. Their sound changed during / after Moving Pictures in 1981, leaving prog behind and re-embracing their rock and roll roots. Some fans recoiled from Geddy Lee’s integration of a synthesizer during the 1980s but most eventually came to embrace the added colors. Of all of the groups on this list, Rush has been the most stable with the three original members (sorry John Rutsey) for nearly fifty years, consistent quality and production, and a growing fan base that even included some females.

Of course, some new progressive bands formed in the 80s and 90s. Marillion is one of the best known and closest in vibe with prog from the 70s. They experienced some moderate success in the 80s and 90s. But the next big step would be a shift toward prog metal ushered in by bands like Dream Theater and Mastodon. This satisfied folks who were attracted to the power that Fripp introduced while with King Crimson. It also dovetailed with the phenomenon that was becoming Metallica. They combined prog rock with metal, leaning much more towards metal of course. In fact, the premise that Metallica played “progressive” may bring some pushback. I’d say, listen to “One” from “...And Justice For All” from 1991 and get back to me. A variety of prog metal subgenres have flourished over the last few decades but I’m not well-versed in that branch. Plenty of music to mine if you are so inclined.

As is obvious from this list, I’m more interested in the multi-movement, intricate yet powerful prog epics. While those all but died out after 1981, a different subgenre picked up that torch and took it to the next step. I’m talking about the birth of the jam band movement, headlined by Phish from Vermont. The four-piece formed in 1983, molded by Zeppelin, Zappa, Crimson, the Beatles, the Dead, Pink Floyd and the like. Early works of Phish, mostly penned by prolific lead guitarist Trey Anastasio, featured the stuff right out of this list: jazz fusion, odd time signatures, multi-movement pieces, lyrics couched in fantasy or just plain absurdity. Trey cited progressive rock as a key influence on him, along with “mall music” that he would have heard growing up in suburban New Jersey. Phish’s music contained a strong prog bent throughout the 80s and into the 90s. Recommended “progressive” tracks include You Enjoy Myself, Fluffhead, Guyute and Petrichor. Their evolution moved away from composing intricate pieces and towards improvisation in the live setting. Their success in the 90s (and to date) recreated what the Dead did over their years of touring but with a more prog feel and with the support of the internet. Communication made it possible for the band to grow rapidly and their brand of “jam rock” emerged at the outset of the 21st century sprouting many similar-minded jam bands like moe., Umphrey’s McGee, the String Cheese Incident, Goose, and others. The two great offshoots of prog rock are still vibrant today, prog metal and the jam band scene. Will there ever be another “Firth of Fifth” or “Heart of the Sunrise”? Doubtful. But the whole point is progress. So while it is wonderful and worthy to look back and celebrate fifty years of the apex of the genre, I hope you get out there and listen to what the kids are playing nowadays. See you on tour!

Phish’s sound was heavily shaped by the 1980s version of King Crimson. According to the various books about them, a pivotal moment in their history was when the band members went to see KC when they were college students. They were so wowed by the show that it reshaped their approach, particularly Trey Anastasio’s writing and guitar playing. The other huge influence on them during this time was Frank Zappa.

 

[Pip's Invitation]

Along with Dream Theater, the biggest and best "progressive" band of the last 30+ years has been Porcupine Tree and by extension Steven Wilson's solo career.

Thanks, and I probably agree. It's just that I've never really delved into Porcupine Tree and Wilson's work though I've heard a ton about him. Seems like an apt New Years resolution for myself.

Wilson has also made a name for himself remixing various albums from the “classic rock” era, some prog, some not.

 

[Pip's Invitation]

#	Song	Artist	Album	Year
14	Xanadu	Rush	A Farewell to Kings	1977
13	Song of Scheherazade	Renaissance	Live at Carnegie Hall	1976
12	Firth of Fifth	Genesis	Selling England by the Pound	1973
11	Shine on You Crazy Diamond	Pink Floyd	Wish You Were Here	1975
10	Heart of the Sunrise	Yes	Fragile	1971
9	Tarkus	ELP	Tarkus	1971
8	Larks' Tongue in Aspic	King Crimson	Larks' Tongue in Aspic	1973

#14) Band: Rush, Song: Xanadu, Album: A Farewell to Kings (1977)

This is among the simpler compositions in the catalog of Rush. Although it runs long, the key doesn’t change. Alex really doesn’t shred on guitar nor does Neil go bananas on the drum kit. The allure of this song is elusive. The music and the lyrics complement each other quite well–evocative, shrouded in mystery, captivating. It’s like a mini-Lord of the Rings with our hero journeying, seeking paradise rather than Mount Doom. Another concert favorite and another reason to check out “Exit…Stage Left” but I’ll stick with the studio version here.

Xanadu by Rush

#13) Band: Renaissance, Song: Song of Scheherazade, Album: Renaissance Live at Carnegie Hall (1975)

Renaissance’s masterpiece “Song of Scheherazade” appears on a studio album in 1975 but this link is to their live version from Carnegie Hall the following year. I find that the narration adds to the song not to mention, you know, the New York Philharmonic Orchestra. Some rock songs sound better when you add some strings to bring color or depth to the tune. This is not a rock song with dressing. The strings, the bassoon, the piano–that’s the heart of the song. This is a classical piece of music with interludes of vocals or pop melodies interspersed throughout. Though the Moody Blues may disagree, “Song of Scheherazade” may illustrate the best synergy of rock and classical with orchestral instrumentation ever recorded. The song is structured in nine parts, running 29 minutes (the studio version is five minutes shorter without the narration). It presents as a full suite of songs tied together with the theme connected to “1001 Nights” but it’s actually a wholly created “theatrical musical” without ties to older work. Even the classical flourishes are not lifted from Bach or elsewhere as they had been in earlier songs. This song demands multiple listens.

