The Music Machine

{{For|the British radio station|The Music Machine (radio station)}}{{For|the London music venue formerly known as The Music Machine|Koko (music venue)}}{{Infobox musical artist  | name = The Music Machine | image = The Music Machine.png | image_upright = 1.2 | caption = The Music Machine in 1966 | background = group_or_band | alias = The Bonniwell Music Machine | origin = Los Angeles, California, {{nowrap|United States}} | instrument = | genre = {{flatlist| * Garage rock<ref>{{cite web|first= Bruce |last= Eder |title= The Music Machine – Artist Biography |publisher= AllMusic. All Media Network |access-date= October 29, 2016 |url= http://www.allmusic.com/artist/the-music-machine-mn0000469286/biography}}</ref> * {{nowrap|psychedelic rock}}<ref>{{cite web|first= Richie |last= Unterberger |author-link= Richie Unterberger |title= Liner notes to CD reissue of T.S. Bonniwell's ''Close'' |access-date= October 29, 2016 |url= http://www.richieunterberger.com/bonniwellclose.html}}</ref> * {{nowrap|acid rock}}<ref>{{cite book|first1= Alan |last1= Bisbort |first2= Parke |last2= Puterbaugh |year= 2000 |title= Rhino's Psychedelic Trip |publisher= Hal Leonard Corporation |page= 31}}</ref> * proto-punk<ref>{{cite magazine|magazine=Rolling Stone|first= David |last= Fricke |author-link= David Fricke |title= The Music Machine: Where Are They Now? |date= September 11, 1986 |access-date= October 29, 2016 |url= https://www.rollingstone.com/music/features/music-machine-19860911}}</ref> }} | years_active = 1965–1969 | label = {{flatlist| * Original Sound * Warner Bros. * Bell }} | website = [http://www.bonniwellmusicmachine.com/ bonniwellmusicmachine.com] | past_members = *Sean Bonniwell (d. 2011) *Ron Edgar (d. 2015) *Mark Landon *Keith Olsen (d. 2020) *Doug Rhodes

| associated_acts = {{flatlist| * The Raggamuffins * {{nowrap|The Millennium}} }} }}

'''The Music Machine''' was an American rock band formed in Los Angeles, California in 1966. Fronted by chief songwriter and lead vocalist Sean Bonniwell, the band cultivated a dark and rebellious image reflected in their musical approach. Sometimes the band made use of distorted guitar lines and hallucinogenic organ parts, punctuated by Bonniwell's distinctively throaty vocals.

Although they managed to attain national chart success only briefly with two singles, the Music Machine is today considered by many critics to be one of the groundbreaking acts of the 1960s. Their style is now recognized as a pioneering force in proto-punk; yet within a relatively short period of time, they began to employ more complex lyrical and instrumental arrangements that went beyond the typical garage band format.

In 1965, the band came together as a folk rock trio known as the Raggamuffins, before expanding to the quintet that was later rechristened the Music Machine. The group was known for their style of dress, clothing themselves in all-black attire. In 1966, the Music Machine was signed to Original Sound, and released its first single "Talk Talk" in the latter half of the year, with it reaching the Top 20 of the ''Billboard'' Hot 100. Their debut album ''(Turn On) The Music Machine'' and the moderate hit "The People in Me" followed. The band's original lineup fragmented in late 1967 after managerial and financial disputes. Bonniwell reassembled the group under the name '''The Bonniwell Music Machine'''. In 1968, a second album, ''The Bonniwell Music Machine'' appeared, but the group disbanded in early 1969.

