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round out the top five. Like Emerson and Wakeman, these keyboardists demonstrated inspiring digit dexterity, creativity, flexibility and filled the songs of the groups they played in with the right sounds and flourishes to make them recognized as top keyboardists.

Patrick Moraz followed a prodigal upbringing to prominence in the vacant keyboard role with the band Yes, after Wakeman's departure in 1975. This was followed by another replacement role with the Moody Blues in the late 70's and early 80's. In both cases Moraz seemed to inject these groups with new life and demonstrated a playing ability on par with the likes of Emerson and Wakeman. Within his solo work Moraz blended many styles and stressed an improvisational composition approach.

Tony Banks inclusion in this list highlights progressive rock's fertility for creating top keyboardist. With the band Genesis, Banks style was more subtle than the others in this top five, but his focus on mood and timbre where as much a part of his band's sound as that of any other keyboardist in rock. The flow and counterpoint of his playing was as smooth and steady as his demeanor.

Billy Payne is a rock keyboardist in the traditional sense of the genre. As a long standing driving force behind the band Little Feat Payne has demonstrated uncanny ability to fill the spaces in a song with artistic and technically demanding flourishes seamlessly with the driving beat and soloing support structure of prominent jam band. While classical influences do not blend in with Little Feat's music Payne does seamlessly transition into jazz, Creole, country and straight ahead rock, demonstrating his versatility and the justification for his inclusion in this list.

The prominence of keyboards in rock music seems to go through waves of popularity, whether it was the progressive music of the 70's or the New Wave bands of the 80's. In these eras and in the next these artists will be recognized for their influence through their instrument; the Keyboard.

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