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Paul Spina

@paul.spina

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Drummer

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These two rhythm devils @kristinfiniti and @paul.spina sending us straight into The Other One with @althealaterband 🤙 It left a smoking crater of my mind I like to blow away 💀 ⚡️

This double-drummer show was the motivation I needed to finish up this piece I started back in July 🥁 🎨

Mahalo @thesource.kona for hosting #shakedownstreet with myself, @moshplaylive, and @gypsycaravanhawaii 🙏

#gratefuldead #hawaii #bigisland #livemusic

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@althealaterband killed it at @thesource.kona last night! Mahalo everyone who came out to support live music and vendors like myself, @moshplaylive, and @gypsycaravanhawaii Let’s do it again soon 🤙

Back home, sit down and patch my bones, and get back truckin’ on 💀 ⚡️

#gratefuldead #deadandcompany #hawaii #bigisland #livemusic

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@althealaterband tonight @thesource.kona with special guest @paul.spina joining @kristinfiniti on drums, great new venue on the #bigislandhawaii, vendors , food and Grateful Dead classics, get out and support live and local music!

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💀🌹⚡ Get on the bus with Althea Later! The Source is located just south of Greenwell farms, Konawaena.

We’re making our Kona-side debut TONIGHT, Friday, October 23, at The Source! 🎶🔥

🎟️ LAST CHANCE FOR DISCOUNTED TICKETS!

⏰ Online presale ends TODAY at 2 PM!

💥 $20 in advance / $25 at the door!

Save $5 and grab your tickets before the presale ends!

👉 GET YOUR TICKETS NOW: thesourcekona.com

🎸 Plenty of tickets will also be available at the door!

🌹⚡ The bus is rolling into Kona. Don’t miss the ride! 💀🎶

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Come and join the celebration! 🌹💀⚡️

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Great evening of music @hale_kanikapila with @sherbundymusic #mattspencer @paul.spina on drums.
@paul.spina will be joining @althealaterband this Friday night October 23rd @thesource.kona , #moshplaylive will see you there!

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The Curse of the record button and this F*&$ing band”

The Zone recordings were as good as one could expect from a semi capable engineer on fairly simple gear recording a group of un-mentored nubes at 3AM.

But after the second Zone demo, each subsequent recording sounded like a call from the ass phone, regardless of the studio quality—as if sonic disappointment was a business strategy. A voodoo curse. A turd in the fish tank.

Learning by mistake is effective. Much of what Will gleaned while making records his vocation was through these unqualified disastrous fuck ups.

Mason Lane wrote a wild and ranging piece called “Fist”. It was a composition to be proud of: a Vulcan mind meld of prog and punk and the band was eager to record it.

The goal was to put it on vinyl and the band chose a studio in SF called Old West. Good gear, decent rates, high hopes. It was there that Mason Lane set the benchmark for combining bad tone with insipid production.

Most people eventually need to find the bottom to know which end is up. But when sonic disappointment is your business strategy and you reach the bottom the next question is, “could this get worse?” You bet it can.

Here’s how: insert a section of music from a genre you’re not conversant in and have a guest guitarist play in a manner you never intended. Keep the track because you’re out of time, out of money and, most importantly, you have lost all perspective. Add a couple of B side songs you didn’t focus on because you were too busy making a hash of your epic composition, botch the mastering and voila! The world’s most expensive frisbee. Mason Lane did it!

The artwork was arguably its only redeeming quality. Chad Marco, an artist friend of the band, contributed a proactive pointillist image. He got it right. The band didn’t. It was so. fucked. up.

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Summer 2026 has been a fantastic time. All I want to do is be with these people all the time. My greatest happiness is their happiness 🥰

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Do not miss rhis show tonight @hale_kanikapila @paul.spina #mattspencer @sherbundymusic with Soul Swing and Synergy music begins at 7pm, no cover we'll see you there!

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“Getting Jibby with It”

Jason Thwaites lived in a house surrounded by apple orchards and vineyards, suitably located on Vine Hill Rd. The barn out back was known for its outrageous parties under the alias “Club Jib”. Punk bands would play to crowds of west county hillbilly-hippie hoodlums who would trash what was already in a thorough state of disrepair. Nevertheless, this is where Jason invited the rest of Mason Lane to move in.

Will was the last to arrive after his tiny, windowless apartment (total firetrap) became ground zero of a drug bust thanks to the dealer who traded free blow to monopolize Will's pool table for weeks at a stretch. Before said drug bust, the band had spent months crammed into that deathtrap writing the “Fist” EP : a decidedly schizophrenic mashup of prog, ska and punk.

Vine Hill was a house only code-enforcement could love. Or a group of musicians who needed to pay less than $100/month rent. Years of musicians living there who cared more about their craft than the state of their living quarters had rendered the place either condemned or about to be condemned: Four-inch, barf-colored shag carpet, matted down with fossilized pizza and what was likely someone's pet in the distant past. Mushrooms grew from under the kick boards. Iron-laden well water stained the sinks and tub cheddar orange and smelled like sulfur-infused blood cake.

There were two rooms with bunk beds. At 4AM, the voice of an AM talk radio host would fill the air, followed by the ignition of a spot-light caliber bed side lamp, the chiff of a lighter and a waft of cigarette smoke from Jason’s bottom bunk. This was his morning ritual before starting his bread delivery route for Lotus Bakery.

Down the hall, a free-jazz bassist would spin Albert Ayler’s urgent simulcast of funeral marches, folk spirituals, fear, trembling and hope at a fantastic sound pressure level. But not even Albert's saxophone could shield the house from the roommate's wall-banging marathon coitus with his girlfriend.

A more severe sense of discipline set in. Together with a very shitty 70s Ford Econoline Van, the band would venture into the Northwest to gigs/parts unknown.

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”Now Arming the Zone 2 Alarm”
A slight buzz. Some people started coming to shows. Jason Thwaites replaced Chris Redente on guitar. Thwaites had been in the cover band that Paul screwed to record ML’s first demo. Thwaites had experience, worked in a music store, and, importantly, was ready to screw that same cover band to record ML’s next demo.
The band was becoming better, if less recognizable. The guys were taking on bits of the 90s-era music explosion. It was a time when the Pogues, Kate Bush, Steel Pulse and Nirvana's "Bleach" would share equal time on the turntable.
The NorCal music scene was a veritable petri dish: Bands like Bluchunks, DOE, Nuisance, Kai Kln, and Pump Mother, alongside more successful bands like Victim’s Family, Green Day, Primus, Camper Van Beethoven, Mr. Bungle, and Counting Crows. All originating from the Bay Area.
Influenced by all that was going on along with an almost allergic reaction to being recognized by genre, the band returned to Zone Music a second time, to record a music tornado: satirizing the emerging monochromatic Grunge scene (punk rock standing in the rain) with a barrage of everything all at once, showcasing the band’s affinity for acts like King Crimson, Frank Zappa, and more genre-bending modern bands like Fishbone.
The Bay Area was receptive. The gigs got better. The crowds got bigger. And at the end of the night, the guy who looked like a character from the Old Testament shouting, “You guys sounds like Jethro Tull!” would be accompanied by other people who had never heard of Tull, which was nice.

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Please join us in wishing happy birthday to @jessbird1970 🥳🎉🎂🎁 Jess is a crucial part of our Bob Marley tributes, joining alongside Gina to form a solid harmony vocals section that we affectionately dub The I-Twos. Today we celebrate Jess! ❤️🌞💚

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