south, where the band were criticized for their black outfits. 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!. 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. The band's slow, moody, fuzz-laden arrangement of the folk standard "Hey Joe" bears a strong resemblance to Jimi Hendrix's later version. 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. 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". Despite the album's shortcomings, (Turn On) The Music Machine reached number 75 on the Billboard 200. 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. 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. 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. 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. The subsequent release, "Eagle Never Hunts the Fly" failed to chart, but was described as Bonniwell's tour de force—a tune Ross praised