Song of Scheherazade by Renaissance

#12) Band: Genesis, Song: Firth of Fifth, Album: Selling England by the Pound (1973)

Tony Banks lays down an opening minute of pure grand piano, reminiscent of a concerto, that sets the stage for the rest of the piece. Beautifully written, flawlessly played, which morphs into a traditional rock song bolstered by strong vocals from Peter. The piano returns with a flute about halfway through the piece then a synth solo reprises the opening melodies before taking us into a Steve Hackett guitar solo. Tasteful and melodic–the guitar sings through the main melody before passing the baton back to Peter and Tony who bring the song to a close. Another patient, well-crafted song from Genesis which leans into classical more than rock. The pace is languid more than frenetic which, on my list, lands it just outside the top ten. But a case could be made that this is an all-time top-three prog rock piece.

Firth of Fifth by Genesis

#11) Band: Pink Floyd, Song: Shine on You Crazy Diamond, Parts I - V and VI - IX, Album: Wish You Were Here (1973)

Twentieth-century mathematician Paul Erdos talked enigmatically of “The Book” which contains only the choicest, most beautiful pieces of mathematics ever created. Such a text doesn’t actually exist but when one is confronted with an extraordinary bit of mathematics, it’d be in there. It was probably the closest Erdos ever came to being a theist, stating that these nuggets would have been hand-picked/hand-created by God himself. I feel the same way about certain pieces of music, and sometimes mere snippets or bars. The whole of “Pet Sounds” is in The Book, so is most of what Jimi Hendrix did on stage with a guitar. God knocking at the door (the four notes of Beethoven’s Fifth which even grade-school kids know) and Ode to Joy–in The Book, of course.

The four notes of “Shine on You Crazy Diamond” which occur just before the four minute mark are definitely in The Book. Sometimes called “Syd’s Theme,” it’s an example where I wish I knew more about music theory to understand why these four notes are so effective. Perfectly enigmatic, beautiful but also sad. An apt embodiment of Syd Barrett who, legend has it, materialized at these recording sessions as “Shine On You Crazy Diamond” was being committed to tape. Apparently he sat quietly in a corner without being noticed for quite some time. Syd had gained weight and lost much of his faculties by then, a shell of his former self. That the song was written for him, about him, and Syd emerged to be there just adds to the mystique. For this list, I want to include all nine parts as a whole even though the band split them into two pieces to bookend the album. Fans like me were eager to paste them together so that’s the link. If you want the true album feel, listen to the whole thing including the three great tracks that form the meat of that musical sandwich. But Shine On You Crazy Diamond holds it all together.

Shine on You Crazy Diamond by Pink Floyd

#10) Band: Yes, Song: Heart of the Sunrise, Album: Fragile (1971)

“Heart of the Sunrise” was my entrance into progressive rock. I had heard “Roundabout” on the radio, of course, and knew that the Fragile album earned accolades. I’ve never really thought of “Roundabout” as a prog rock song because it got so much radio play and it wasn’t quite experimental enough for my taste. That’s ridiculous, of course, it is one of the greats. But “Heart of the Sunrise” scratched an itch that I didn’t know existed. Around that time, “Abacab” by Genesis was big. I remember thinking that, if I was a musician, I would not want to be constrained by the “ABACAB” form which was prevalent enough in popular music to warrant a song of that name. Yes comes charging out of the gate, akin to “21st Century Schizoid Man”, with some epic bass bombs by Chris Squire in the first half-minute. I was struck at how interesting, if sparse, the drumming was in the second theme, and also how varied the forms were throughout the track. I took out a sheet of paper to “ABACAB” Heart of the Sunrise. It was glorious. So many movements and melodies with the band looping back to a theme from several minutes prior…I was hooked. If I remember correctly, there were at least six namable themes with the song closing where it began, back at “A”.

Heart of the Sunrise by Yes

#8) Band: King Crimson, Song: Larks’ Tongue in Aspic Part 1, Album: Larks’ Tongue in Aspic (1973)

Another song with two parts bookending an album but this time, the two parts are very different. I am choosing Part 1 which is the opening track of the album with the same name. Part II closes the LP. The band would later record parts III, IV and V, spanning a full thirty years of King Crimson. This album marks another new beginning of the band with Jamie Muir, John Wetton and Bill Bruford joining maestro Fripp and violinist David Cross. The sound was quite different, too. In fact, as the album begins (as this track begins), the listener hears practically no sound at all. How long does the song continue before we turn up the volume? Oh, wait, is that percussion coming through? It is so tough to make out what is happening. OK, I hear the violin now, a nice steady rhythm but no real melody to be found. Then at the 3:44 mark, six notes which are inscribed in The Book hammer the listener in a tour-de-force of dynamics and sheer power. It’s one of my favorite moments in all of prog history. Is this the moment that heavy metal is born? No, that would be overly dramatic and not accurate.

Larks' Tongue in Aspic by King Crimson

Xanadu is another favorite from Rush. It’s epic without being offputting.

Renaissance’s Scheherazade suite isn’t my thing. The three albums that preceded it are their best work.

Firth of Fifth is my #1 Genesis. I have written about it extensively on other threads. If someone asks you what prog sounds like, play them this track.

Shine on You Crazy Diamond was also ranked very highly by me in Anarchy’s Floyd countdown. The parts at the beginning of the album get the most attention, but part VIII, which comes after the second passage of singing and before the coda, may be the most “Floydian” musical passage in existence and features some of David Gilmour’s best work.

Heart of the Sunrise is another epic that is impressive but not offputting. The interplay between Steve Howe and Chris Squire on the fast parts is stunning.

Larks’ Tongue is brutalism represented as music, and one of the most obvious connections between 80s Crimson and its earlier eras.