Last Updated on February 26, 2026 by Black Sunshine Media
I don’t consider myself a progressive rock guitarist, but prog is an important part of my skill set. The verse section of “The Spirit of Radio” by Rush was the first lick I learned to play by ear. Yessongs (1973) was the first live album I ever owned. I legit studied classical guitar for two years. All my bands had “progressive” in our bio, whether it was progressive indie hard rock or experimental psychedelic prog. Put it this way: in one band, I played bass and keyboards simultaneously like Geddy Lee.
Progressive rock’s transition from an underground British rock scene to a global phenomenon was defined by a sharp cultural and musical divide.
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Depending how you interpret the boundaries of a genre, progressive rock is either alive and well or an idiosyncratic figment from the 1970s, representing excess and indulgence, concept albums, dry ice, and lengthy solos. For my money, the classic era of prog lasted from 1969 to roughly 1979, ended by the arrival of punk, post-punk, disco, and new wave. However, it’s fair to say that prog had three distinct waves:
First Wave (1969–1974)
The “Big Six” of British progressive rock (Yes, Genesis, Pink Floyd, ELP, Jethro Tull, King Crimson) defined the genre, while art rock, heavy metal, krautrock, and space rock, emerged simultaneously.
Second Wave (1975–1981)
Prog becomes more fragmented. Bands like Rush and Queen pushed prog into hard rock territory. Synthesizers replaced the pipe organs and Mellotrons. Space rock is a thing. Arena rock and new wave developed symbiotically, but everything 1981 on out is neo-progressive rock.
Third Wave (1995–2003)
Technically, second-generation neo-progressive and mostly alternative metal, but… Post-alternative bands like Dream Theater and The Mars Volta revived the classic era vibes with an updated sound.
I’m mainly interested in First and Second Wave prog guitarists, but we’ll do a high-speed fly-by of Third Wave players at the end.
First Wave (1969–1974)
Steve Howe (Yes)
By popular opinion and personal bias, Steve Howe is the John Bonham of progressive rock guitar players. We could argue all day about Howe versus Fripp, Zappa, Holdsworth, et. al, but just about every user-generated opinion poll, and many critical assessments agree: Steve Howe represents the pinnacle of prog rock guitar.
Very few players on this list can match his effortless fusion of classical, country, and jazz influences within the progressive rock medium. He could shred like Les Paul and pick like Chet Atkins, and most importantly, developed a singular sound, like Eddie Van Halen, for example. You think, “Oh, that’s Steve Howe” the minute you hear him play, whether in Yes, Asia, or his solo work.
And he sang backing vocals. Watch this video. End of.
Steve Hackett (Genesis, solo)
Genesis was a “keyboard-first” band, leaving Steve Hackett to fill the spaces with an exceptionally underrated style of “inside” and “outside” playing that became somewhat of a trademark among progressive guitarists. At times, the guitar solo appears to “skirt” the key of the song, resulting in a jazz fusion sound. In reality, they’re pushing the limits of traditional harmony using techniques to create extreme tension and release.
The “Outside Sound” of Progressive Rock Guitar
For the uninitiated, Hackett used a series of primary techniques to get the “outside” sound:
Side-slipping or -stepping: The most common way to sound like you’ve switched keys. Take a familiar melody, scale, or arpeggio and shift the entire shape up or down by a semitone (one fret) for a few beats before “slipping” back into the original key.
Melodic minor modes: Modes from the melodic minor scale rather than standard major/minor scales. Specifically, the Altered scale (the 7th mode of melodic minor) contains notes that clash with the standard key, making it sound “foreign” while technically remaining harmonically sophisticated.
Frequent key center changes: Playing perfectly “inside” a scale that matches a specific chord, but that chord is from a different key than the previous one, the shift sounds sudden and “out.”
Polytonality: This involves implying two different keys simultaneously. For example, a guitarist might play a C major arpeggio over an F# dominant chord. This creates a “rub” where the ear hears both tonalities at once, a hallmark of players like John Scofield or Allan Holdsworth.
Chromaticism: Rather than just playing scale notes, players “enclose” target notes by playing the half-step above and below them first. This adds a constant stream of “wrong” notes that resolve quickly to “right” notes, creating a sense of sophisticated melodic “blur”.