==History== ===Beginnings (1965–1966)=== The nucleus of the band was formed when Sean Bonniwell (lead vocals, rhythm guitar) took part in a jam session with Keith Olsen (bass guitar) and Ron Edgar (drums; born Ronald Edgar on June 25, in Minneapolis, Minnesota)<ref name=startribune/> – both of whom he met in the folk music circuit.<ref>{{cite web|url=http://www.bonniwellmusicmachine.com/ignition.html|title=Ignition – The Music Machine|work=bonniwellmusicmachine.com|access-date=October 7, 2015}}</ref> Bonniwell, already a practiced "folky", possessed prior experience as a vocalist with the Wayfarers. The traditional folk combo had already enjoyed some regional success: releasing three albums, and building on the experience of Bonniwell who insisted on the importance of rehearsal.<ref name="psychedelicbaby">{{cite web|last=Breznikar|first=Klemen|author-link=Klemen Breznikar |date=July 8, 2011|title=The Music Machine interview with Sean Bonniwell|url=https://www.psychedelicbabymag.com/2011/07/sean-bonniwell-interview-html.html|url-status=live|archive-url=https://web.archive.org/web/20201225054417/https://www.psychedelicbabymag.com/2011/07/sean-bonniwell-interview-html.html|archive-date=December 25, 2020|access-date=October 6, 2015|website=It's Psychedelic Baby! Magazine}}</ref> As Bonniwell traveled and recorded with the group, he began penning some material that would later surface with the Music Machine. However, still influenced by acts now considered passé, the Wayfarers' musical traditionalism became stifling to Bonniwell who wanted to explore the type of harder, cutting-edge stylistic possibilities that he eventually would find in rock.<ref>{{cite web|url=http://www.waybackattack.com/musicmachine.html|title=The Music Machine Talk Talk|work=waybackattack.com|author=Kirby, Michael|access-date=October 6, 2015}}</ref> Olsen had previously performed in Gale Garnett's backing band, and Edgar was a member of a bohemian folk quintet called the GoldeBriars,<ref name="Minnie">{{cite web|url=http://minniepaulmusic.com/?page_id=6917|title=Music Machine (Ron Edgar, Keith Olsen)|work=minniepaulmusic.com|access-date=June 17, 2015}}</ref><ref name="GoldBriars">{{cite web|url=http://myweb.tiscali.co.uk/pawtrait/folkville/biographies/feature-TheGoldebriars.html|title=The GoldBriars|work=tiscali.co.uk|access-date=October 6, 2015|archive-date=February 29, 2016|archive-url=https://web.archive.org/web/20160229105620/http://myweb.tiscali.co.uk/pawtrait/folkville/biographies/feature-TheGoldebriars.html|url-status=dead}}</ref> which featured later Sunshine Pop progenitor Curt Boettcher (whose career would intertwine with various members of the Music Machine in the late 1960s). With the GoldeBriars, Edgar contributed to their third album, which was slated for release on Epic Records, but the group disbanded before the album was issued.<ref name="Minnie"/><ref name="GoldBriars"/>

In 1965, the three formed their own folk rock group, the Raggamuffins, and began performing in Los Angeles with a repertoire that saw the band embrace a more unorthodox style, and depart from their traditional roots.<ref name="Unterberger(Rag.)">{{cite web|url=http://www.allmusic.com/artist/the-ragamuffins-mn0001827165|title=The Ragamuffins – Biography |publisher=AllMusic |work=allmusic.com|author=Unterberger, Richie|access-date=June 17, 2015}}</ref><ref name="Unterberger (Iginit.)">{{cite web|url=http://www.allmusic.com/album/ignition-mw0000087800|title=Ignition – Review|author=Unterberger, Richie |work=allmusic.com|access-date=June 17, 2015}}</ref> The group also recorded four songs that went unreleased until the 2000 album, ''Ignition'', which represented the transitional phase before the band developed into the Music Machine.<ref name="Unterberger(Rag.)"/><ref name="Unterberger (Iginit.)"/> Bonniwell and Olsen were enthusiastically experimenting with musical textures while the band arranged strict rehearsal regimens in Bonniwell's garage. The Raggamuffins purchased hardware for a homemade fuzz-tone switch. From the onset Bonniwell ensured the group resonated like no other by instructing his bandmates to lower their instruments from the standard E note to D-flat.<ref name=bigbeat>{{citation|title=''The Bonniwell Music Machine'' (CD booklet)|publisher=Big Beat Records|year=2014|author=Palao, Alec|author-link=Alec Palao}}</ref> As a result of the adjustment, the Raggamuffins were given a bottom-heavy and ominous sound. In addition, the group began dressing noire, while sporting dyed-black hair, and the trademark single leather glove that presented an eye-catching and unified band image, which would later become influential with certain 1970s punk acts.<ref name="Minnie"/><ref name="Campbell (MM)">{{cite web|last1=Campbell|first1=Marc|title=Sean Bonniwell of The Music Machine R.I.P.|url=http://dangerousminds.net/comments/sean_bonniwell_of_the_music_machine_r.i.p|website=Dangerous Minds|access-date=December 28, 2015|date=December 29, 2011}}</ref>

