The Music Machine
| Company type | Rock band |
|---|---|
| Industry | Music |
| Founded | 1966 in Los Angeles, California, United States |
| Founder | Sean Bonniwell |
| Headquarters | Los Angeles , United States |
Area served | United States |
| Products | Music albums and singles |
The Music Machine was a rock group from the United States, established in Los Angeles, California, in 1966. Led by principal songwriter and lead singer Sean Bonniwell, the ensemble projected a moody and defiant persona that was mirrored in their sound, characterized by distorted guitar riffs and psychedelic organ melodies, highlighted by Bonniwell's unique raspy vocal delivery.
Despite achieving only brief national chart recognition with two singles, The Music Machine is recognized as a groundbreaking 1960s band that played a significant role in shaping proto-punk. As their career progressed, they incorporated increasingly sophisticated lyrical themes and instrumental complexity beyond conventional garage rock boundaries.
Initially formed in 1965 as the folk-rock trio known as the Raggamuffins, the group later expanded to five members and adopted the name The Music Machine. Distinguished by their all-black attire, they signed with Original Sound in 1966 and released their first single "Talk Talk", which climbed into the Top 20 of the Billboard Hot 100. Their debut album (Turn On) The Music Machine followed, along with the moderately successful track "The People in Me". Internal managerial and financial conflicts caused the original members to part ways by late 1967. Subsequently, Bonniwell reassembled the group under the name The Bonniwell Music Machine, issuing a second album titled The Bonniwell Music Machine in 1968 before disbanding in early 1969.
Formation and Early Years (1965–1966)
The band's origins trace back to when Sean Bonniwell (lead vocals, rhythm guitar) joined a jam session with Keith Olsen (bass) and Ron Edgar (drums), both musicians rooted in the folk scene. Previously, Bonniwell had fronted the Wayfarers—a folk ensemble with regional acclaim—and was eager to transition into a more robust rock sound. Olsen brought experience from working with Gale Garnett, while Edgar had been involved with the GoldeBriars, which included Curt Boettcher, later known for his role in Sunshine Pop.
In 1965, this trio formed the folk-rock outfit called the Raggamuffins in Los Angeles, embracing a more experimental approach. They recorded four tracks that were eventually released on the 2000 compilation Ignition, marking their evolution toward what would become The Music Machine. Bonniwell insisted on intense rehearsals and pioneered sound innovations such as tuning instruments down to D-flat to achieve a heavier sonic effect. The band cultivated a striking image featuring black clothing, dyed black hair, and a single leather glove—elements that would inspire future punk fashion.
By early 1966, auditions brought Mark Landon (lead guitar) and Doug Rhodes (organ), an experienced session musician associated with the Association, into the fold. Reflecting this expanded lineup, Bonniwell renamed the group The Music Machine with an ambition to deliver nonstop live shows composed of original songs linked by musical transitions. They quickly developed a loyal following within Los Angeles' club circuit.
Under Bonniwell’s direction as the creative mastermind, The Music Machine fused raw 60s punk energy with psychedelic influences, performing both his original compositions and selected covers. Their distinctive sound was marked by Bonniwell’s powerful vocal control featuring precise pitch and dynamic phrasing; Landon’s sharp guitar work; Olsen’s echo-laden bass lines; and Edgar’s cymbal-focused drumming—combining to produce a more aggressive style that distinguished them from their peers.
Commercial achievements (1966–1967)
Record producer Brian Ross encountered the Music Machine at Hollywood Legion Lanes and subsequently signed them to Original Sound. On July 30, 1966, the group recorded Bonniwell’s original compositions "Talk Talk" and "Come on In" at RCA Studios in Los Angeles. Having written "Talk Talk" a year earlier, Bonniwell's focused rehearsals allowed the band to complete both tracks in just three takes. While content with "Come on In," the group was confident that "Talk Talk" would propel them to national recognition.
Upon its release on September 10, 1966, "Talk Talk" climbed to number 15 on the Billboard Hot 100, number 21 on Cashbox, and number 18 on Record World. Its concise duration of less than two minutes made it a staple on Top 40 radio and popular among underground FM stations. The single was considered a groundbreaking mainstream hit in 1966, characterized as a "rally cry to social alienation" blending sarcasm with defiance. Bonniwell’s forward-thinking lyrics inspired bands such as the Doors, Iron Butterfly, and future punk groups. Following the single's success, the Music Machine embarked on extensive tours alongside acts like the Beach Boys and Question Mark and the Mysterians, although their black attire drew criticism in parts of the American South. Their unique visual style helped secure national exposure through television appearances on shows including Where the Action Is, American Bandstand, and Shindig!
After touring, the band recorded their debut album, (Turn On) The Music Machine. Despite Bonniwell’s opposition, the label incorporated covers like "Cherry, Cherry," "Taxman," "See See Rider," and "96 Tears" to enhance commercial appeal. Their slow, fuzz-drenched rendition of "Hey Joe" preceded Jimi Hendrix's famous version; Bonniwell favored a slower pace after hearing Tim Rose’s interpretation earlier in 1966. He attributed his gritty vocal delivery on the album to fatigue from a month-long tour. Although mixed in content, the album reached number 75 on the Billboard 200 chart. The single "The People in Me," released on January 21, 1967, stalled at number 66 nationally due to management errors that alienated radio programmers.
