I have a whole smattering of Psych & Garage 45's digitized that never seem to make it onto my daily site (dereksdaily45.blogspot.com) so thanks to the magic of Bedazzled!, I'll share a few micrograms of them here from time to time.
First up, we have The Brass Toad, from (possibly) a town called Orange, TX with "In The Back Of My Mind" (1969). The group certainly has the type of late period psych sound as heard from fellow Texans The Bubble Puppy, and this record has a very druggy vibe that would fit in well on the soundtrack of a period low budget film, perfect for an acid freakout scene or playing in the background of a wild go-go party.
Cooling things off a bit but no less trippy is "Lady Margaret" from Capes Of Good Hope (1966), a band out of Chicago. The Capes laid out a fabulous song here, full of interesting lyrics, stellar harmonies, and bogus tabla drums. This group released a mere two 45's, but their talent is obvious and they seemingly could have done far more. Truly excellent stuff that will stick in your head all day and perhaps even cause some flashbacks.
For a bit of baroque Anglophilic whimsy, The Lownly Crowde somehow found "Shadows & Reflections" (1967) from UK mod masters The Action and cut a heavily produced version (which is almost a bit too blown out for my tastes) The record, produced by Tom Wilson (producer of The Velvet Underground and Mothers Of Invention) still stays very charming, especially considering that in those pre-internet days finding a fantastic underground song from a UK group which (I think) did not see US release was quite a feat.
Finally, here's a moody, soul influenced number from The Ones entitled "You Haven't Seen My Love" (1967) . The side is a fantastic slice of psychedelicized soul, full of great Hammond organ and even better lead vocals, made even more fascinating that it was released on Motown! The group were made up of some young latino and white dudes from Lansing, MI and they truly cut a moody masterpiece with this record that gets better every time I hear it. The record was self-released and became a local hit, after which Motown licensed the cut and in turn the Ones became the first non-black group to grace the Motown catalog.