////////////////////////////////// from Wikipedia; Sonny Vincent born in NYC is a punk rock musician. He has been active since the mid-1970s, when he was part of the New York City punk rock scene.
Vincent formed the ‘Testors’ in 1976 with Gene Sinigalliano (guitar) and Gregory R (drums). Later line-ups included Surealist Ron Pieniak (Rex Pharaoh) on bass, Jeff Couganour (Jeff West) on drums and Kenneth Huebner (Kenneth Brighton) on bass. They played New York clubs such as Max’s Kansas City and CBGB and The Hot Club in Philadelphia with groups such as Mink DeVille, Teenage Jesus and the Jerks, The Cramps and Suicide, and toured nationwide with the Dead Boys. Testors released a 7” single, “Together” b/w “Time Is Mine”.
In 1981, Testors disbanded and Vincent moved to Minneapolis where he formed Sonny Vincent and The Extreme with Michael Phillips (guitar), Jeff Rogers (drums) and the late Mort Bauman (bass guitar). The group toured the U.S. and released another single, “SVE” with the songs, “Wingdale,” “Top Dog” and “Phantom.” The group also made the bizarre film Mannequin World on the streets of Minneapolis. It was shown on television in the Twin Cities only once, after which the host of the program remarked, “I sure hope the boss wasn’t watching.” In 1983, Sonny was involved in a performance art project that saw him banned from the grounds of the Minneapolis College of Art and Design. During his time living in Minneapolis/St. Paul Sonny Vincent also became involved with film-making and multimedia arts.
After The Extreme disbanded and Vincent went on to form other groups, such as Model Prisoners (line-up included Bob Stinson from The Replacements), Shotgun Rationale (a revolving line-up that included at one time or another Cheetah Chrome of the Dead Boys and Bob Stinson who incidentally were in the group together in what Sonny referred to while being interviewed as a “therapist’s nightmare”, Greg Norton - Hüsker Dü, The Dons a group he formed in Holland with two Dutch musicians, Sonny Vincent and the Guevaras, Sonny Vincent and his Rat Race Choir (Scott Asheton - Stooges, Cheetah Crome - Dead Boys and Captain Sensible - The Damned). Currently Vincent records and performs under his own name. Vincent has performed and recorded with musicians such as Wayne Kramer, Maureen Tucker, Scott Asheton, Captain Sensible, Cheetah Chrome, Bob Stinson, Walter Lure, Brian James, Thurston Moore, Richard Lloyd, Lou Reed, John Cale, Sterling Morrison, Jad Fair, John Sluggett, Greg Ginn, John Reis, Lance of Athens GA and Kim Shattuk.
"Like its Nuggets-crushing forebears, this Puerto Rican six-piece earns a place on your next house-party playlist with sheer anarchic energy, not to mention a formidable gift for language-transcending hooks. On Davila 666’s underrated 2008 self-titled debut album— plus a handful of vinyl-only releases for HoZac, Douchemaster, and Rob’s House— they established themselves as gleefully filthy purveyors of indecipherably catchy garage-pop. Thankfully, Tan Bajo doubles down on the group’s strengths, delving deeper into screeching sonic chaos while adding an even more memorable batch of songs to shout along with, whether or not you understand the words.
That means Davila 666’s sophomore album is still rowdy enough for an impromptu weekend binge with a few friends, but it also offers enough carefully crafted tunes and feedback-streaked textures to fill your headphones. Stylistic tropes from classic 1960s girl groups complement raucous guitar licks on harmony-drenched “Yo Seria Otro”, with its call-and-response verses and touches of strings, as well as on waltz-time “¡Diablo!”, with its brutally earnest spoken-word section. Meanwhile, the Velvets-JAMC scree explored on the earlier “Ella Dice” only expands on the hypnotically pounding “Si Me Vez…” or the instant-earworm advance mp3 “Esa Nena Nunca Regreso”. When the band breaks into a full Ramones sprint on “Mala” or “Patitas”, anyone with a playground-level knowledge of Spanish can still catch the gist: mierda, caliente, cerveza, cucaracha. That said, at plenty of times Davila 666 continue to delight in their inscrutability, as on the distantly crooned opener or the chocolate-jingle hidden track— inside jokes, maybe? In any event, such dumb fun is a necessary part of what the train-whistling, irrepressibly hey-hey-ing “Los Cruces” reminds us, in a rare English-language moment, is only “rock’n’roll.” (full review; HERE)