The Storm - Holds On…Just a Little LongerI always enjoy a really good rock ‘n’ roll saga…and I now find The Storm saga continues with demo cassettes and re-sold cd’s selling all over the world at more than $3-400.00 a shot.

In order to explain this phenomenon, let me start at the beginning. In the 80s, The Storm was a highly touted local hard rock band in Southern California. I would hear The Storm on KLOS-FM played by the late and well-respected DJ Joe Benson, who hosted programs on the powerhouse channel like Off the Record, Local Licks, and The 7th Day. Benson provided seminal airplay in the Los Angeles radio market for emerging bands on Sunday nights.

KLOS-FM served the greater Los Angeles area. I had a very brief DJ tenure at the station in 1981, and would on occasion chat with Joe Benson. He championed the regional bands like The Storm for many decades and made sure I was on his mailing list.

In the ‘80’s, a local musician, Joe Palmeri of The Storm, had sent a cassette of his band, The Storm, along with a biography prepared by the North Hollywood-based Sound Image Entertainment production company owned by Marty Eberhardt and David Chatfield.

The 1982 biography listed the band members: KRISTINA NICHOLS – Lead Vocal, KAREN CHILDS – Vocals and Keyboards - JOE PALMERI – Guitar and Vocals, TAD DERY – Bass and Vocals, and DAVID LOGEMAN — Drums.

Unlike most of the demo tapes and independent pressed records Benson usually received, The Storm’s recording was engineered and produced by the award-winning Guy Charbonneau, the owner of the remote recording truck, Leeds/LeMobile, who had taken The Storm under his musical direction. Singer Karen Childs had met Charbonneau and played him a demo that he liked.   

I was well aware of Guy’s acclaimed recording credits and the sonic aspects of his endeavors in the eighties, and marveled at his work last century. Charbonneau, from Montreal, Quebec, Canada, began his career recording and mixing the Montreal Jazz Festival for television broadcasts in the 70's. Producer Phil Ramone saw Guy and Le Mobile in 1977 when he recorded in New York's Carnegie Hall for the Canadian Broadcasting Corporation, and then asked Guy to record the movie soundtrack to Paul Simon’s One Trick Pony in Cleveland.     

In 1984, Guy moved to Southern California, and Le Mobile had a permanent home. Over the last handful of decades, Charbonneau and his legendary remote truck have recorded hundreds of artists, including David Bowie, Jerry Garcia, Queensryche, Roger Waters, Sting, Herbie Hancock, Joe Jackson, Van Morrison, Eric Clapton, Peter Gabriel, Faith Hill, Lenny Chesney, and Gwen Stefani...and The Storm.   

In the eighties, I glanced at a music magazine, RAW, which touted The Storm, and reviewed them: “Cultured, rather than spectacular, here’s a band whose sound lies in the Vixen area, tough pop with rock trimmings.” The Storm were also hailed in Music Connection magazine.  

So, I was curious to see The Storm play a residence in Studio City at the Sash nightclub. The venue was the former site of The Cinnamon Cinder, where The Beatles held their July 1964 press conference before their Hollywood Bowl concert. This century, the club became Platinum Plus.

At The Storm Sash gig, besides all the throngs of women clad in spandex grooving to the action and relating to Karen and Kristina on stage. I was on the floor with Kiss’ Gene Simmons and members of Quiet Riot. The Storm were definitely not a hair metal band.

In the late seventies, I had gone to the press party for the launch of the band Heart on Portrait Records, after their success on Mushroom Records, and was intrigued by The Storm, who also featured two female lead singers.

For the last third of a century, although I never really thought or heard about The Storm, there was a growing undercurrent of excitement about the band internationally after they had released their debut album on Retrospect Records that had quickly sold out their self-titled LP initial 10,000 pressings. It turns out that those CDs have become highly coveted.    

During 2024-2026, I noticed that the lone eighties recordings by The Storm, as well as 2026 remixes of their original material with producer Chatfield on his Harmony Records’ subsidiary Sound Image label, were generating digital online airplay, and The Storm recordings were not only garnering large fees in the collectibles market, but also had developed a cult following I had just become aware of.  

I decided to do the forensic work and track a band member down, Joey Palmeri, as well as a producer, David Chatfield, who is collaborating with Joey on current remixes for Chatfield’s Harmony/Sound Image record label.  