Auditions were held in early 1966 to expand the group, resulting in the recruitment of Mark Landon (lead guitar) and Doug Rhodes (organ), the latter previously a session musician for the Association (whose first album was produced by Boettcher).<ref>{{cite web|url=http://www.thefinalvinyl.com/millen.htm|title=Final Vinyl – The Millenium|work=thefinalvinyl.com|access-date=October 9, 2015}}</ref> To reflect on the revamped line-up, Bonniwell changed the band's name to the Music Machine.<ref name=sean>{{cite web|url=http://www.richieunterberger.com/bonniwell.html|title=Sean Bonniwell Interview|work=richieunterberger.com|author=Richie Unterberger |access-date=February 24, 2015}}</ref> Another purpose for coining the name, Bonniwell explained, was "I seguewayed [sic] all the original material with musical segueways [sic]. So we would be on stage for like an hour and ten minutes, wall-to-wall music just nonstop, which is why I called us the Music Machine".<ref name=sean/> The band established a solid reputation with its performances in Los Angeles clubs.<ref name=tribute>{{cite magazine|url=https://www.rollingstone.com/music/news/the-dark-prince-of-garage-rock-a-tribute-to-sean-bonniwell-of-the-music-machine-20120104|title=The Dark Prince of Garage Rock: A Tribute to Sean Bonniwell of the Music Machine |magazine=Rolling Stone |publisher=rollingstone.com|author=David Fricke|date=January 4, 2012 |access-date=May 12, 2015}}</ref> With Bonniwell as the ''de facto'' leader and creative force of the band, the Music Machine began to develop a blend of gritty 60s punk and psychedelia, and a repertoire encompassing Bonniwell's self-penned material along with some cover songs.<ref name=music>{{cite book |url=https://books.google.com/books?id=jzabxWx_vCYC&q=Unknown+Legends+of+Rock&pg=PA58|title=''Unknown Legends of Rock 'N' Roll''|author=Unterberger, Richie|publisher=Hal Leonard Publishing|pages=56–57|year=1998|isbn=0879305347}}</ref> The band's sound was highlighted by the authoritative and versatile vocals provided by Bonniwell, with an energized technique and unusually good intonation in long-sustained passages, and the ability to breakdown phrases into a series of slow pulsations.<ref>{{cite book|title=''Sixties Rock: Garage, Psychedelic & Other Satisfactions''|publisher=University of Illinois Press|author=Hicks, Michael|year=1999|page=[https://archive.org/details/sixtiesrockgarag00hick/page/10 10]|isbn=0252024273|url=https://archive.org/details/sixtiesrockgarag00hick/page/10}}</ref> The Music Machine's artistic stance was also highlighted by Landon's wiry guitar playing, Olsen's reverberant bass, and Edgar's cymbal-punctuated drumming, which gave the band a harder-edged sound than many of their contemporaries.<ref>{{cite book|url=https://archive.org/details/garagerockitsroo00eric|url-access=registration|title=''Garage Rock and its Roots: Musical Rebels and the Drive For Individuality''|author=Abbey, Eric|date=May 19, 2006|page=[https://archive.org/details/garagerockitsroo00eric/page/85 85]|publisher=MacFarland and Company Publishing|isbn=9780786425648}}</ref>

