Youll Love Me Again Music Machine
Discography >>
Anthology
RELEASE DATE
DURATION
GENRE
STYLES
November., fourteen, 1995
47:01
Pop/Rock
Garage Rock
Psychedelic
Garage Punk
TRACK List
01. Bottom of the Soul
02. Admittedly Positively
03. Soul Dear
04. Somethin Hurtin on Me
05. Affirmative No
06. The Trap
07. The Eagle Never Hunts the Fly
08. No Girl Gonna Cry
09. Me, Myself, and I
10. To The Lite
11. Tin Can beach
12. Time Out (For a Fantasize)
13. Astrologically Incompatable
14. Discrepancy
15. Talk Me Down
sixteen. I've Loved You
17. You'll Beloved Me Again
eighteen. In My Neighborhood
xix. Double Yellow Line
20. The Day Today
COMPOSER
Sean Bonniwell
Sean Bonniwell
Sean Bonniwell
Sean Bonniwell
Sean Bonniwell
Sean Bonniwell
Sean Bonniwell
Sean Bonniwell
Sean Bonniwell
Sean Bonniwell/Harry Garfield
Sean Bonniwell
Sean Bonniwell
Sean Bonniwell
Sean Bonniwelll
Sean Bonniwell
Sean Bonniwell
Sean Bonniwell
Sean Bonniwell
Sean Bonniwell
Sean Bonniwell / Keith Olsen
TIME
2:01
2:fourteen
3:34
three:05
2:07
2:34
2:47
ii:19
ii:06
2:fourteen
ane:45
2:00
ii:38
2:34
ane:53
2:48
ane:53
2:24
2:10
2:50
"A sweetness of sorrow I had never known enclosed me: Dearest washing my thoughts from the identify of my spirit, into the home of my soul."
- Sean Bonniwell
PRODUCED BY>> Sundazed
ENGINEER>>
- Vic Anesini: Digital Remastering, Mastering, Mixing
- Bob Irwin: Digital Remastering, Mastering, Mixing, Producer, Reissue Producer
Description>>
- Janet Atkins: Project Assistant
- Clark Besch: Photo Courtesy, Photography
- Steve Besch: Photo Courtesy, Photography
- The Bonniwell Music Car: Master Artist
- Sean Bonniwell: Audio Product, Composer, Digital Remastering, Guitar, Liner Notes, Mastering, Fellow member of Attributed Artist, Mixing, Photo Courtesy, Photography, Primary Artist, Producer, Reissue Producer, Vocals
- Bex Brownell: Project Assistant
- Jud Cost: Liner Notes, Projection Banana
- Ron Edgar: Drums, Member of Attributed Artist
- Harry Garfield: Member of Attributed Artist, Organ
- Harry Garfield: Composer, Organ
- Jerry Harris: Drums, Member of Attributed Artist
- Jerry Harris: Drums
- Eddie Jones: Guitar (Bass), Member of Attributed Creative person
- Eddie Jones: Bass, Unknown Contributor Role
- Mark Landon: Guitar, Member of Attributed Artist
- Mark Landon: Guitar
- The Music Motorcar: Chief Artist
- Keith Olsen: Bass, Composer, Guitar (Bass), Fellow member of Attributed Creative person
- Doug Rhodes: Member of Attributed Creative person, Organ
- Doug Rhodes: Organ
- Brian Ross: Audio Production
- Brian Ross: Producer
- Jeff Smith: Bundle Design
- Kip Smith: Project Banana
- Mike Stax: Liner Notes
- Guile Wisdom: Guitar, Member of Attributed Creative person
REVIEW>> by Richie Unterberger
Although the cloth the Music Machine recorded for Warner Bros. (released under the name Bonniwell Music Auto) is fiddling-known, it's well-nigh up to the high standards of their Original Audio sides. It's also been extremely hard to find, until this splendid twenty-track reissue. This contains the entire contents of the 1968 Bonniwell's Music Motorcar anthology (some of which had really been released on the Music Machine's 1967 singles for Original Sound), plus various rare singles, and a couple of unreleased tunes.
Though a bit erratic, the best of this is thrilling stuff, equally exciting as experimental garage rock always got. "Lesser of the Soul," "The Eagle Never Hunts the Wing," "Talk Me Down," and "Double Yellow Line" all count amidst their toughest pop-psych punkers. Tracks like "Tin can Beach," "The Trap," and "Discrepancy" also prove songwriter and atomic number 82 vocalizer Sean Bonniwell expanding from the pounding guitar-organ image into more eclectic, but equally compelling, directions, with touches of folk and orchestration. Inventive studio arrangements and lyrical wordplay are constants throughout. You won't find Bonniwell's proper noun mentioned in many standard rock reference books, but this CD further bolsters his credentials equally i of the almost underappreciated innovators of belatedly-'60s rock.
REVIEW>> by Gary Burns, Pop Music and Society, Winter 1997
The Music Motorcar's "Talk Talk" was probably the most uncompromising single heard on Top forty radio in 1966. Lead singer and songwriter Sean Bonniwell growls like a misfit from Mars. The chord modify leading into the bridge is audacious and unheard-of. The entire song is pure, ugly wallop. Unfortunately, "Talk Talk" was merely a minor hitting nationally. Worse still, the Music Machine became a 1-hit wonder, which ways that relatively few people accept heard the marvelous trunk of work that fleshes out the promise of "Talk Talk."