In 2026, I sat down with Joey and David to discuss The Storm’s still ongoing journey. What I thought was a long-forgotten band is now enjoying a renewed renaissance.

“I came at age 20 in Los Angeles in 1980 from Rochester, New York,” remembered Palmieri. “As a kid, I played a lot of jazz. When I came to Hollywood, I started a band called Fahrenheit. We played around town and worked with engineer/producer George Massenberg. He had many credits with Earth, Wind & Fire and was a partner in The Complex studio. He recorded us live in Utah.”  

Joey then started another group, Character, who evolved into The Storm. “I always made it a point to play original material, no covers, and not go on the road out of Southern California.”

Palmeri’s vision for The Storm developed.

“We were awesome on stage,” underlined Joey.  “Marty had a concept. We will only do one club, Sash. We could control the sound. It had a very good sound system. And the people would always know where we were booked.”

“Karen and I wrote a lot of songs in a rented house in Van Nuys. We would just write songs for hours. ‘I got this idea…’ We’d focus on Karen’s lyrics and the bridges in the tunes. I always wanted the power of the songs to emerge. Then we would bring the songs to the band. That is what happens when you write demos, and the song grows. Some of our compositions were love-driven, like ‘Broken’ (a song Gene Simmons later produced for Doro Pesch from the band Warlock in Germany.) They had real emotions that people could relate to. We heard a demo from a mother and daughter team, the Randalls, and took it to another level.”   

Eventually they started recording with Guy Charbonneau after he heard their demos, and signed a production deal with Eberhardt and Chatfield at Sound Image Entertainment. Eberhardt shopped the finished Storm recording done with Charbonneau, along with other songs recorded at Sound Image’s studio.

“We loved working with Guy,” emphasized Joey. “At the Leeds facility when LeMobile was parked, I remember one night when Guy brought me into the parking lot and told me to put my Marshall amp there as he was in the truck. I played a screaming solo, and then Guy said in his French Canadian accent, ‘You have a visitor.’ I looked, and Eddie Van Halen was watching. “Fuckin’ great, man. Crankin’, dude. Love it.’”

Gene Simmons of Kiss was interested in signing them to a label deal he had with RCA, and the tape attracted the interest of A&R executive Derek Shulman at Polygram Records, who offered them a 3-year deal. Negotiations then went on for 6 months as Palmeri auditioned new band members as time dragged on, and then the deal suddenly collapsed.

Joey and The Storm continued playing stellar shows at the Sash club while Eberhardt shopped the Charbonneau tape and eventually signed with an independent record label, Retrospect, who manufactured CDs and distributed them internationally independently.

There were some personal decisions, unsatisfying auditions for potential touring, and then Joey left The Storm.  

David Chatfied with Joey Palmieri picture

Palmeri then formed City of Faith. They were a very popular group, headlining the Roxy Theatre and The Troubadour. David Chatfield saw his new group in a rehearsal, and they stayed in touch over the years. Around live shows with City of Faith, Joey worked at Dick Clark Productions in Burbank. “Dick loved the band. Al Schwartz in his office arranged a phone call for me with the composer Lalo Schiffrin.” Coincidentally, Chatfield’s father had served as one of Dick Clark’s publicists.

Palmeri subsequently played in a new outfit, The Corporation, and with Billy Tulsa and The Psycho Crawdads, technically a country-influenced version of City of Faith. He also logged time as a session musician on albums by Evan Biegel, and always had and operated a home recording studio, Seasound, where he produced and appeared on multiple and unknown artist albums and demos.  

“Over the years I kept in touch with David,” Joey happily volunteered. “He came to see City of Faith. I was involved with a movie, did the soundtrack, and David was my lawyer reviewing the contract. I also co-wrote a song, “Keep This Love Alive,” on Doro Pesch’s 1990 album that Gene Simmons produced. David negotiated the contract with Gene.” 

During our trio interview, I asked Chatfield to reflect on The Storm, and his renewed involvement with their sonic legacy.

“I noticed in the last couple of years that Storm cassette tapes, CDs, or copies of them were showing up on Ebay, Discogs, and the internet in various countries around the world,” laments Chatfield. They were selling for 395 euros each! Some were only 4 or 5 song cassettes!”

