Genesis’ time as a pop trio (following the departures of vocalist Peter Gabriel and guitarist Steve Hackett) marked arguably the most stark and egregious conversion of them all. True, they had some decent material going into the 1980s, but by the end of the decade and into the early ‘90s, they’d punished us with multiple cringeworthy singles and album cuts (“That’s All,” “Illegal Alien,” “I Can’t Dance,” “Invisible Touch,” etc.)

That’s why it’s so shocking that they managed to create the masterful “Land of Confusion” during that time. Famously covered by Disturbed in 2005, the multi-part “Land of Confusion” was the clear highlight of 1986’s Invisible Touch due to its powerfully sociopolitical lyrics (which remains relevant), compelling melodies, sophisticated instrumentation and playful production. Really, it found the perfect middle ground between modern mainstream accessibility and vintage complexity/strangeness.

That it birthed one of the greatest music videos of all time is just the icing on the cake!

Released in 1983, 90125 saw the newly reformed Yes doubling down on Drama’s merger of prog rock and pop-rock (before completely embracing the latter style on 1987’s Big Generator). Although “Owner of a Lonely Heart” is easily the biggest song from 90125 (and this entire era of Yes), it’s “Changes” that gets the nod.

For one thing, it’s far less antiquated and far more commendable because it largely lacks the superficial new wave/synth pop sounds and cheesy songwriting.

Instead, it’s a basic but earnest and cultured ballad with appealing harmonies and welcoming yet adventurous arrangements. In other words, it feels like Yes respectably adapted to the epoch without foregoing too much of their standout characteristics.

In contrast to “Land of Confusion,” the music video for “Time Stand Still” – from 1987’s Hold Your Fire – has aged quite poorly (to put it nicely). Fortunately, it’s a small blemish on the otherwise superb legacy of the song. Written by Neil Peart, it sees Geddy Lee enthusiastically dueting with alternative rocker Aimee Mann about how our nonstop busyness can prevent us from appreciating our loved ones and taking in the modest, moment-to-moment pleasures of life.

Mann and Lee complement each other wonderfully and the trio’s motivational riffs and rhythms are equally well supplemented by borderline New Age textures and vibes. Consequently, “Time Stand Still” is a dazzling earworm whose central subject matter – like plenty of other Rush messages – is life-affirmingly timeless.

Admittedly, The Alan Parsons Project emphasized art/symphonic rock over traditional progressive rock. Nevertheless, their earliest collections – 1976’s Tales of Mystery and Imagination and 1977’s I Robot – were markedly proggier than their fifth LP, 1980’s The Turn of a Friendly Card.

Even so, second single “Games People Play” is a terrific example of why The Turn of a Friendly Card upheld Parsons’ signature knack for punchy songwriting, immaculate production/arrangements and finding the best vocalist to bring his compositions to life.

Sung by frequent collaborator Lenny Zakatek, its haunting harmonies, striking lyrics and infectious hooks are as irresistible as its pop/funk/disco foundation. While the longer version is superior due to its lengthier guitar solo and ethereal instrumental bridge, the truncated radio edit sacrifices very little of the magic.

Like The Alan Parsons Project, Supertramp’s mid-’70s output was still fairly direct despite occasionally crossing into intricate and unconventional territories (“School,” “Fool’s Overture,” “A Soapbox Opera”). It was 1979’s Breakfast in America, though, that yielded their commercial peak and their progressive pop peak thanks in large part to coming-of-age meditation “The Logical Song.”

Born out of founder Roger Hodgson’s “questions about what really matters in life,” its whimsical piano chords are matched by harrowing narration, vulnerable singing and lively timbres. As such, it effectively embodies the thematic contrasts between idealistic childhood and orthodox adulthood. It’s bolstered by a killer saxophone solo, playful effects (handclaps, whistles, etc.) and tender backing vocals as well, allowing “The Logical Song” to be delightfully deep from start to finish.