===Commercial success (1966–1967)=== Record producer Brian Ross just happened upon the Music Machine at Hollywood Legion Lanes, a bowling alley that was an early stomping ground for the group, and signed them to a recording contract with Original Sound.<ref name="Minnie"/><ref name=sean/> On July 30, 1966, the band entered RCA Studios in Los Angeles to record the Bonniwell originals "Talk Talk" and "Come on In", which was initially going to be the A-side for the group's debut single.<ref name=rhodes>{{cite web|url=http://www.montenordstrom.com/m_art5.htm|title=Doug Rhodes & The Music Machine|work=montenordstrom.com|author=Nordstrom, Monte|access-date=October 10, 2015}}</ref><ref name="Markesich (MM)">{{cite book|last1=Markesich|first1=Mike|title=Teen Beat Mayhem|date=2012|publisher=Priceless Info Press|location=Branford, Connecticut|isbn=978-0-9856482-5-1|page=[https://archive.org/details/teenbeatmayhemco00mark/page/169 169]|edition=First|url=https://archive.org/details/teenbeatmayhemco00mark/page/169}}</ref> Bonniwell had composed "Talk Talk" a year prior to forming the band, and the studio time was marked by the Music Machine's collective input aimed toward tightening the structure of its arrangements, including the two-note fuzz guitar riffs and Edgar's precise drumming technique.<ref>{{cite web|url=http://www.craigmorrison.com/spip.php?article76|title=Interview with organist Doug Rhodes – Part 1|work=craigmorrison.com|access-date=October 7, 2015}}</ref> By virtue of the group's dedication to rehearsal, recording sessions concluded with the Music Machine requiring only three takes to complete the two songs. Though the band was satisfied with the acetate to "Come on In", the members were convinced "Talk Talk" would propel them into the national charts.<ref>{{citation|title=''(Turn On) The Music Machine'' (sleeve notes)|year=1983|publisher=Big Beat Records|author=Ross, Brian}}</ref>

"Talk Talk" was released on September 10, 1966, on Original Sound, and rose to number 15 on the ''Billboard'' Hot 100. It also peaked at number 21 on ''Cashbox'' and number 18 on ''Record World''.<ref name=soul>{{cite web|url=http://seanbonniwell.com|title=The Bonniwell Music Machine: Bottom of the Soul|work=seanbonniwell.com|access-date=October 13, 2015}}</ref> The song's relatively short time-length—a mere one minute and 56 seconds—made "Talk Talk" a favorable staple on Top 40 radio and its competing underground FM stations.<ref>{{citation|title=''The Ultimate Turn On'' (CD booklet)|year=2006|author=Palao, Alec|publisher=Big Beat Records}}</ref> The Music Machine's hit was arguably the most radical single to appear on mainstream broadcasting in 1966, the phenomenon described by music historian Richie Unterberger as a "rally cry to social alienation with a mixture of sarcasm, rebellion, self-pity, and paranoia".<ref name=sean/> Indeed, Bonniwell's progressive lyrics and arrangements have been credited with influencing the Doors and Iron Butterfly, as well as future punk bands.<ref name=rhodes/><ref>{{cite web|url=http://www.bonniwellmusicmachine.com/in-the-news.html|title=The Psychedelic Summer of Love|publisher=L.A. Review|author=Protrudi, Rudy|year=1989|access-date=October 31, 2015}}</ref> After the single's release, the Music Machine embarked on a grueling three-month tour across the U.S., packaged with the Beach Boys, Question Mark and the Mysterians, and Clyde McPhatter.<ref name=sean/><ref name=rhodes/> It concluded with the group receiving a poor response in the American south, where the band were criticized for their black outfits.<ref name=rhodes/> Nonetheless, for the most part, their unified image served well for the Music Machine's national recognition, especially as the group made numerous appearances on the television programs ''Where the Action Is'', ''American Bandstand'', and ''Shindig!''.<ref name=psychedelicbaby/>

