Discover the Ultimate Song Selection from 11 Iconic Progressive Rock Bands!
In our recent discussion, we explored the finest tracks from 11 legendary prog metal bands, emphasizing that a truly great piece must showcase extraordinary instrumentation and masterful songwriting. Additionally, we clarified that a “legendary” group should have a significant history, establishing itself as a key and instantly recognizable player in the genre.
Now, we are applying the same rigorous standards to unveil the best song from 11 remarkable prog rock bands!
READ MORE: The Least ‘Prog’ Album by 10 Major Prog Rock and Metal Bands
Considering that progressive rock emerged approximately 15 years before progressive metal, our focus will predominantly be on artists from the vibrant late 1960s and 1970s era. Simultaneously, we aim to highlight both the essential artists that everyone knows and those who have made substantial contributions but may not receive as much attention.
It’s important to note that while many of our selections are “epic” tracks (running over 10 or even 20 minutes), they have been chosen for their profound representation of each band’s essence. In other words, their lengthy duration is a testament to their worth, rather than just an arbitrary choice.
So, prepare your colored lights and crank up the volume as we embark on a journey through the pinnacle of musical artistry with nearly a dozen legends of progressive rock.
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Unveiling the Top Song from 11 Iconic Progressive Rock Bands
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King Crimson’s Masterpiece: “Epitaph”
King Crimson is widely recognized as the pioneering force behind progressive rock with their groundbreaking track “21st Century Schizoid Man” from the iconic 1969 album In the Court of the Crimson King. While it’s tempting to default to that track or choose the ambitious “Lizard” or the passionate “In the Wake of Poseidon,” in reality, they have never achieved a more perfect blend of exceptional songwriting and intricate arrangements than with “Epitaph.”
Reflecting the chilling realities of the Cold War, “Epitaph” would be hauntingly beautiful even with just Robert Fripp’s mournful acoustic guitar arpeggios and Greg Lake’s poetically anguished vocals (“If we make it, we can all sit back and laugh / But I fear tomorrow, I’ll be crying”). However, the emotional depth is significantly amplified by the skillful incorporation of percussion, woodwinds, piano, and mellotron, which harmoniously build upon the foundational elements laid by Fripp and Lake.
With its apocalyptic tone and sense of despair, “Epitaph” serves as a profoundly sobering commentary on humanity’s persistent tendency towards self-destruction.
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Genesis’s Epic Journey: “Supper’s Ready”
Genesis’ magnum opus, “Supper’s Ready,” fittingly concludes their most celebrated album: 1972’s Foxtrot. While other contenders exist for this list (like “Dancing With the Moonlight Knight” from 1973’s Selling England By the Pound and even the ‘80s hit “Land of Confusion” from 1986’s Invisible Touch), none can dethrone this remarkable 23-minute epic.
From its inception to conclusion, “Supper’s Ready” encapsulates the quintessential essence of classic Genesis during the Gabriel-and-Hackett era, blending majestic compositions with fantastical and theological lyricism alongside quirky musical embellishments. Gabriel shines with his endearingly theatrical delivery, while the rest of the band enhances his performance with exquisite acoustic guitar segments, rich keyboard textures, and moments of fiery intensity.
Genesis’ vibrant storytelling and pastoral elegance distinguished them throughout their early years, and nothing captures that essence quite like “Supper’s Ready.”
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Beardfish’s Vibrant Closer: “Without Saying Anything (feat. Ventriloquist)”
Fronted by the witty and dynamic Rikard Sjöblom, Beardfish embodies exceptional songwriting and a unique ability to blend sophisticated and whimsical instrumentation, solidifying their status as the premier Swedish prog band of the last quarter-century. Many of their albums deserve accolades comparable to the classics of the ‘70s, and 2011’s Mammoth is no exception.
The album is characterized by vivid imagery, energetic performances, intricate compositions, and captivating melodies, with the festive closer “Without Saying Anything” stealing the spotlight and surpassing other standout tracks like the beautifully poignant “Ludvig & Sverker” and the thought-provoking “Abigail’s Questions (In an Infinite Universe).”
For much of its duration, “Without Saying Anything” is an infectiously lively and catchy showstopper that invites active participation from the listener. It’s nearly impossible to resist singing along with every word and tapping along to every piano note, as Sjöblom’s exuberant delivery is perfectly complemented by his bandmates’ engaging percussion and bass lines. Midway through, the song shifts into a more serious, intense, and somber exploration of indoctrination, yet it remains equally captivating, ensuring that Beardfish keeps listeners enthralled until the very end.
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Yes’s Epic Saga: “The Gates of Delirium”
The 1972 album Close to the Edge is often hailed as Yes’ crowning achievement, with its title track frequently regarded as their top side-long suite (if not the best in the entire genre). While it’s challenging to refute this claim, we’ll take a different stance for one reason: the astounding power and dynamic range of “The Gates of Delirium” from 1974’s Relayer slightly eclipses it.
