by Bruce EderEmerson, Lake & Palmer's most successful and well-realized album (after their first), and their most ambitious as a group, as well as their loudest, Brain Salad Surgery is also their most electronic sounding one. The main focus, thanks to the three-part "Karn Evil 9," is sci-fi rock, approached with a volume and vengeance that stretched the art rock audience's tolerance to its outer limit, but also managed to appeal to the metal audience in ways that little of Trilogy did. Indeed, "Karn Evil 9" is the piece and the place where Keith Emerson and his keyboards finally matched in both music and flamboyance the larger-than-life guitar sound of Jimi Hendrix. Pete Sinfield's lyrics, while not up to his best King Crimson-era standard, were better than anything the group had to work with previously, and Greg Lake pulled out all the stops on his heaviest singing voice in handling them, coming off a bit like Peter Gabriel in the process. The songs (except for the throwaway "Benny the Bouncer") are also among their best work -- the group's arrangement of Sir Charles Hubert Parry's setting of William Blake's "Jerusalem" manages to be reverent yet rocking, while Emerson's adaptation of Alberto Ginastera's music in "Tocatta" outstrips even "The Barbarian" and "Knife Edge" from the first album as a distinctive and rewarding reinterpretation of a piece of serious music. Lake's "Still...You Turn Me On" is his last great ballad with the group, possessing a melody and arrangement sufficiently pretty to forgive the presence of the rhyming triplet "everyday a little sadder/a little madder/someone get me a ladder."