Symmetrical scales: The use of the Whole Tone and Diminished scales creates an ambiguous, floating sound because these scales don’t have a traditional “home” note (tonic) like standard major keys.
Steve Hillage (Gong, solo)
Prog Steve Number 3. Legendary occult spaceman from the Canterbury scene, Hillage is most known for his work on Gong’s Radio Gnome Invisible trilogy of albums (specifically Angel’s Egg (1973) and You (1974); however, his solo albums are a far better showcase of his talent. His 1976 sophomore solo release, L, produced by Todd Rundgren, is considered one of the top space rock albums. However, I’m utterly convinced that Fish Rising (1975) is the ticket.
Aside from his traditional fretboard dexterity (i.e., ability to solo), Hillage was a great singer who wrote amazing riffs and pioneered the use of looping delay effects to expand the color palette and emotional range of space and prog rock guitar. His enduring influence can be heard in the work of Spiritualized, Radiohead, The Verve, The Stone Roses, Mogwai, My Bloody Valentine, and countless other bands.
Don’t sleep on “Solar Musick Suite” and “The Salmon Song”.
Robert Fripp (King Crimson, Eno, David Bowie)
A lower-than expected ranking, I suppose. First, an acknowledgement. Fripp has written several of the greatest prog rock riffs of all time (“21st Century Schizoid Man”, “Larks’ Tongue in Aspic”, “Red”, “The Great Deceiver”, etc.) and inarguably influenced many players on this list, including Frank Zappa, who was typically more influenced by things he didn’t like than the things he did.
Zappa called Fripp’s style “robotic” and “overly controlled,” and I tend to agree with him—to a point. Much of Fripp’s best work is with somebody other than his own band, e.g. the signature lead guitar on Bowie’s “Heroes”.
Like King Crimson’s albums, Robert Fripp’s guitar work is inventive and unmistakable, but his challenging approach often veers into extra-experimental territory. Progressive rock shouldn’t be so progressive that it scares away all but the most determined music nerds.
Allan Holdsworth (Soft Machine, Gong, Bruford, U.K.)
Guitar is not about the gear; it’s in the hands of the player, and few people have Holdsworth’s paws. One could spend years trying to replicate his style, but unless you have super-human reach, you’re not gonna make it. Believe me, I tried. With most prog players, I can visualize what they’re doing on my mental fretboard.
Holdsworth always sounds like four hands at once, and it makes me palpably uncomfortable. I’ve watched instructional videos and read the tablature, and nah, it’s not for normal people. Buckethead is another guy with freakishly large hands on the neck. There’s a point where a guy is just too good, and Holdsworth crosses it every time.
Frank Zappa (The Mothers of Invention, solo)
If the Beach Boys and the Beatles were the genetic co-parents of progressive rock, Frank Zappa was the grandfather of experimental rock. He belongs in any conversation about the first wave of progressive rock.
Stanley Whitaker (Happy the Man)
An unsung American guitarist and one of the few players on this list who can hang with Zappa and Holdsworth. Happy the Man’s debut album (1977) is worth a few spins.
Brian May (Queen)
Queen had too many art, pop, and hard rock sensibilities to fit squarely into the prog rock category, but Brian May’s guitar work is textbook prog.
Martin Barre (Jethro Tull)
If I had to describe Martin Barre in one word: tasteful. Given Jethro Tull’s histrionics and bombast, Barre held it down, and I must admit, he’s one of the few players who consistently impress me, 50 years after the fact. For example, I listened to Aqualung (1971) and Thick as a Brick (1972) the other day, and man, Martin Barre gives a TedTalk in classy guitar work.
Andy Powell & Ted Turner (Wishbone Ash)
Notwithstanding the Allman Brothers, Powell and Turner were the first seriously good British twin-lead guitar tandem in rock music, prog and/or otherwise. Iron Maiden, Judas Priest, Lynyrd Skynyrd, Scorpions and Thin Lizzy loved Wishbone Ash’s Argus (1972), one of the more underrated albums of the first wave.
Roye Albrighton (Nektar)
My man Roye has some cool little riffs, man. I love A Tab in the Ocean (1971).