Drawing inspiration from War and Peace and featuring the jazz fusion elements of keyboardist Patrick Moraz (who temporarily replaced Rick Wakeman), “The Gates of Delirium” takes listeners on a harrowing journey through despair before leading them to the light of hope.
The prelude serves as the tranquil calm before the impending storm, lulling you into a false sense of security before Yes unleashes a barrage of piercing riffs, intricate rhythms, and recurring thematic elements. The composition is irresistibly melodic yet chaotic, maintaining cohesion despite its frequent shifts in passages and movements.
Finally, Yes delivers a magnificent coda titled “Soon,” offering peace, unity, and healing, articulated through Jon Anderson’s vocals, which resonate with a prophetic quality, assuring listeners that everything will be alright in the aftermath. It’s a moment that evokes tears and profound emotion as “The Gates of Delirium” gracefully reaches its poignant conclusion.
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Pink Floyd’s Iconic Track: “Comfortably Numb”
We’ve previously selected “Comfortably Numb” as Pink Floyd’s finest non-“epic” song, and despite our admiration for their best “epic” track (“Dogs”), it’s hard to argue against this song being the quintessential piece from 1979’s The Wall. A vast number of Pink Floyd enthusiasts, both fans and critics alike, agree that “Comfortably Numb” represents the pinnacle of their artistry.
Roger Waters and David Gilmour excel in their dual vocal roles, creating a striking contrast between the feelings of security and sorrow in a way that has never been replicated. Gilmour’s warm choruses reflect on childhood innocence, serving as a perfect counterpoint to Waters’ cold verses reflecting the harshness of adulthood. Meanwhile, the steady drumming of Nick Mason and the orchestral textures provided by Richard Wright add a layer of reassurance to the mix.
Additionally, Gilmour’s guitar solos are nothing short of flawless, both melodically captivating and emotionally resonant, which explains why “Comfortably Numb” has become a cultural touchstone, covered by numerous artists, including Staind and Gov’t Mule.
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Nektar’s Enigmatic Piece: “A Tab in the Ocean”
Nektar seamlessly integrated the psych/space rock influences of Pink Floyd and Hawkwind with the soothing melodies and vocals reminiscent of Camel and The Grateful Dead. Their devoted fanbase remains steadfast even 55 years after their inception (as evidenced by their continued output, like “Skywriter” from 2020’s The Other Side).
Their most significant composition, “Remember the Future,” spans 35 minutes and showcases the essence of their style, particularly with the sublime “Lonely Roads” section. However, 1972’s “A Tab in the Ocean” – which opens the album of the same name – earns recognition for its ability to encapsulate more within a shorter time frame.
The song begins with a surprisingly symphonic and frenetic introduction, akin to a mellower blend of ELP and Yes, marked by thunderous drums, aggressive guitar riffs, and intricate keyboard patterns that invite listeners into a foreboding yet enjoyable experience. As the piece progresses, it traverses through both gentle and intense musical passages, with guitarist/singer Roye Albrighton delivering his poignant lyrics supported by the band’s beautiful backing harmonies.
In essence, “A Tab in the Ocean” serves as a whirlwind of captivating musical ideas and lyrical concepts that embody the core of Nektar’s artistry. It’s a piece that demands your attention and invites you to succumb to its simultaneously soothing and intense aura.
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Caravan’s Defining Composition: “Nine Feet Underground”
The Canterbury scene of the ‘60s and ‘70s is celebrated for its sophisticated yet tranquil atmospheres, improvisational liberties, and distinct English charm. It often fused elements of prog rock, jazz, psychedelia, pop, and R&B, varying by artist, and with their 1971 album In the Land of Grey and Pink, Caravan established themselves as a leading force in this vibrant movement.
This album is frequently regarded as the defining work of the Canterbury scene, with its versatile conclusion, “Nine Feet Underground,” recognized as its most iconic composition.
While it may not possess the multifaceted complexity or technical demands of many other entries here, some might even label it proto-prog, we believe it has enough substance to qualify as a genuine progressive rock masterpiece. The song features an intoxicating blend of keyboards, horns, and rhythmic elements that introduce and support bassist Richard Sinclair’s unmistakably smooth vocals.
The most exhilarating moment arrives midway through, when “Nine Feet Underground” transitions from a sparse and subtly eerie section into a thrilling instrumental interlude before returning to Sinclair’s enchanting singing. The entirety of the piece is exquisite and serves as a testament to why Caravan remains a profoundly influential and extraordinary band.
