Today is Part 3 of our series on progressive rock in the 1970s, and we're talking about Emerson, Lake & Palmer — the most extravagant, showy, and unapologetically ambitious trio in the entire prog world

Yes took prog to symphonic heights. Jon Anderson’s ethereal high vocals, Steve Howe’s endlessly inventive guitar (acoustic and electric), Rick Wakeman’s virtuoso keyboard runs, Chris Squire’s thunderous bass, and the drumming of Bill Bruford (later Alan White) created music that felt like classical compositions played with rock power

Genesis formed in 1967 at a boarding school in England, and by the early 70s they had become masters of concept albums and live performance art

What was the greatest guitar solo of the 1970s? This is the kind of question that can start a three-hour conversation in any record store, and I've spent plenty of Sundays pondering it myself

Kansas was never a guitar-hero band in the flashy 70s sense. They were a collective—six musicians making ambitious, classically influenced progressive rock with American heart. But without Kerry Livgren and Rich Williams, that sound wouldn't have existed

Davey wasn't just a sideman—he was a co-arranger and co-writer. His parts were always melodic, tasteful, and perfectly supportive—never stealing the spotlight from Elton or the songs

Alex Lifeson of Rush—one of the most versatile, inventive, and criminally underrated guitarists of the 1970s and beyond

Buck is one of the most melodic, tasteful, and technically gifted players of the 70s who somehow never got the massive solo-star treatment he deserved

Tommy Bolin was one of the most versatile players of the 70s

Ronnie never got huge like Eddie Van Halen or Jimmy Page. He was about tone, feel, and serving the song