David Gilmour (Pink Floyd)
I’ve been critical of Gilmour’s work for most of my adult life, and I still think he’s exceptionally overrated as a soloist in particular. However, credit where credit is due. When it comes to prog guitar, Gilmour’s quite good at what he does.
Fred Frith (Henry Cow)
The band is closer to avant-garde free jazz than prog rock, but Frith has some wildly inventive ideas.
Gary Green (Gentle Giant)
It must have been tough playing in a band that went out of its way to be unpopular.
Dave Brock (Hawkwind)
He didn’t invent space rock, but he sure made it something worth hearing.
Jeff Lynne (The Move, Electric Light Orchestra)
You know what I love about Jeff Lynne? His solos serve the songs.
Phil Miller (Matching Mole, Hatfield & The North, National Health)
Miller was a space jazz prodigy.
Roger Hodgson (Supertramp)
Supertramp is known for electric piano-based art rock, but check out the guitars on “Bloody Well Right”. So cool.
Pye Hastings (Caravan)
Very much a “pocket player” who didn’t get too flashy.
Andrew Latimer (Camel)
Camel was run-of-the-mill prog, but this cat gets credit for singing lead, playing lead guitar, and occasional flute bullshit.
Greg Lake (Emerson, Lake & Palmer)
ELP was a keyboard-driven group, and Lake built his reputation more as a bass player, but somebody had to play the guitar parts.
Mike Oldfield (Kevin Ayers, solo)
He’s renowned for the epic prog album Tubular Bells (1972), but Oldfield could really play. I’ve always loved Kevin Ayers’ first solo album, Shooting at the Moon (1970), an experimental Hail Mary to psychedelic garage art rock.
Ian Anderson (Jethro Tull)
Robin Trower (Procol Harum)
Yeah, I know it’s not “Bridge of Sighs” or anything flashy, but I love this song and Trower plays on it.
John McLaughlin (Mahavishnu Orchestra)
He’s got some solid moments, but they’re very jazz fusion, not prog.
Terry Kath (Chicago)
I know it’s a stretch to call Chicago a prog rock band, but they had their moments, and all involved Terry Kath, one of the most underrated players ever.
Honorable Mentions
Jan Akkerman (Focus)
Jeff Beck
Michael Karoli (Can)
Second Wave (1975–1981)
Alex Lifeson (Rush)
Many older people are exceedingly stubborn, like you can’t change their mind about anything, even when presented with irrefutable evidence to the contrary of their views. That’s how I feel about Alex Lifeson. You can’t tell me he’s (a) not one of the greatest rock guitar players of all time—top 5, easy— and (b) not the best progressive rock guitar player of the second wave. You can try, but it would be like telling grandma that brown people are people, too.
Steve Morse (Dixie Dregs, Deep Purple, Kansas)
I’m willing to overlook Morse’s association with Deep Purple and what they’re calling “Kansas” these days, because that Dixie Dregs shit is off-the-charts crazy-good guitar playing, especially when they keep that keyboard player on a short fuckin’ leash.
Adrian Belew (Zappa, King Crimson)
He’s kinda like the “Weird Al” Yankovic of progressive guitar. Purposefully “wacky” but artistically subversive to the point of sophistication. I’ll never forget seeing Crimson play “Elephant Talk” on the ABC variety show, Fridays. Several pieces of my skull remain missing to this day.
Todd Rundgren (Utopia)
Theoretically, Rundgren could be squeezed into the first wave, but Utopia didn’t start releasing records until 1974.
Kerry Livgren and Richard Williams (Kansas)
I don’t know or care which one of them is responsible for all the killer licks in “Carry On My Wayward Son”, maybe it’s both.
Tommy Bolin (Zephyr, Billy Cobham, Deep Purple)
He was perceived to be more of bluesy hard rock and jazz fusion guy, but Bolan’s playing on Billy Cobham’s Spectrum (1973) is absolutely stunning—and I’m no jazzbo. Eddie Van Halen “borrowed” a few tricks from Bolin.
Alex Skolnick (Testament, Savatage)
In the mid-to-late 1980s, sometimes it seemed like the same fuckin’ guy did the voiceovers for every TV commercial. You’d recognize his voice but never knew his name. I’ve heard Testament a thousand times and I still can’t pick them out of a lineup.
Steve Rothery (Marillion)
Marillion was the first neo-progressive band, and very much an acquired taste, but Rothery can play.
