Twenty years ago, David Reece returned to Los Angeles after a successful stint with Accept. He was looking for a group of musicians that he felt shared his vision of what he wanted in a band, driven on writing an album’s worth of material and to obtain the elusive ’major label deal’. Not long after his arrival, Bangalore Choir was formed. After a short time paying dues on the Sunset Strip, they were signed to Giant Records and ‘On Target’ was recorded. Produced by Max Norman and James ‘Jimbo’ Barton, the album was the essence of what was selling big at the time. With contributions from Jon Bon Jovi, Aldo Nova and Steve Plunkett (Autograph), and major label backing, the album should have done well. But alas, the Seattle invasion worked its way down the Coast and by the end of 1992, the masses were looking for a fresh, raw sound that the ‘big hair’ bands of the mid to late eighties were not delivering.

After an 18 year hiatus, David Reece reached out to original Bangalore Choir members Curtis Mitchell and Danny Greenberg to test the waters on the possibility of recording some new music and playing some live dates. After a few brief phone conversations between the States and Germany, the three founding members were all were on board and ‘Cadence’ (AOR Heaven, 2010) was the byproduct of the reunion. David had been working with guitar phenomena Andy Susemihl (U.D.O.), and he was officially ‘welcomed’ into the band. Andy’s talents are endless and as a result, he not only played guitar tracks along with Curtis, but mixed and produced ‘Cadence’ as well.

The new year brings us another effort from the Boys in Bangalore Choir: ‘Metaphor’ features some collaborative efforts as well. David turned to old friends Rikard Quist, who collaborated on the tracks ‘Silhouettes on the Shade’ and ‘Scandinavian Rose’ on the new release and also worked with lyricist Jon Wilde, with whom David had worked with on his Reece-Kronlund release.