King Crimson essentially created progressive rock with 1969’s In the Court of the Crimson King and remained its most abrasively experimental torchbearers for several years afterward. Therefore, the thought of them ever exploring pop would’ve been utterly laughable – that is, until they did with their new wave/dance-rock ‘80s trilogy (Discipline, Beat and Three of a Perfect Pair). Although they retained a lot of their beloved prog rock/avant-garde tendencies along the way, they dished out some atypically mellow and melodic material, too, with “Heartbeat” from 1982’s Beat being their pinnacle pop composition.

Performed by guitarist Adrian Belew, every element is soothingly romantic and reflective, but with just the right amount of shimmering peculiarities and sophistications to be recognizably King Crimson. It’s certainly not a top-tier track within their whole catalog, yet it’s dignified and enjoyable enough to show that they could’ve succeeded in this style if they wanted to.

The initial (Syd Barrett) era of Pink Floyd was bathed in acid pop/British psychedelia, but since 1967’s The Piper at the Gates of Dawn and 1968’s A Saucerful of Secrets predate the quartet’s prog rock period, we’re looking elsewhere. In fact, there’s debatably only one tune that fits the bill – “One Slip” from 1987’s A Momentary Lapse of Reason – and luckily, it’s a good one!

As Floyd fans know, the retooled lineup had much to prove on A Momentary Lapse of Reason since it was their first with David Gilmour completely leading the charge after Roger Waters left. He was more than capable, of course, with “One Slip” (co-written by Roxy Music’s Phil Manzanera) dishing out an exciting array of radiant instrumentation and breezy sentiments regarding chance, serendipity and the blinding joy of love. It’s nearly impossible not to get lost in its splendor.

As their name implies, Electric Light Orchestra (like The Move before them) specialized in bringing symphonic components – classically structured overtures/interludes, strings, woodwinds, etc. – to prog rock. During the latter half of the 1970s, they perpetually steered toward progressive/power pop, prompting hits such as “Livin’ Thing,” “Turn to Stone,”  “Do Ya,” “Don’t Bring Me Down” and the best of the bunch, “Mr. Blue Sky.”

Lifted from 1978’s Out of the Blue, the song was unsurprisingly penned by mastermind Jeff Lynne as a tribute to gorgeously sunny and uplifting days. With its driving tempo and beautifully baroque spiritedness, it inescapably puts the listener in a good mood amidst conjuring the joyful elegance and elaborateness of multiple Beatles classics (not to mention Pet Sounds and SMiLE by Brian Wilson/The Beach Boys).

By the mid-80s, Jethro Tull were virtually unrecognizable compared to their 1970s progressive/folk rock heyday and a huge reason why was their growing penchant for electronic rock and synthpop. Even their worst LP (1984’s Under Wraps) was able to generate a few strong selections, though, including “Under Wraps #2” and “Later, That Same Evening.” It also delivered “European Legacy,” the group’s greatest stab at moderately easygoing and simple poppiness.

Four decades later, there’s no defending the corniness of the programmed drumming and sound effects; however, there’s no denying the affective urgency and fluidity of frontman Ian Anderson’s verses and acoustic guitar work, either. Similarly, “European Legacy” is generally fleshed out with tastefully bright ornamentation, making it distinguished and engrossing enough to stand out.

You could argue that Kansas fashioned the ultimate blend of progressive rock and pop-rock with 1976’s “Carry On Wayward Son,” and by the time 1982’s Vinyl Confessions rolled around, they’d already jumped further into the pop-rock pool via major releases such as “Point of No Return” and “Hold On.”

That said, those tracks were still significantly complex and heavy, whereas comeback lead single “Play the Game Tonight” is soft, pensive and lively. Beginning with a tender piano prelude, new singer/keyboardist John Elefante soon demonstrates why he was an excellent choice to temporarily replace Steve Walsh. Backed by music that alternates between intense and calming (but always elegant), his soaring singing is absorbingly pure and impassioned.

It’s no wonder why the piece became the hit that Kansas needed at the time.