“Recognizing the band’s percolating worldwide popularity, during 2023-2026, I rearranged, remixed, and remastered two songs from the original recording sessions, “Hold On” and “Sweet Surrender,” and each song went top 5 for weeks on Spotify Local Pulse Charts in the USA and on iTunes in Europe. “Hold On” made it to #1. Still, in late 2026, in addition to pirated CDs, there are also cassette tapes floating around with handwritten notes and some pictures of the band. I recognize that they were copied from the original tapes Marty sent to record labels for the A&R people to review both in the US and internationally.”

“What I discovered is that there is an underground market for just about every band I ever worked with,” Chatfield realized.

“I was again contacted by promoters in Scandinavia about The Storm. Joey, Karen and I had decided in 2023 that their music should become available to the world. This October I am planning to release “Leave Well Enough Alone” and follow that up with a digital and physical release of the entire first album. It was inspiring to see The Storm ahead of Beyonce, Drake and Snoop on the Spotify charts. Joey and I have now started to pull together enough recordings for a second album by The Storm, a live album, and a full show video of The Storm at the Sash.”   

David Chatfield with Guy Charbonneau

“So, I started reacquiring old masters back and getting them out. The Storm now seems to be considered one of the best eighties female vocal-led AOR bands that ever existed. The songs are good and timeless, and the performances and recordings or an another level. It’s very emotional to me. They have reached people now without promotion. As for the collectors and fans, some think it’s a new band. The others all know it’s a band from the eighties,” explained Chatfield.  

“I think the honesty of the performances is apparent. Joey and I are reviewing some additional material, such as rehearsal and working demos, to prepare for release. I have found some vintage color photos, articles, fan letters, and international inquiries. There has always been a demand for melodic AOR internationally. However, now it seems that young kids in their twenties, when they hear it, love the music. It’s so well recorded and my years of remix experience come in very handy,” underscores David.  

“In 2022, I was in a Zoom meeting with the AIMP and the Guild of Music Supervisors, people who put recordings in soundtracks. At the conference, I was told, ‘We don’t want music created now that is supposed to sound like eighties music. We want real eighties music!’ Ever since I have been remixing and re-recording my masters from the 80’s, in fact, I just did a sync for an upcoming movie where one of my 80s recordings opens the film spectacularly.”   

Looking back on The Storm, and their recordings that are now being heard globally over the last 2 years owing to the efforts and monitoring by David Chatfield, Palmeri is upbeat when discussing the Storm’s journey.

‘Both David and I knew it was potent. Every band I started succeeded. When I start a band, I do it for real. I push it to the limit. David and I never stopped believing. I admit, we all had a lot of hair!

“For The Storm, it’s not really a second life, because it never really had a life. We had a lot of professional musicians watching us at the Sash nightclub. David and I, along with Marty, Guy Charbonneau, and the band members, always felt it was important. And now we’re being heard around the world,” he smiled. As the band sings “Hold on…just a little longer, hold on…love leads the way” to The Storm.   

Harvey KubernikThe post The Storm - Holds On…Just a Little Longer first appeared on Music Connection Magazine.

OG.com seeks CFTC approval for single-stock perpetual futuresOG.com, recently spun out of Crypto.com, joins Coinbase, Kalshi and Kraken parent Payward in seeking approval to bring perpetual futures to individual US stocks.

Meta opens early access program for new Muse featuresAnyone interested in joining has to ask Muse to put them on the list.

Pi Pico Recreates The Heathkit Pocket PacketPacket radio is a particularly fun part of the ham radio hobby. Once upon a time, you might have squirted data about the airwaves using something like the Heathkit HK-21 Pocket Packet. Heathkit stopped being a going concern some time ago, but [btech] has now recreated the device with modern hardware.
[btech] has called the project the Pocket Pico, and like the hardware that inspired it, it acts as a terminal node controller for amateur packet radio. It literally runs the same firmware as the real HK-21. It achieves this by using the Raspberry Pi Pico to run a Z80 processor emulator that can run the same code, while also using the microcontroller to do the work of modulating and demodulating Bell 202 audio tones at 1200 baud to avoid the need for a dedicated modem chip.
Thanks to running the same firmware as the HK-21, you can use the Pocket Pico with lots of old packet radio software. It’s fully capable of doing APRS as well as AX.25 Level 2, and has a built in Personal Bulletin Board System for other stations to leave messages.
If you’re looking to get into packet radio, you might just find this project to be useful. Alternatively, you might like taking a look at some other projects we’ve featured in this space, like the capable OpenModem project. Video after the break.

