by Bruce Eder
The second album by this version of the Grass Roots was a major change of pace. Having charted very high with &Let's Live for Today& and done decently with the accompanying album -- which was done under the direction of producers Steve Barri and P.F. Sloan, whose songs dominated the LP, with a lot of outside musicians playing on it -- the group members persuaded the label to let them do an album that more reflected the quartet's own sound. The result was Feelings, which was to the Grass Roots roughly what Headquarters was to the Monkees, though not remotely as successful. Without a hit single to drive its sales, the album was ignored almost entirely, which is sort of a shame because it has quite a few good moments. Feelings opens with the lively title track, a group original going back to their days as a garage band two years earlier, which incorporates an Eastern influence in its break and seems to portend a new and harder sound for the band (if this is what they sounded like on-stage, you would love to hear some live tapes of the group). Three Barri/Sloan and P.F. Sloan numbers follow that sound which are more like the poppier folk-rock and pop-psychedelia from the prior album (&Here's Where You Belong& even closely resembles &Where Were You When I Needed You&). The group turns in lively, melodic performances on &You Might as Well Go My Way& and &All Good Things Come to an End,& and then there are the six group originals that feature the quartet on their own as composers: &Who Will You Be Tomorrow,& with its heavy Creed Bratton guitar solo; the bluesy &Hot Bright Lights,& which offers Bratton in an extended guitar break heavy on the volume pedal; the languid, slightly spacey &Hey Friend&; &You and Love Are the Same,& a ballad with a rich rhythm guitar part, lush choruses, and a psychedelic haze hanging over its arrangement; and &Dinner for Eight,& a somber, reflective piece with a disconnected psychedelic break that rolls right back into a reprise of &Feelings.&