The Bonniwell Music Machine (1967–1969)
Following the release of (Turn On) The Music Machine, the band conducted a U.S. tour but did not participate in the Monterey Pop Festival. During breaks from touring, they recorded demos of new Bonniwell originals at RCA Studios in New York and Cosimo Matassa's studio in New Orleans before refining them in Los Angeles. This process produced their third single, "Double Yellow Line" (April 1967), which peaked at number 111 on the Billboard Bubbling Under chart. Its successor, "Eagle Never Hunts the Fly," failed to chart but received praise for its innovative sound.
In May 1967, the original members recorded together for the final time, completing tracks such as "Astrologically Incompatible." A significant factor leading to their split was that Ross owned rights to the "Music Machine" name and paid minimal royalties to band members. Bonniwell continued under this project alone, while Olsen, Edgar, and Rhodes joined the Millennium, a sunshine pop ensemble produced by Boettcher and Olsen. The Millennium issued one album, Begin (1968), before disbanding. These former members also contributed to Boettcher and Gary Usher’s studio project Sagittarius, which released Present Tense along with the moderately successful single "My World Fell Down". Olsen remained involved for Sagittarius' second album, The Blue Marble, later establishing a notable production career during the 1970s.
Seeking greater artistic freedom, Bonniwell negotiated transferring his contract from Original Sound to Warner Bros. Records. Meanwhile, Original Sound released "Hey Joe" in 1968 to capitalize on Hendrix's popular version. Bonniwell also initiated a solo side project with producer Paul Buff under the name Friendly Torpedoes, releasing the rare single "Nothing Is Too Good for My Car". This era included an unreleased track titled "Citizen Fear," which was later issued on the Ignition album (2000). Free from previous label restrictions, Bonniwell assembled The Bonniwell Music Machine with session musicians Ed Jones (bass), Harry Garfield (organ), Alan Wisdom (lead guitar), and Jerry Harris (drums).
In March 1967, Bonniwell and Ross recorded their second album, The Bonniwell Music Machine, at United Western Recorders. Although largely produced by Bonniwell himself, he expressed disappointment over its lack of unity. He described it as an eclectic compilation of studio experiments reflecting his varied songwriting and recording styles. Six tracks originated from earlier sessions at Cosimo Matassa's and RCA Studios, resulting in a blend of psychedelic and soft rock influences. Released on February 10, 1968, this album achieved limited commercial impact and led to the band's breakup by July of that year.
Disbandment and aftermath
The final version of the Bonniwell Music Machine consisted of a frequently changing roster, issuing two additional singles through Warner Bros. that failed to achieve significant success before releasing their concluding single, "Advice and Consent," on Bell Records in March 1969. Feeling disenchanted with the music business and weary of performing alongside imitation bands, Bonniwell surrendered the rights to the band's name and pursued a solo career under Capitol Records. Adopting the moniker T.S. Bonniwell, he produced the album Close, which featured elaborate orchestral and string compositions. Subsequently, Bonniwell embarked on a "westernized guru phase," dedicating himself to eastern spirituality, meditation practices, and vegetarian living.
Although largely overlooked following their split, The Music Machine experienced a resurgence of interest during the late 1980s when Rhino Records included their songs in the influential Nuggets series and issued The Best of the Music Machine in 1984. Later anthology releases such as Beyond the Garage, The Very Best of the Music Machine, and Ignition continued to bolster their reputation. Particularly, "Talk Talk" and "Double Yellow Line" were featured in the 1998 expanded edition box set of Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968.
In 2000, Bonniwell authored his memoir Beyond the Garage, offering insights into his time with The Music Machine as well as his life afterward. A reassembled Bonniwell Music Machine toured Europe in 2004 to enthusiastic audiences, including a headline slot at Spain's Wild Weekend festival. Apart from sporadic appearances with the Larksmen and a guest contribution on their 2006 record, Bonniwell largely withdrew from active music creation, though he claimed to have composed over 300 songs since The Music Machine era. He died from lung cancer on December 20, 2011, at age 71 in Visalia, California. Drummer Ronald "Ron" Edgar passed away on February 23, 2015, aged 68; bassist Keith Olsen died on March 9, 2020, at age 74.
Studio albums
- (Turn On) The Music Machine (1966) US Billboard #76
- 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; Canada RPM #4
- "The People in Me" b/w "Masculine Intuition" (1967) US Billboard #66; Canada RPM #62
- "Double Yellow Line" b/w "Absolutely Positively" (1967) US Billboard #111
- "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" backed with "Astrologically Incompatible" (1967)
- "Me, Myself and I" backed with "Soul Love" (1968)
- "Tin Can Beach" backed with "Time Out for a Daydream" (1968)
- "You'll Love Me Again" backed with "To the Light" (1968)
- "Point of No Return" backed with "King Mixer" (1997)
Other
- "Nothing's Too Good for My Car" backed with "So Long Ago" (1968, released under the name Friendly Torpedos)