[Thanks to btech for the tip!]

Ross Audio SUBSTANCEA bass processor that learns how your bass responds before it shapes it. A 30-second Learn My Bass read of attack, dynamics, noise and string response gives ROSSIFY a musical starting point. Five engines (Tequila, AI Mentor, Joker, Future Adviser and N.I.N.A.) change the behaviour of the processing, not just the preset name. Sub, drive, modulation, octaves and space expand the tone while the original signal stays at the centre. Macros first, an advanced page when you want it. SUBSTANCE Free has no time limit: live processing, tuner, tone analysis, a basic Learn My Bass read, the main sound controls and factory snapshots. Every Pro feature can be tried for 15 days. Pro is US$ 59, one payment, with 1.x updates included, for up to two computers. VST3 and Standalone for Windows x64 and Linux x86_64 (glibc 2.30 or newer). macOS is on the roadmap. Read More

Finalist 2 from Tim Exile A new version of Tim Exile's algorithmic mixing tool has arrived, and rather than residing inside of Native Instruments’ Reaktor like its predecessor, it's now available as a standalone application or via a web browser.

From Warner Music’s leadership shake-up to Suno’s courtroom defiance… it’s MBW’s Weekly Round-UpThe biggest headlines from the past few days...

Source

Apple Music is livestreaming the upcoming Head Trip festival, with sets from Calvin Harris, Skrillex, Swedish House Mafia and moreApple Music has partnered with Goldenvoice, the promoter behind Coachella, to present the upcoming Head Trip festival in Indio, California via livestream.
It’s said to represent Apple Music’s “first festival partnership of this scale”, expanding its mission to deliver dance and electronic music livestreams to a global audience.
Head Trip will take place at the Empire Polo Club in Indio, California on 10 and 11 October – the same venue where Coachella is held – with performances scheduled from Calvin Harris, Skrillex, Swedish House Mafia, FISHER b2b Chris Lake, Peggy Gou b2b Four Tet, Dom Dolla b2b Kettama and more.
While exact set times and tune-in schedule will be announced at a later date, Apple Music and Goldenvoice are also teaming up with Chase Sapphire Reserve, which is offering eligible cardmembers exclusive ticket access and special experiences at Head Trip, including exclusive onsite extras, and VIP pass tier access.
 “Head Trip brings together an extraordinary lineup of artists who are shaping dance and electronic music culture right now,” says Stephen Campbell, Global Head of Dance, Electronic Music & DJ Mixes at Apple Music. 
“Our goal at Apple Music has always been to bring fans closer to the artists, scenes and dance floors driving this culture forward. Teaming up with Goldenvoice on Head Trip gives us an incredible opportunity to take the energy of this one-of-a-kind festival beyond Indio, giving fans around the world the chance to experience these performances on Apple Music.”
“Goldenvoice is thrilled to partner with Apple Music on Head Trip, bringing this one-time-only event to a global audience,” says Danny Bell, Senior Vice President, Goldenvoice. ”Apple Music’s commitment to make this event widely accessible to fans around the world is truly exceptional.”
The partnership announcement comes on the heels of Apple Music’s new Club Live, which streams some of the biggest events from around the world, including EDC in Las Vegas in May.
Learn more at Apple Music.
The post Apple Music is livestreaming the upcoming Head Trip festival, with sets from Calvin Harris, Skrillex, Swedish House Mafia and more appeared first on MusicTech.

Rue Blose releases Oppressor, a FREE spectral sidechain compressor
Rue Blose has released Oppressor, a free multiband and spectral sidechain compressor for macOS and Windows. This free compressor was designed specifically to help you create space between competing sounds without turning down the entire target track. You can place it on the sound you want to move out of the way, then route the [...]
View post: Rue Blose releases Oppressor, a FREE spectral sidechain compressor

Two notes to launch the Captor X Pro The Captor X Pro combines a 150W multi- impedance reactive load with programmable passive attenuation and advanced Torpedo processing, and offers some comprehensive analogue and digital routing options. 

