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''The Bonniwell Music Machine'' is the second and final album by the American garage rock band, The Music Machine, recorded under the renamed moniker, The Bonniwell Music Machine, and released on Warner Bros. Records, on February 10, 1968 (''see'' 1968 in music). As with their debut LP, the album again saw the band blending garage and psychedelic rock influences, albeit with a greater emphasis on psychedelia than on their previous album release. Prior to completing its recording, all of the group's original members, except for its creative force, Sean Bonniwell, departed, though they would still appear on some of the album's tracks. ''The Bonniwell Music Machine'' failed to reach the Billboard 200, although it was Bonniwell's most experimental recording period in his career. Its attending singles, "The Eagle Never Hunts the Fly" and "Double Yellow Line", also did not fare well nationally. Disillusioned by the music industry, Bonniwell produced additional recordings that went widely unnoticed, and disbanded The Bonniwell Music Machine and abandoned his music career within a year. The album went relatively unheard until its material was rereleased along with studio outtakes on the compilation album, ''Beyond the Garage''. ==History== The Music Machine came to national prominence, briefly, in late-1966 when their rebellious protopunk single, "Talk Talk", reached number 12 on the ''Billboard'' Hot 100 chart. Throughout the latter half of 1966 and early 1967, the band enjoyed tremendous popularity among teenage fans on Los Angeles's club circuit. Further commercial success followed to a limited degree with their debut album, ''(Turn On) The Music Machine'', and the follow-up single, "The People In Me", reaching number 66. However, with the combination of poorly-scheduled tour dates and insufficient royalties, The Music Machine's lineup began to disassemble, leaving chief songwriter Sean Bonniwell as the only original member remaining to record the group's second album. As a result, the band's popularity began to wane and by mid-1967, they had been all but forgotten by mainstream pop audiences. Undeterred Bonniwell, with the support of record producer Brian Ross, convinced their record label, Original Sound, to transfer their recording contract over to Warner Bros. Records. Executive Art Laboe agreed to the move out of disinterest for Bonniwell's desire to create a coherent concept album, rather than hit-ready singles. Nonetheless, Original Sound did distribute the group's single, "The Eagle Never Hunts the Fly", for a perceived, but ill-founded, resemblance to Count Five's Top Ten hit, "Psychotic Reaction", before cutting all ties with the band. Auditions for a refashioned lineup resulted in the recruitment of session musicians Ed Jones (bass guitar), Harry Garfield (organ), Alan Wisdom (lead guitar), and Jerry Harris (drums). An agreement between Bonniwell and his former bandmates appointed both his, and the band's royalties directly to Bonniwell to reimburse him for past debts, a consequence of The Music Machine's erratic touring.〔(【引用サイトリンク】publisher=Big Beat Records )〕 To place an emphasis on Bonniwell, the creative force of the band, the group was renamed The Bonniwell Music Machine. The original lineup partially recorded and rehearsed material for the upcoming album, along with some demos, at Cosimo Matassa's Jazz City Studio in New Orleans, in the first half of 1967. Three tracks from the sessions were included on the album, along with an additional three recordings at RCA Studios in March 1967. With the new lineup, Bonniwell and Ross were ushered into United Western Recorders in late-1967 to finish the album. However, Ross was generally uninvolved, leaving Bonniwell to remix and overdub the recordings, and supervise the session musicians.〔(【引用サイトリンク】title=In the News )〕 According to Bonniwell, "Each () was a studio invention... I also knew that the seven or eight people that I used in the recording studio really had no notion at all what they were doing. I mean, they played the right notes and they tolerated my unyielding pursuit of excellence, for the most part they did. But I would have to go back in after they recorded, and I mean, I spent hours remixing and dubbing and just doing things that were joyless". Despite the issues, Bonniwell successfully expanded upon organ-driven garage rock into eclectic psychedelia, with traces of folk rock and orchestration. In addition, the album arguably covered the band's most inventive studio arrangements and lyrical wordplay.〔(【引用サイトリンク】title=Beyond the Garage CD )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)』 ■ウィキペディアで「The Bonniwell Music Machine (album)」の詳細全文を読む スポンサード リンク
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