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.

The Music Machine came to national prominence, briefly, in late-1966 when their rebellious proto-punk single, "Talk Talk", reached number 15 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.

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