After their long national tour, the Music Machine returned to the studio to record their debut album, ''(Turn On) The Music Machine''. Much to the disapproval of Bonniwell, his original material had to compete with cover versions of "Cherry, Cherry", "Taxman", "See See Rider", and "96 Tears", all chosen by their record label with an expectation that well-known songs would increase record sales.<ref>{{cite web|url=http://www.bonniwellmusicmachine.com/(turn-on)-the-music-machine.html|title=Turn On|work=bonniwellmusicmachine.com|access-date=October 31, 2015}}</ref> The band's slow, moody, fuzz-laden arrangement of the folk standard "Hey Joe" bears a strong resemblance to Jimi Hendrix's later version.<ref>{{cite web|url=http://www.allmusic.com/album/the-ultimate-turn-on-mw0000043678|title=The Ultimate Turn On – Review|author=Unterberger, Richie|work=allmusic.com|access-date=October 31, 2015}}</ref> Bonniwell first heard the song in 1962 at a club in Hermosa Beach. He felt the tune's tempo was too fast, and he unsuccessfully attempted to persuade the Wayfarers to record a slower version. He revisited the concept with altered lyrics after hearing Tim Rose's regionally successful rendition in early 1966.<ref>{{cite book|title=''Sixties Rock: Garage, Psychedelic & Other Satisfactions''|page=[https://archive.org/details/sixtiesrockgarag00hick/page/54 54]|year=1999|publisher=University of Illinois|isbn=0252024273|author=Hicks, Michael|url=https://archive.org/details/sixtiesrockgarag00hick/page/54}}</ref> Bonniwell ascribes his throaty vocals, most evident on "Hey Joe", on recording "the ''Turn On'' album after a 30-day tour. Mark's fingers were literally bleeding. I could hardly even speak, much less sing".<ref name=sean/> Despite the album's shortcomings, ''(Turn On) The Music Machine'' reached number 75 on the ''Billboard'' 200.<ref name=soul/> On January 21, 1967, a song taken from the album, "The People in Me", was issued as the group's second single, but it stalled at number 66 nationally after the band's management angered radio executives for initially making the song exclusively available to a rival station.<ref name=experience>{{cite web|url=http://www.bonniwellmusicmachine.com/in-the-news.html|title=The Music Machine|publisher=The Psychedelic Experience|author=Hogg, Brian|access-date=October 31, 2015}}</ref>

===The Bonniwell Music Machine (1967–1969)=== Immediately after ''(Turn On) The Music Machine'' was released, the band was booked for another U.S. tour; the group sought an appearance at the Monterey Pop Festival, but it was not included on their itinerary.<ref name=part2>{{cite web|url=http://www.richieunterberger.com/bonniwell2.html|title=Sean Bonniwell Interview – Part 2|work=richieunterberger.com|author=Unterberger, Richie|access-date=November 3, 2015}}</ref> During off-periods in their hectic touring schedule, the Music Machine demoed a new batch of Bonniwell originals at RCA Studios in New York City and Cosimo Matassa's facility in New Orleans, before polishing the tunes in Los Angeles.<ref name=ultimate>{{cite web|url=http://acerecords.co.uk/the-ultimate-turn-on|title=The Music Machine – The Ultimate Turn On|work=acerecords.co.uk|access-date=November 3, 2015}}</ref> From the sessions emerged the group's third single "Double Yellow Line", released in April 1967, and bubbled under the ''Billboard'' Hot 100 at number 111.<ref name=soul/> The subsequent release, "Eagle Never Hunts the Fly" failed to chart, but was described as Bonniwell's ''tour de force''—a tune Ross praised as a "sonically compelling work and a lot to listen to, for the time. It was the kind of thing you just didn’t hear, you almost worried about getting those sounds onto a 45".<ref name=ultimate/>