Trevor Rabin (Yes)
I passed at an opportunity to see Yes on the 90125 tour because what’s the point without Steve Howe?
John Goodsall (Brand X, Atomic Rooster)
Gets more love as a jazz fusion guy, but he’s got some chops.
Ty Tabor (King’s X)
Story time. My former band Henry Miller Sextet made two mini-tours of the West Coast in the early 2000s. We played Dante’s in Portland, Oregon, twice. Dante’s was across the street from a now-defunct venue called Berbati’s Pan, a Greek restaurant and nightclub with 500-person capacity. Our first time in town, King’s X was playing Berbati’s Pan on the same night, but their tour bus was parked outside Dante’s, blocking our access to the club’s load-in door, when we rolled up in our rent-a-van around 5:00 p.m.
We were standing in the parking lot, smoking and wondering what to do next—check-in to the hotel or truck our gear 50 yards for load-in? We gawked at the tour bus with envy and mused about the band because we knew King’s X were playing tonight. Out of the periphery, long-haired dude on rollerblades came blazing past us, knocked on the tour bus door, and climbed inside. I turned to my bandmates and said, “That was Ty Tabor, the guitar player.” Our drummer said, “Nice rollerblades, chief.”
I loved Gretchen Goes to Nebraska (1989) until I learned they had some Christian rock aspirations, and I haven’t heard a peep from them since.
Steve Vai (Frank Zappa, David Lee Roth)
You know, at my advanced age, if I haven’t learned how to “adult” or at least show some maturity, it’s too late for me. I’d be doomed to living in a bubble of willful ignorance. So, instead of ripping off some adolescent vitriol about how much I despise these “Look, ma! No hands!” types of guitar players, I must humbly submit to reality and acknowledge Steve Vai as a fantastic, maybe once-in-a-lifetime player. I wish I was as good at something as he is at guitar.
His work with Zappa and the first two David Lee Roth albums is great, and I still listen to those albums and marvel at Vai’s chops.
Mike Keneally (Frank Zappa)
Phil Keaggy (Glass Harp, solo)
Bill Nelson (Be-Bop Deluxe)
Mick Box (Uriah Heep)
Ritchie Blackmore (Deep Purple)
Third Wave (1995–2005)
Prog went underground for a while as alternative and hip-hop gained mainstream exposure, but plenty of guys were still chasing the dream.
John Petrucci (Dream Theater, Liquid Tension Experiment)
He plays faster than anybody I’m comfortable listening to, but that’s a quality in and of itself.
Mikael Åkerfeldt & Fredrik Åkesson (Opeth)
I went through a phase in the late 1990s when I thought I’d “heard everything”, and I started listening to a college radio station in San Francisco, KUSF, and that’s how I got turned on to progressive metal and Swedish death metal.
Adam Jones (Tool)
This selection is about sound, not technical virtuosity, though maybe Jones can shred, I dunno. Every Tool song sounds identical, but gotdam if those guitars don’t sound good. I saw them in 199-? On their second or third album? The Melvins opened? Everything special about his playing can be coalesced into one song, “The Pot”, which didn’t come out until 2007-ish.
John Wesley and Steven Wilson (Porcupine Tree)
I agree with people who criticize the “cold” and “sterile” feel of Porcupine Tree’s music, like clinical psychedelia. An acid trip under professional supervision. Something like that. Nevertheless, Wesley and Wilson can play circles around me.
Larry Lalonde (Primus)
Primus is up there with Eric Clapton, Guns N’ Roses, Morrissey and a certain Southern California funk rock band who shan’t be named, in terms of utter uselessness. They say Lalonde knows what he’s doing because he studied under Joe Satriani—like that’s a good thing—but you wouldn’t hear it on a Primus record. He sounds exactly like I would if forced to play along to that “Tommy the Cat” bullshit.
Claudio Sanchez (Coheed & Cambria)
Is it fair to say Coheed & Cambria were the first emo prog band?
Omar Rodríguez-López (At The Drive-In, The Mars Volta)
The only guitarist that I’m aware of who could function on crack.
Devin Townsend (Strapping Young Lad, Devin Townsend Project)
I’m genuinely uninclined to hear a note of this guy’s music. I hear he’s good.
