The Punch Line

After more than a decade, The Punch Line have re-emerged. The group originally found its niche at the height of the mid '80's New York City mod/garage scene. However, unlike many of our contemporaries, The Punch Line were able to attract a broad-based audience with intelligent songwriting, powerful rhythms and intricate harmonies. The Punch Line continued to perform and record, in an on-again/off-again fashion, into the early '90's but eventually we went our separate ways.

In the fall of 2003, the four original members reunited for the first time in over ten years. Not only did the meeting result in a jam session, but it created a renewed interest in writing, recording, and performing. Not surprisingly, the group has since begun recording their first new material in nearly 17 years!

Chance Encounters: The Punch Line Biography

THE PUNCH LINE:

Chris Collins vox, drums & percussion

Rob Ross vox, guitars

Bobby Strete bass

What can be said about the notion of a band that splits up only to reform after more than a decade apart? In the tradition of such influential groups as The Undertones, The Buzzcocks and Wire, The Punch Line make their triumphant return in spectacular fashion after a 12-year absence. Not only are they back together playing again, but their first record in 17 years, the appropriately titled “to get to the other side” will soon be available to the public. All this, due simply to the fact that they missed one another’s friendship and musical companionship, which is the best criterion for coming back “one more time”.

Originally formed in 1983 as Two Minutes Hate in the New York suburb of Staten Island, Rob Ross and original bassist Marc Treboschi were part of a “Gang Of Four / Jam - styled noise brigade” (as they are wont to describe it). As often happens, that incarnation quickly imploded due to the usual youth-filled “artistic differences”. However, while Two Minutes Hate were together, they met drummer Chris Collins, then of the New Jersey-based Mod Fun. A friendship/rapport/musical kinship was quickly realized and the three set about playing without their respective bands’ knowledge.

1984 saw two releases from Two Minutes Hate on the band’s own Synchronic label (which is still their “corporate” moniker): “Love, Hate and Social Criticism” (cassette only EP) and “Seconds, Time Signatures and Strings” (4-song EP), both now long out-of-print. By 1985, the pieces that would eventually form The Punch Line were falling into place as Marc, Rob and Chris began gigging in New York City clubs. However, commitments to their other groups made regular playing difficult and eventually the band became inactive. Suddenly, a year had gone by. It wasn’t until a chance encounter (August 1986) at Maxwell’s in Hoboken, when Rob ran into Chris at a Fleshtones gig that things began to happen again.

By the beginning of 1987, the trio was once again working together. In addition, they managed to rope in Carl Treboschi, Marc’s older brother, to join the band on bass. Not coincidentally, he and Rob were already doing acoustic gigs to showcase their vocal harmonies. It was the perfect fit and the original Punch Line line-up was officially born. That summer, the debut Punch Line single was released by Synchronic Records the now classic “The Wild Flowers” c/w “Faster Than I Like”. Within a year’s time, the band had cranked out enough new original material for an LP. Much of it was partially recorded when the band quietly fell apart in June 1988. Why it happened is anyone’s guess, but for the next three years, The Punch Line was a pleasant memory

Until, in May of 1991, two more chance encounters took place. In a rare moment of socializing, Rob found himself out on a Saturday night to see Marc playing with another local band and, of course, they spoke to one another. Old differences were immediately patched up and the next day, they were already talking about putting the band back together. After ensuring that Carl was willing to do it again, they mused on who would be their new drummeras Chris had been out of touch for ages. That very Monday, at the corner of downtown Manhattan’s Broadway and 8th Street, the final chance encounter occurred when Rob ran into Chris totally out of the blue. Thus the stage was set for a return to the fray. Rehearsals, recording and a few live shows pointed the way for ’91 to be the year (finally) of The Punch Line

Unfortunately, it was not meant to be. Marc’s impatience at long-overdue success, Rob and Carl’s hesitation as they were cautious “family men” with careers and wives and Chris’ scheduling conflicts led to yet another band implosion. After recording “Bandwagon” for the R.E.M. tribute album “Surprise Your Pig” (under very tense conditions), The Punch Line broke up, somewhat acrimoniously.

Fast forward to 2002. That fall, Rob received an e-mail from Chris after a 10-year lack of communication. Without hesitation or fail, Chris suggested getting together to make music again and Rob said “Absolutely!!”. Although efforts were made to gather the remaining troops, The Punch Line, in their full original line-up got back together only once, in November 2003. Not to be discouraged, Chris & Rob began pushing ahead as a duo and, with the start of spring 2004, the first newly recorded material from The Punch Line in 17 years is completed.

With the onset of summer many old friendships and industry contacts have been renewed. Recognizing the necessity of a powerful rhythm section, Chris & Rob recently recruited Bobby Strete to join the band on bass. With their enthusiasm running higher than ever, the group will soon be pushing forward with the release of an album and live performances.

So what’s next? The time will tell. Sometimes a little caution goes a long way, especially if you’re The Punch Line

The Punch Line cut their teeth at some of the popular NYC clubs during the '80's Mod revival. Venues included S.N.A.F.U., The Dive, Kenny's Castaway's, Trax and The Bitter End. The band did enjoy playing live; at a point, we were (in our collective opinion) as good as any of our heroes or contemporaries as a unit--when we were in our prime. As for the future, as long as schedules allow us ample time to rehearse and be able to deliver the best performance we can, then it's feasible.

Most things from the '60's British Invasion/Motown-Stax (soul & funk in general)/"modern" jazz/late '70's - early '80's 1st-wave punk/"New Wave"/Mod revival/pop.

Specifically: Undertones/Buzzcocks/Wire/That Petrol Emotion/Who/Small Faces/Beatles...and so on.

Drums, guitars and bass. We're partial to Fender products...especially any Telecaster Custom or Rickenbacker 330.

We're older and more seasoned now and we think our music reflects that. It should please a wider range of people...as power-pop/punk stuff will always appeal to young ears and intelligent songwriting will always appeal to more mature listeners. More than anything, we appreciate the craft of composing; it's a blessing and a gift, which is the best criteria to do this.