In May 1967, the original lineup recorded together for the final time, completing "Astrologically Incompatible", "Talk Me Down", and "The Day Today".<ref name=ultimate/> One problem that led to the band's first breakup was that as part of their production deal, the "Music Machine" name was owned by Ross, who paid the group little to no royalties.<ref name=part2/> Leaving Bonniwell to carry on the project, Olsen, Edgar, and Rhodes joined the Millennium, a sunshine pop group conceived by Boettcher and Olsen.<ref>{{cite web|url=http://www.sonicpastmusic.com/artists-2/the-millennium-2/|title=Biography by Jason Petnick|work=sonicpastmusic.com|author=Petnick, Jason|access-date=November 3, 2015|archive-url=https://web.archive.org/web/20151117014229/http://www.sonicpastmusic.com/artists-2/the-millennium-2/|archive-date=November 17, 2015|url-status=dead}}</ref> The Millennium recorded one album, ''Begin'', in 1968 before disbanding.<ref>{{cite web|url=http://www.sundazed.com/product_info.php?products_id=989|archive-url=https://web.archive.org/web/20081226171741/http://www.sundazed.com/product_info.php?products_id=989|url-status=dead|archive-date=December 26, 2008|title=Begin (LP)|work=sundazed.com|access-date=November 3, 2015}}</ref> The three former Music Machine members also took part in Boettcher's next production, the studio group with Gary Usher called Sagittarius. The group released the album ''Present Tense'', coupled with the moderately successful single "My World Fell Down", before Edgar and Rhodes departed.<ref>{{cite web|url=http://www.spectropop.com/hsoftcurtb1.html|title=Curt Boettcher at Spectropop|work=spectropop.com|access-date=November 3, 2015}}</ref> Olsen stayed on board to record Sagittarius' second album, ''The Blue Marble'' (on which Boettcher had minimal involvement), and subsequently forged a successful career as a record producer in the 1970s.<ref>{{cite web|url=http://albumlinernotes.com/site/mobile?url=http://albumlinernotes.com/Magic_Time.html#3039|title=Magic Time Box Set|work=albumlinernotes.com|access-date=November 3, 2015}}{{Dead link|date=August 2018 |bot=InternetArchiveBot |fix-attempted=yes }}</ref><ref>{{cite web|url=http://www.melodicrock.com/interviews/keitholsen.html|title=Keith Olsen: Producer, Engineer, Classical Artist and Industry Advocate.|work=melodicrock.com|access-date=November 3, 2015|archive-date=August 19, 2013|archive-url=https://web.archive.org/web/20130819032500/http://www.melodicrock.com/interviews/keitholsen.html|url-status=dead}}</ref>

Undeterred, Bonniwell successfully negotiated his recording contract with Original Sound be transferred to Warner Bros. Records, in hopes of finding a greater degree of independence. The Music Machine's spell with Original Sound was drawing to a close, though the label did release "Hey Joe" as a single in 1968 in an attempt to cash in on Hendrix's success with the song.<ref name=experience/> There was also the Bonniwell solo project in association with producer Paul Buff that resulted in the rare "Nothing Is Too Good for My Car" single being put out under the name the Friendly Torpedoes.<ref name=torpedo>{{cite web|url=http://www.united-mutations.com/f/friendly_torpedoes.htm|title=the friendly torpedoes|work=unitedmutations.com|access-date=November 5, 2015}}</ref> Writer Greg Russo, who composed the liner notes for the single's remastered release, explains the side-project was initiated during a confusing transitional phase for Bonniwell that also generated the tune "Citizen Fear", which did not receive distribution until the ''Ignition'' album in 2000.<ref name=torpedo/> Free from company pressure, Bonniwell formed a new band, rechristened '''The Bonniwell Music Machine''', with session musicians Ed Jones on bass guitar, Harry Garfield on organ, Alan Wisdom on lead guitar, and Jerry Harris on drums.<ref name=talktalk>{{cite web|url=http://theseconddisc.com/2014/07/03/talk-talk-ace-revs-up-the-bonniwell-music-machine/|title=Talk, Talk! Ace Revs Up "The Bonniwell Music Machine"|author=Marchese, John|work=thesecondisc.com|date=July 3, 2014|access-date=November 6, 2015}}</ref>

In March 1967, Bonniwell and Ross ushered in the new lineup at United Western Recorders to record the second album ''The Bonniwell Music Machine''.<ref name=talktalk/> The recording and mixing process was painstakingly masterminded almost solely by Bonniwell, who was appreciative of his new bandmates' efforts to develop the album's concept, but disillusioned by the project's lack of cohesion.<ref name=experience/> He further explains that the "Warner Brothers album has such an eclectic approach; each track is (was) a singular, studio invention. Not only was my songwriting divergent, but my approach to recording was exploratory as well".<ref name=psychedelicbaby/> Six of the album's tracks were holdovers from the first lineup's sessions at Cosimo Matassa's studio and RCA Studios.<ref name=bigbeat/> This resulted in a hodgepodge of musical styles, including exploratory approaches toward psychedelia and soft rock.<ref>{{cite web|url=http://acerecords.co.uk/bonniwell-music-machine|title=Bonniwell Music Machine|work=acerecords.co.uk|author=Palao, Alec|access-date=November 10, 2015}}</ref> On February 10, 1968, ''The Bonniwell Music Machine'' was released with little commercial success.<ref name=soul/> Consequently, the Bonniwell Music Machine was largely forgotten by the general public and the second lineup fragmented in July 1968.<ref name=talktalk/>

