Fronted by chief songwriter and lead vocalist Sean Bonniwell, the band cultivated a dark and rebellious image reflected in their musical approach.

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.

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.

[9][10] 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.

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.

[9][14] 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).

[18] 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.

[19] 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.

[21][27] 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.

[21] 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!.

[28] The band's slow, moody, fuzz-laden arrangement of the folk standard "Hey Joe" bears a strong resemblance to Jimi Hendrix's later version.

[31] 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.

[32] 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.

[25] 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.

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.

[31] 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.

[39] 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.

[40] 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.

[48] 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.