That is a situation that tin at present exist remedied, thanks to the release of these two CDs, which comprise almost the entire Music Machine catalogue (only a few cuts are missing, and these oversights are avenged past the release of several previously unissued tracks). What is revealed in these recordings is the genius of Sean Bonniwell-a true American original.
Bonniwell has an amazing voice. The closest points of comparison are Eric Burdon, Tom Jones, and Scott McKenzie-equally bizarre every bit that combination may seem. Bonniwell shifts effortlessly from punk screaming to shine ballad stylings. His pitch range is incredible. He is a brilliant vocalizer.
On acme of that, he has a unique personal vision, which guides his songwriting. Beyond the Garage consists entirely of original material and is full of should-have-been hits. Bonniwell'southward all-time recordings are nigh impossible to describe. "The Hawkeye Never Hunts the Fly," a favorite of mine, is both chaotic and tightly structured. The organisation is noisy and unrelenting, but richly textured in its own way. The words are well-nigh environmental, predation, and (probably) love, mixed together angrily and sarcastically. This is a frightening, devastating record.
Plow On unfortunately includes five cover versions, which are adequate but much less interesting than Bonniwell's original songs. "Taxman," "See Encounter Rider," and "Hey Joe" are the worthiest covers, with the latter existence both tiresome (a one-half twelvemonth before Jimi Hendrix) and operatic (!). Turn On also features "Talk Talk" and its first-class followup, "The People in Me."
"Punk" that he is, Bonniwell is no snot-nosed sniveler. His approach is entirely developed, and his songs are for adults. This may exist why commercial success mostly eluded him. You lot hear that Voice/Farfisa organ sound and await bubblegum. What you get instead is mature psychodrama. Expecting a nasal, tenor "Come on downward to my gunkhole, infant," you go a throaty baritone, singing: "Come up on in and show the world the soul you've never had, and tear away from dreams unborn. Shed the cage that makes you sad. Come on in. Don't cry no more. Come on in . .and shut the door." (Another interesting comparison is the Monkees' curiously upbeat protestation song "Pleasant Valley Sun" vs. Bonniwell's much darker "In My Neighborhood," which covers the same subject area.) The Music Car had a commercial "audio" but were non juvenile or trivial enough for their ain proficient at the time. That 1960s misfortune makes their work all the more listenable now.
Fantabulous musicians rounded out the Music Machine, and arrangement and production also smooth in these recordings (except that the stereo mixes are generally primitive and oft annoying). Ane odd fact that strikes me every bit I heed to the Music Machine at present is that they knew exactly how to utilise a tambourine. But that is only the least of their charms. More importantly, the Music Auto pioneered punk rock while remaining a multidimensional band that also excelled at ballads, blue-eyed soul, and even dixieland flavorings. Bonniwell'southward visions and dreams took him far "beyond the garage" to create a cracking panorama of American music. His songs deserve to be heard.
The packaging of "Beyond the Garage" lives upwardly to the usual high standards of Sundazed Records, with original liner notes plus several additional pages (including reflections past Bonniwell). Plow On is a barebones reissue with no new songs or liner notes-too bad it was non a Sundazed project.
Bonniwell has likewise written a touching and fascinating "autobiographical novel," called "Talk Talk". It is available from Christian Vision Publishing, PO. Box 409, Porterville CA 93258.
Various REVIEWS>>
TERMS & Weather | Site by:
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SMILIN' EARS
"The Music Machine are i of the toughest, meanest, utterly powerful - and intelligent - garage acts of the 1960s."
ROLLING STONE
"... a boss roundup of The Music Machine'south rare, post Talk Talk sides and proof that as one-hit wonders go, they had enough of snort to spare."
CHICAGO TRIBUNE
"Beyond The Garage documents how the Music Motorcar injected basic thug-rock with odd-fourth dimension signatures, complex organ-guitar counterpoint and ominous psychedelia... the bulk of the material remains fresh and brashly distinctive."
GOLDMINE
"This anthology was very good when released in its original form on Warner Brothers in 1967; when combined with ultra-rare non-LP single sides and two previously unreleased tracks for this reissue - it's essential."
CROHINGA WELL
"This compilation shows two faces of The Music Automobile: raw, angry garage rockers only likewise every bit a band with a typical well-produced studio sound, yet still interesting and with enough psychy connotations." Scram "Smart writing, gorgeous vocals, a great band... essential." Rock "...thrilling stuff, as exciting as experimental garage rock ever got."
Bad Trip
"Ii UNISSUED MUSIC Car SONGS?i?i?i YES!!! and here they are, courtesy of the mighty Sundazed! These two tunes from '66 are about as psychedelic equally it gets...If you lot purchase ONE release outta this whole review section, MAKE Information technology THIS ONE!!!!! Unless, you lot're scared that is...Mere mortals like ourselves don't deserve such genius..."
Source: http://www.bonniwellmusicmachine.com/beyond-the-garage.html
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