===Disbandment and aftermath=== One final version of the Bonniwell Music Machine was assembled with a revolving door of musicians. Two more singles were released on the Warner Bros. label with little notice, before "Advice and Consent", the group's final single, was distributed on Bell Records in March 1969.<ref name=talktalk/> Disenchanted by the music industry and having to tour against imitation Music Machine groups, Bonniwell gave up the rights to the band's name and signed on to Capitol Records as a solo artist.<ref>{{cite web|url=http://www.allmusic.com/artist/ts-bonniwell-mn0001390605|title=T. S. Bonniwell – Biography|work=allmusic.com|author=Unterberger, Richie|access-date=November 10, 2015}}</ref> Under the name T.S. Bonniwell, he recorded the album ''Close'', which saw a poetically-inclined Bonniwell explore string and orchestral arrangements.<ref>{{cite web|url=http://www.richieunterberger.com/bonniwellclose.html|title=LINER NOTES FOR T.S. BONNIWELL'S CLOSE|work=richieunterberger.com|author=Unterberger, Richie|access-date=November 10, 2015}}</ref> Following the album's release, Bonniwell departed on what he called his "westernized guru era"—studying eastern mysticism and practicing meditation and vegetarianism.<ref name=part2/>

The band was all but forgotten after their dissolution, but the Music Machine and their music experienced a revival of interest in the late-1980s. It began with Rhino Records featuring tracks on the ''Nuggets'' compilation albums ''Nuggets Volume 1: The Hits'' and ''Nuggets, Volume 2: Punk'', before releasing the album ''The Best of the Music Machine'' in 1984.<ref>{{cite web|url=http://www.bonniwellmusicmachine.com/the-best-of-the-music-machine.html|title=Best of the Music Machine|work=bonniwellmusicmachine.com|access-date=November 10, 2015}}</ref> Other compilations such as ''Beyond the Garage'', ''The Very Best of the Music Machine'', and ''Ignition'' have added to the Music Machine's return to the public's interest.<ref>{{cite web|url=http://www.allmusic.com/album/turn-on-the-very-best-of-the-music-machine-mw0000602765|title=Turn On: The Very Best of the Music Machine – Review|work=allmusic.com|author=Ruhlmemn, William|access-date=November 10, 2015}}</ref><ref>{{cite web|url=http://www.sundazed.com/shop/product_info.php?products_id=150|archive-url=https://web.archive.org/web/20071013120703/http://www.sundazed.com/shop/product_info.php?products_id=150|url-status=dead|archive-date=October 13, 2007|title=Beyond the Garage CD|work=sundazed.com|access-date=November 10, 2015}}</ref> In addition, "Talk Talk" and "Double Yellow Line" appear on the 1998 expanded box-set of ''Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968''.<ref>{{cite web|url=http://ultimateclassicrock.com/legendary-nuggets-album-40th-anniversary-reissue/|title=Legendary 'Nuggets' Album Gets 40th Anniversary Reissue|work=ultimateclassicrock.com|author=Swanson, Dave|date=October 17, 2012 |access-date=November 10, 2015}}</ref>

In 2000, Bonniwell published his autobiography ''Beyond the Garage'', which recalled his experiences with the Music Machine and his life after the group's disbandment.<ref>{{cite web|url=http://www.bonniwellmusicmachine.com/book-beyond-the-garage.html|title=Book: Beyond the Garage|work=bonniwellmusicmachine.com|access-date=November 10, 2015}}</ref> A new version of the Bonniwell Music Machine in 2004 played to packed clubs on a European tour that included an appearance headlining one night of the Wild Weekend festival in Spain. Aside from this, a few live performances with the Larksmen, and a guest appearance on their 2006 album, Bonniwell never returned to an active music career, though he claimed to have penned over 300 songs after his tenure with the Music Machine.<ref>{{cite web|url=http://www.rockedition.com/headlines/news/sean-bonniwell-of-the-music-machine-passes-away/|archive-url=https://web.archive.org/web/20120110042607/http://www.rockedition.com/headlines/news/sean-bonniwell-of-the-music-machine-passes-away/|url-status=usurped|archive-date=January 10, 2012|title=Sean Bonniwell of the Music Machine Passes Away|work=rockedition.com|author=Woolsey, Jullian|access-date=November 10, 2015}}</ref> On December 20, 2011, Bonniwell died of lung cancer at a medical center in Visalia, California; he was 71 years old.<ref>{{cite web|url=https://www.latimes.com/local/obituaries/la-me-sean-bonniwell-20111229-story.html|title=Sean Bonniwell dies at 71; lead singer of the Music Machine|newspaper=Los Angeles Times |author=Nelson, Valerie|date=December 29, 2011|access-date=November 10, 2015}}</ref> Drummer Ronald "Ron" Edgar died on February 23, 2015, at the age of 68.<ref name=startribune>{{cite web|url=http://m.startribune.com/obituaries/detail/67146/?fullname=ronald-(ron)-edgar|title=Ronald (Ron) Edgar |newspaper=Star Tribune |publisher=startribune.com|access-date=November 10, 2015}}</ref> Bass guitarist Keith Olsen died on March 9, 2020, at age 74.

