Emerson, Lake & Palmer are one of progressive rock’s most ambitious, bombastic and successful supergroups. Formed in London in 1970, the trio fused Keith Emerson’s virtuoso keyboards, Greg Lake’s warm voice and acoustic balladry, and Carl Palmer’s powerhouse drumming into a sound that turned classical adaptations and side-long epics into stadium-filling spectacle. Here is our fellow fan’s ranking of their finest songs.

The short version

If you only hear a few, make them “Karn Evil 9”, “Lucky Man”, “Tarkus” and “Fanfare for the Common Man” — their thirty-minute dystopian epic, the Moog-solo hit that broke them, their twenty-minute crowning achievement and their electrifying take on Aaron Copland. The full ranking is below.

The supergroup that made prog a stadium phenomenon

Emerson, Lake & Palmer were prog at its grandest, most virtuosic and most divisive. Formed in London in 1970 from three of the era’s best players — keyboardist Keith Emerson (of The Nice), bassist and singer Greg Lake (of King Crimson) and drummer Carl Palmer (of Atomic Rooster) — the supergroup built a sound around Emerson’s fortress of Hammond organs and Moog synthesizers, Lake’s warm voice and acoustic ballads, and Palmer’s thunderous drumming. They reimagined Mussorgsky, Copland, Bartók and Ginastera, wrote side-long epics about armadillo tanks and dystopian carnivals, and turned prog from a basement pursuit into a stadium-filling phenomenon — selling tens of millions of records while drawing critics’ fiercest fire. These fifteen songs are the best.

How we ranked them

This is one fan’s order, weighing ambition, virtuosity, those huge melodies and lasting impact. The facts are accurate; the order is a starting point for the debate.

The essential six

At the very top sits “Karn Evil 9” (1973), the thirty-minute, three-part epic that stands as one of prog’s most iconic long-form works. With it: “Lucky Man” (1970), the surprise hit crowned by Emerson’s groundbreaking Moog solo; “Tarkus” (1971), the twenty-minute side-long suite many call their crowning achievement; “From the Beginning” (1972), Lake’s gorgeous acoustic ballad and their highest-charting single; “Fanfare for the Common Man” (1977), their electrifying reinvention of Aaron Copland; and “Take a Pebble” (1970), the sprawling, jazzy debut epic.

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Reliably great

The next tier is essential too. “Jerusalem” (1973) is the majestic Blake-and-Parry hymn reborn on the Moog; “Pirates” (1977) is a cinematic thirteen-minute swashbuckling epic; “The Barbarian” (1970) is the thunderous, Bartók-derived debut opener; “Hoedown” (1972) is their galloping take on Copland’s Rodeo; and “Still...You Turn Me On” (1973) is Lake’s tender acoustic interlude.

Deeper cuts

For the dedicated, these reward repeat listens. “Knife-Edge” (1970) is a dark, Janáçek-inspired early showcase; “Trilogy” (1972) is the lush, multi-part title track; “C’est la Vie” (1977) is one of Lake’s most beautiful ballads; and “Black Moon” (1992) is the brooding title track of their 1990s reunion.

Every song at a glance

All fifteen songs, in chronological order — each linked to the album it comes from, so you can hear it in context.

Where to start

Begin with the self-titled debut, home to “Lucky Man”, and Brain Salad Surgery, with the epic “Karn Evil 9”, then Tarkus and Trilogy. The classic run from 1970 to 1977 holds their finest work, while the live Pictures at an Exhibition and the 1990s reunion album Black Moon reward deeper exploration.

The players

Emerson, Lake & Palmer were a true supergroup, formed in 1970 from keyboardist Keith Emerson (of The Nice), bassist, guitarist and singer Greg Lake (of King Crimson) and drummer Carl Palmer (of Atomic Rooster). Emerson’s flamboyant command of organ, piano and Moog synthesizer drove the band’s grandest moments, balanced by Lake’s gift for warm, acoustic songcraft and Palmer’s relentless, jazz-tinged drumming. Keith Emerson and Greg Lake both died in 2016; Carl Palmer continues to perform their music.

Why they still matter

Emerson, Lake & Palmer proved that progressive rock could be as bold and ambitious as classical music itself — and could fill arenas doing it. Towering peers of Yes and Genesis, and born directly from the ashes of King Crimson and The Nice, they remain one of the genre’s defining acts, for better and (to their detractors) for worse. Decades on, “Karn Evil 9” and “Tarkus” stand as monuments to prog at its most fearless.

Go deeper

Keep exploring: rank their records with our guide to the best Emerson, Lake & Palmer albums, find an entry point with where to start with Emerson, Lake & Palmer, or dig into the underrated Emerson, Lake & Palmer albums. You can also place them in the bigger picture with the best progressive rock songs of all time.

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