Thenatan gives away DIAL radio effect FREE for 72 hours
Thenatan is giving away DIAL, a new radio signal designer plugin for macOS and Windows, free for 72 hours. The plugin normally costs $50, but you can currently claim it for $0 with no coupon code. Thenatan does not show an exact cutoff time on the official product page, so I would grab this one [...]
View post: Thenatan gives away DIAL radio effect FREE for 72 hours

Polyend takes aim at guitarists with a new looper and multi-FX pedal, LoopPolyend – the Polish electronic music gear maker known for its innovative grooveboxes, and MIDI controllers, the latest of which came in a form awfully similar to a QWERTY keyboard, has taken aim at guitarists with its latest release, Loop.
It’s effectively a looper pedal/multi-effects station hybrid, boasting four independent mono/stereo loop tracks, a four-track sample-based drum machine and over 100 onboard effects spanning everything from reverbs and delays to modulation all the way to distortion.
Touted as an “idea machine for musicians”, Loop isn’t just targeted at guitarists, but at all manner of songwriters as well as electronic musicians looking to lay down and explore ideas quickly.

READ MORE: Ableton CEO and co-founder Gerhard Behles on independence, longevity and community

Specifically, the four mono/stereo loop tracks can use one of these effects each  independently, while Forward, Reverse and Ping-Pong playback functions offer extra ways to play with recordings and loops. There’s also Varispeed, which causes loop speed and pitch to follow tempo changes while the pitch of the drum samples remains unchanged.

Meanwhile, the unit’s drum machine section features over 350 rhythm patterns and more than 500 kits, with the ability to record your own drum samples onto the Loop and use them, too. There’s also a library of over 180 audio loops for inspiration.

The pedal also features scenes, a way of exploring and storing complete song sections – verses, choruses and bridges, for example. Each scene, of which up to 1,000 can be saved, stores loops, drum patterns, tempo and effects data, ready to be revisited as whole song sections.
In terms of ins and outs, Loop is compatible with instrument, line-level and dynamic microphone sources, including two mono sources simultaneously.  It also supports the import of loop and sample data via microSD, and features TRS MIDI and USB MIDI for synchronisation and control.

Loop is available now to preorder at $599 / €599, with orders expected to ship in October 2026.
Learn more at Polyend.
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Ableton CEO and co-founder Gerhard Behles on independence, longevity and communityGerhard Behles isn’t interested in the idea that music is a “problem” for humans to solve. Instead, the Ableton CEO and co-founder views music and the act of creating it as a continuous experiment that contributes to the “blossoming of a personality”. If you can get on board with that ethos, you might be Ableton’s ideal customer.
“We want to be especially important for people who are approaching music in this way,” Behles says from the brand’s Berlin office. “We are very much dedicated to people who think of the act of [making music] as the actual end in itself.”