== Discography == === Studio albums === * ''(Turn On) The Music Machine'' (1966) US Billboard # 76<ref name="Whitburn Albums">{{cite book| last = Whitburn| first = Joel| title = Top Pop Albums 1955-2016| publisher = Prometheus Global Media| year = 2018| isbn = 978-0-89820-226-7}}</ref> * ''The Bonniwell Music Machine'' (1968)

=== Extended plays === * ''Talk Talk'' (1967)

=== Compilation albums === * ''The Best of the Music Machine'' (1984) * ''The Music Machine'' (1994) * ''Beyond the Garage'' (1995) * ''Rock 'n' Roll Hits'' (1997) * ''Turn On: The Best of the Music Machine'' (1999) * ''Ignition'' (2000) * ''The Ultimate Turn On'' (2006) * ''Rarities, Vol. 1: Last Singles & Demos'' (2014) * ''Rarities, Vol. 2: Early Mixes & Rehearsals'' (2014) * ''Re-Ignition'' (2015)

=== Singles === * "Talk Talk" b/w "Come on In" (1966) US Billboard # 15;<ref name="Whitburn">{{cite book| last = Whitburn| first = Joel| title = The Comparison Book Billboard/Cash Box/Record World 1954–1982| publisher = Sheridan Books| year = 2015| isbn = 978-0-89820-213-7}}</ref> Canada RPM # 4 <ref>{{cite web|url=http://www.collectionscanada.gc.ca/obj/028020/f2/nlc008388.10034.pdf| title=RPM Top 100 Singles - January 21, 1967}}</ref> * "The People in Me" b/w "Masculine Intuition" (1967) US Billboard # 66;<ref name="Whitburn"></ref> Canada RPM # 62 <ref>{{cite web|url=http://www.collectionscanada.gc.ca/obj/028020/f2/nlc008388.10046.pdf| title=RPM Top 100 Singles - April 18, 1967}}</ref> * "Double Yellow Line" b/w "Absolutely Positively" (1967) US Billboard # 111<ref name="Whitburn"></ref> * "The Eagle Never Hunts the Fly" b/w "I've Loved You" (1967) * "Hey Joe" b/w "Taxman" (1967) * "Advise and Consent" b/w "Mother Nature, Father Earth" (1969)

==== As The Bonniwell Music Machine ==== * "Bottom of the Soul" b/w "Astrologically Incompatible" (1967) * "Me, Myself and I" b/w "Soul Love" (1968) * "Tin Can Beach" b/w "Time Out for a Daydream" (1968) * "You'll Love Me Again" b/w "To the Light" (1968) * "Point of No Return" b/w "King Mixer" (1997)

==== Other ==== * "Nothing's Too Good for My Car" b/w "So Long Ago" (1968, as the Friendly Torpedos)

==References== {{reflist}}

==External links== *{{Discogs artist}}

{{DEFAULTSORT:Music Machine, The}} Category:American acid rock music groups Category:Bell Records artists Category:Original Sound artists Category:Garage rock groups from California Category:Musical groups established in 1965 Category:Musical groups disestablished in 1969 Category:Musical groups from Los Angeles Category:American protopunk groups Category:Psychedelic rock music groups from California