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Emerson, Lake and Palmer’s Dramatic Epic: “Tarkus”
Featuring the talents of keyboardist Keith Emerson, drummer Carl Palmer, and Greg Lake (who transitioned from King Crimson to join this group), Emerson, Lake & Palmer, known as ELP, emerged as the first supergroup in progressive rock history. Although they might have maintained a more polished sound compared to their contemporaries, they still infused much of their work with engaging hooks and an adventurous spirit that balanced self-indulgence with creativity.
The title track of their sophomore album exemplifies this balance even more than some of their more well-known hits (“Lucky Man,” “Karn Evil 9: 1st Impression—Part 2”). The seven-part (21-minute) narrative appeals to fans of kaiju films and social commentary, as its surface-level tale (about a manticore battling an armadillo-tank) serves as a deeper allegory regarding the futility of war.
Despite its whimsical plot, “Tarkus” is an exhilarating experience, featuring bizarre sound effects (like duck quacks), complex militaristic arrangements, spirited jamming, and Lake’s captivating lyrical sentiments. Thus, “Tarkus” serves as the ideal introduction for anyone seeking to understand the essence of ELP.
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Van der Graaf Generator’s Haunting Masterpiece: “A Plague of Lighthouse Keepers”
Van Der Graaf Generator is a pioneering force in the realm of dark and chilling prog rock infused with avant-garde and jazz fusion elements. Under the leadership of the brooding Peter Hammill, their signature dissonance and eerie soundscapes contribute significantly to their complex legacy, which, while not as universally celebrated as that of titans like Genesis, Yes, and King Crimson, remains noteworthy.
This experimental composition, laden with horns and organ textures, serves as a profound exploration of nightmarish nihilism, showcasing what made VDGG both fascinatingly bold and timeless.
Centering around a lighthouse keeper who laments his inability to aid those dying around him, this composition, which closes 1971’s Pawn Hearts, employs musique concrète to build an atmosphere of cataclysmic tension and sorrow.
Hammill’s piercing vocals and the central keyboard motif create an unsettling experience, particularly during his hypnotic breakdown halfway through the piece (“I know no more ways / I am so afraid / Myself won’t let me just be myself / And so I am completely alone”). The second half of the piece offers a contrast to his mania with moments of tenderness, yet it remains unpredictable and haunting.
At times, the abstract nature of “A Plague of Lighthouse” authentically conveys the experience of losing one’s sanity (akin to the protagonists of Robert Eggers’ The Lighthouse). It’s an exceptionally unique and profound work of art.
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Rush’s Defining Anthem: “2112”
While “Tom Sawyer” is often regarded as the Rush anthem, and that perception is certainly valid in terms of its widespread appeal, if we seek a track that encapsulates the very essence of Rush better than any other, it must be the pinnacle of their prog/space rock era: the eponymous, Ayn Rand-inspired opener to their fourth album (released in 1976).
Long before Dream Theater tackled themes of entertainment censorship in a totalitarian regime (via 2016’s The Astonishing), the legendary trio of Canadian prog rock had already excelled in exploring such concepts.
The first two movements – “Overture” and “The Temple of Syrinx” – are arguably the most recognized sections (and understandably so, given their lively and catchy nature). However, “2112” does not falter thereafter, as its serene and uplifting middle segments offer a different kind of invitation. The adrenaline-fueled “Grand Finale” certainly lives up to its name, bringing the entire narrative full circle.
While “2112” may not be the most accessible, polished, or straightforward piece Rush ever composed, it encapsulates their core attributes into a singular, impactful statement.
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Spock’s Beard’s Grand Finale: “The Great Nothing”
Similar to Beardfish, Spock’s Beard openly embraces their ‘70s influences; however, their rise as a prominent American prog rock band in the 1990s and 2000s stems from their innovative edge rather than mere imitation of their predecessors. Their idiosyncratic charm, combined with the whimsical yet uplifting songwriting and vocals of Neal Morse, created a unique blend.
Their most acclaimed album may be Morse’s swan song, Snow, yet it’s the breathtaking finale of Snow’s predecessor (2000’s V) that stands out as the band’s most mind-blowing composition.
Drawing from Morse’s life experiences before joining Spock’s Beard, “The Great Nothing” reflects his journey as a troubled musician rediscovering the power of music (a narrative he elaborates on in his 2003 solo work, Testimony). The piece is filled with his signature hopefulness and relatability, complemented by Spock’s Beard’s electrifying and eclectic instrumentation. The buoyant prelude (which resurfaces near the conclusion) is both dramatic and inspiring, paving the way for Morse’s heartfelt allegories and, later, bursts of exuberant playfulness.
In all honesty, “The Great Nothing” is packed with countless ingenious callbacks, life lessons, and exhilarating moments that are difficult to encapsulate fully. Therefore, the best approach is to crank up the volume and prepare to be amazed when it concludes.