READ MORE: Best DAWs for producers, songwriters, engineers and DJs right now

It’s natural then, that Ableton and its now-ubiquitous DAW, Live, emerged as a result of experimentation, too. In 1999 Berlin, Behles and his co-musician Robert Henke were creating musical software — using the programming language Max — for their electronica project, Monolake. As “habitual programmers”, Behles says that the duo never intended to turn their quirky experiments into a product, let alone one of the most beloved companies in music technology. But the brand arose in 2001, with other co-founder Bernd Roggendorf, out of a series of “happy accidents”.
“You’d always like to reconstruct the history as if it made sense from the beginning, like you had a plan. But truth be told, that’s not the case,” Behles acknowledges. “It emerged more than anything.”
With Live now approaching 25 years old and the company officially producing hardware with Push and Move, Behles is confronting existential questions surrounding Ableton. In the past five years, he’s been vocal about his desire for Ableton to “own itself”, making headlines in 2021 when he turned down investment opportunities from the likes of Diplo, Scooter Braun, and venture capitalist Joshua Kushner in 2021. Diplo called it a “very anarchic and punk” move, but Behles’ reasons are realistic.
“We all die, right?” he asks rhetorically. “So if you put something in the world and it builds a life of its own, what are you going to do with it? ​​The classic two options at your disposal are: you solve it in your lifetime by selling, or it gets inherited after your lifetime. We looked at these options a number of years ago, and neither seemed meaningful in any way at all.”
Selling Ableton could have landed Behles and his leadership team a handsome payday. Although Behles says he has no ideological opposition to financial firms investing in music technology, the idea of a private equity company owning Ableton didn’t seem beneficial to its vast community.
“Our contribution to [Ableton], and what it’s become, should not be over-exaggerated,” he explains. “The thing that [Ableton] is now is because of the contributions of countless people, and that’s not limited to the people who work here; it extends into a wide ecosystem of people who are close to this brand for one reason or another — perhaps makers of a Max for Live device, or a certified trainer, or a user who’s invested a serious bunch of their life energy into getting fluent with these instruments.
“I should not be taking too much of the credit here,” Behles continues. “I should act as a steward and make sure that it can evolve into its best possible version, including when I’m not there anymore to oversee that myself.”
“All businesses probably screw up behind the curtain. What’s special here is that it’s a relationship… It’s delicate”
Anything’s Possible
How can Behles be so confident that Ableton will survive as a music brand for years to come, anyway? He notes that, regrettably, the “titan” companies in the electronic music space — synth brands such as Buchla, ARP and Oberheim — lacked the business acumen that was necessary to build a sustainable business. To build lasting value in music, you have to be in it for the long haul, he adds. But that doesn’t mean that everything always goes to plan.
Ableton has avoided damaging controversies during its lifetime, and has built a committed customer base. But Behles concedes that Ableton has “screwed up many times… And also, sometimes in the face of the user, which is very painful.” Those screw-ups have been relatively minor: Producers weren’t impressed at first with the 2024 launch of Move, and Live 9 users were briefly unable to activate their purchased software in 2013. The goal, of course, is to be ready for any setback, regardless of its significance.
“Screwing up is the rule, not the exception,” says Behles. “I think all businesses probably screw up behind the curtain. What’s special here is that it’s a relationship-based thing, where the people who use an instrument are emotionally tied to it, so you can get a lot of heat from a decision because it becomes a matter of breaking somebody’s flow. It’s very delicate.”
“Ableton is what it is now because of the contributions of countless people”
When trying to solve such problems, Behles and the Ableton team take inspiration from Apple and other software companies in the music tech space. It’s not lost on Behles that each iteration of Ableton Live carries a number — we’re currently on Ableton Live 12 — and therefore an expectation to build on a functional product. He calls it a “fascinating challenge” to “battle the wealth of possibility” while recognising “the need to preserve a clean and efficient workhorse”.
As for the next 25 years of Ableton’s future, Behles has a simple desire:
“I would hope that it still, or even better than today, serves people who take music making seriously, without being serious about it all the time. [Music is] a worthwhile thing to spend your time and life energy on. We just want to be there for these people to our best ability. I don’t think that should change.”
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Bitget confirms $351M security breach, suspends withdrawalsBitget said unauthorized transfers affected a limited number of hot wallets, while cold wallets and most platform assets remained unaffected.

What is compression, and why do we use it in music?Compression is a process that reduces the dynamics of an audio signal. In this context, “dynamics” refers to the way volume changes within a passage of audio, both from moment to moment and across longer time spans.
The easiest way to conceptualise compression is as an automatic fader that turns down when the sound is loud, and returns to its original position when the sound becomes quieter.
READ MORE: Everything you need to know about audio compressors
What is a compressor used for in music?
Audio compression has many different applications, but its two principal uses are to smooth out excessive or unwanted volume fluctuations in a performance, and/or to make parts louder.
Imagine a vocal in which the performance swings between quiet and loud. Once embedded in a mix, the quiet passages may be hard to discern while the louder passages may be overpowering. You could deal with this by automating or manually riding the channel fader, but it’s much easier to hand the job over to a compressor.
When should I use compression?
During recording, a small amount of compression is useful for smoothing out volume fluctuations in a performance, and by reducing peaks we can add more gain and so capture a stronger signal overall.
During tracking and mixing, compression is used to further smooth out the dynamics of a performance if necessary, and to add sonic solidity and evenness to a part or submix. It’s also common to apply compression to the master mix buss with the aims of increasing the loudness of the mix, adding weight and solidity, and improving the sonic binding and coherence between instruments.
Finally, in mastering, compression is employed to add a final layer of solidity and cohesion, and to help with matching the audio’s dynamics to the requirements of the channels via which it will be distributed (for example, the requirements for Spotify are very different to those for CDs).
Related terms

Multiband compression
Sidechain compression

Learn more music technology terms in our Glossary
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