The 5 Best Prog Rock Songs Under 3 Minutes Long

Emerson, Lake & Palmer were known for offsetting wildly abrasive and demanding blockbusters with soft and contemplative breathers and that was certainly the case on 1973’s Brain Salad Surgery. In-between the symphonic opener “Jerusalem” and their closing four-part signature rollercoaster (“Karn Evil 9”), they delivered the characteristically thoughtful and tender and “Still… You Turn Me On.”

Built around bassist/vocalist Greg Lake’s acoustic guitar arpeggios and longing singing, its delicate foundation is bolstered by funky wah-wah guitar effects and other routinely eccentric and classical timbres. Nevertheless, it’s an adoringly yearning and pleasant ode that – save for one clunky line (“Every day a little sadder, a little madder / Someone get me a ladder”) – houses some of ELP’s most poetic lyrics.

We recently included 1977’s A Farewell to Kings in our list of the 11 Best ‘70s Prog Rock Albums (Ranked), and arguably no one track from it was as important to its creative and commercial success as lead single “Closer to the Heart.” Beyond earning Rush their first hit in the U.K. (and being their first tune co-written by a non-member, Peter Talbot), it illustrated the trio’s amplified ability to pen catchy-as-hell rockers that appealed to prog and non-prog listeners alike.

Frontman/bassist Geddy Lee has rarely sung with more charm and enthusiasm, oscillating between humble reflectiveness and fiery commitment. Rhythmically, he and drummer Neil Peart nail a similar contrast between steady mellowness and vibrant enthusiasm, just as guitarist Alex LIfeson’s countryside acoustic strums and piercing electric guitar solo capture his temperamental range. In every way, then, “Closer to the Heart” is an essential Rush romp.

When you think of short but sweet pastoral progressive folk ballads, you inevitably think of “Wond’ring Aloud.” True, 1971’s Aqualung also packs the almost as wonderful “Cheap Day Return” and “Slipstream” – and 1977’s Songs From the Wood ends with the elaborate and luscious “Fire at Midnight” – but it’s “Wond’ring Aloud” that best epitomizes mastermind Ian Anderson’s skill at crafting modest snapshots of unassuming yet overwhelmingly joyful attraction.

Backed only by warm guitar work, faint strings and basic piano accentuations, Anderson’s eloquent everyman singing is beautifully complemented by his slice-of-life details. Specifically, he recounts the small domestic moments that solidify the love between he and his partner, such as how he puts his “hand in her hair” and how she “floats in the kitchen” to make him toast. Ultimately, they laugh about her “spilling crumbs / On the bed,” and Anderson finishes his irresistibly blissful representation of romance.

Hailing from Norway, self-proclaimed “weird band” Moron Police completely live up to the promise of their tongue-in-check moniker and vibrantly strange artwork. Whereas much of their work is delightfully colorful, energetic, jovial and intricate, “Hocus Pocus” – which introduces 2019’s underappreciated A Boat on the Sea – is still warm and dense but with a gloomier, simpler and lighter tone.

Clocking in at a mere 80-seconds, it does a lot to establish the band’s originality and leave a lasting impression. Mournful piano notes, measured percussion and various other timbres surround the hearty harmonies of singer/multi-instrumentalist Sondre Skollevoll. It’s like being wrapped in a warm blanket of bittersweet nostalgia, and lyrically, there’s an air of impending doom brought on by “B-52s from on high.” It’s a deceptively dark and troubling song that lingers long after it’s over.

Aside from being arguably Pink Floyd’s most popular album, 1979’s The Wall is probably the one with the most to say thematically and historically. Ranging from the personal reflections of bassist/singer Roger Waters (regarding his animosity as a rock star and the childhood trauma of losing his father) to sociopolitical commentaries on war and fascism, it’s a heavy listen.

Haunting Side Two opener “Goodbye Blue Sky” is the LP’s greatest feat in terms of channeling so many emotions and ideas in an extremely succinct way. Beginning with the sounds of birds chirping as a child points out an airplane, it soon meshes sentimental acoustic guitar fingerpicking and foreboding synths with crestfallen chants about the idealistic blue sky being overshadowed by falling bombs, flames and “the pain [that] lingers on.”

Inspired by the Blitz, “Goodbye Blue Sky” is a soothingly unnerving testament to the loss of innocence and optimism in the face of fear and violence.