“pick up all the pieces in the jigsaw, like we’ve done so many times before ...”Rob Ashmore and Tom Payne Now watch and listen to song 1 from Jonathan and Alison NOTHING EVER CHANGES (Just re-arranges)When you’re desperate for a role model, anything will do.Song 2 from Jonathan and Alison is calledWHY CAN’T I BE LIKE MY DADDY? In song 3 the pair meet for the first timeINTRODUCING ALISON (the girl next door) Your turn to make tea. One lump or two? On your head or in the cup? Song 4 from Jonathan and Alison MOTHERS AND FATHERS (Let’s play)Take a moment to reflect on song 5 from Jonathan and Alison MIRROR (Please grant a wish for me)Ashmore-Payne's musical play without dialogue - entitled JONATHAN AND ALISON.Originally written in the late 1960s and early 1970s this work features 19 songs and tells the all-too predictable story of two youngsters growing up as neighbours, and what happened to them in later life. The story spans the years between 1958 and 1974.The music which accompanies the scenes and commentary is taken from authentic home studio demo tapes recorded by Rob Ashmore (Robbi Curtice) and Tom Payne. Recording engineer as usual was Chris Ward. The guitar work of Grev Norman can be heard on several tracks.Originally intended for production on television, this is the first time anywhere that the entire production has been presented in this format, which is similar to what the writers had originally planned.
Song 6 is set at the time when steam trains were gradually being replaced. Listen out for the young station announcer’s haunting announcement.THE PASSING OF PUFFING BILLY
At last the moment when the future becomes clear. Song 6 tells of the happy day when Jonathan and Alison found theirALIBI
Song 9 is the title song from the musical play without dialogue JONATHAN AND ALISON
Song 10 (don’t panic! We’re over half-way now) is about a mysterious caller DOOR-TO-DOOR
It’s quite an occasion - the news even made the local paper. Song 11 is TO JONATHAN AND ALISON, A SON
So very sad when good love goes bad. Song 12 is calledBABY IN THE CRADLE
Song 13 (unlucky for some) is called THE GOODIES AND THE BADDIES
Song 14 is about second chances TAKE ANOTHER LOOK Song 15 is all about Jonathan’s evening out. EVENING FALLS (for Jonathan)
Alison’s evening is quite a contrast. Song 16 is called EVENING FALLS (for Alison)
We always did have a feeling it would end badly. Song 17 is calledJONATHAN AND ALISON, REST IN PEACE
Song 18 is calledJUST SOMEONE I USED TO KNOW
And finally, just to make the point again, song 19 is a reprise of NOTHING EVER CHANGES
Song 8 is about what should be the happiest day of one’s life WEDDING DAYWatch the story unfold to the authentic home studio recordings.
Between 1968 and 1972 Rob and Tom wrote Ashmore-Payne favourites such as JIGSAW, GOSPEL LANE, THE THINGS I DO FOR PAMELA, DON’T EVER RING DOWN THE CURTAIN, IS LIFE IN THE METROPOLIS AS GROOVY AS THEY SAY, FRIDAY NEVER COMES, A TICKET TO MEMPHIS, A CRY TO A FACE IN THE CROWD, and many, many more.This was by far their most prolific period, with the pair often writing three or four songs each week, using their limited home studio time to make basic recordings of each new song, usually in one take and very rarely in more than two, but never having the luxury to refine and polish the finished article. Recording engineer Chris Ward, with his faithful Tandberg tape recorder, was kept very busy during this period.By 1972, when Rob moved abroad and the pair decided it was time to concentrate on their day jobs and families, Ashmore-Payne had well over 300 songs to their names.
“pick up all the pieces in the jigsaw, like we’ve done so many times before ...”
Rob Ashmore and Tom Payne
Now watch and listen to song 1 from Jonathan and Alison
NOTHING EVER CHANGES (Just re-arranges)
When you’re desperate for a role model, anything will do.
Song 2 from Jonathan and Alison is called
WHY CAN’T I BE LIKE MY DADDY?
In song 3 the pair meet for the first time
INTRODUCING ALISON (the girl next door)
Your turn to make tea. One lump or two?
On your head or in the cup?
Song 4 from Jonathan and Alison
MOTHERS AND FATHERS (Let’s play)
Take a moment to reflect on song 5 from Jonathan and Alison
MIRROR (Please grant a wish for me)
Ashmore-Payne's musical play without dialogue - entitled JONATHAN AND
ALISON.
Originally written in the late 1960s and early 1970s this work features 19
songs and tells the all-too predictable story of two youngsters growing up
as neighbours, and what happened to them in later life. The story spans
the years between 1958 and 1974.
The music which accompanies the scenes and commentary is taken from
authentic home studio demo tapes recorded by Rob Ashmore (Robbi
Curtice) and Tom Payne.
Recording engineer as usual was Chris Ward. The guitar work of Grev
Norman can be heard on several tracks.
Originally intended for production on television, this is the first time
anywhere that the entire production has been presented in this format,
which is similar to what the writers had originally planned.
Song 6 is set at the time when steam trains were gradually being replaced.
Listen out for the young station announcer’s haunting announcement.
THE PASSING OF PUFFING BILLY
At last the moment when the future becomes clear. Song 6 tells
of the happy day when Jonathan and Alison found their
ALIBI
Song 9 is the title song from the musical play without dialogue
JONATHAN AND ALISON
Song 10 (don’t panic! We’re over half-way now) is about a mysterious caller
DOOR-TO-DOOR
It’s quite an occasion - the news even made the local paper. Song 11 is
TO JONATHAN AND ALISON, A SON
So very sad when good love goes bad. Song 12 is called
BABY IN THE CRADLE
Song 13 (unlucky for some) is called
THE GOODIES AND THE BADDIES
Song 14 is about second chances
TAKE ANOTHER LOOK
Song 15 is all about Jonathan’s evening out.
EVENING FALLS (for Jonathan)
Alison’s evening is quite a contrast. Song 16 is called
EVENING FALLS (for Alison)
We always did have a feeling it would end badly. Song 17 is called
JONATHAN AND ALISON, REST IN PEACE
Song 18 is called
JUST SOMEONE I USED TO KNOW
And finally, just to make the point again, song 19 is a reprise of
NOTHING EVER CHANGES
Song 8 is about what should be the happiest day of one’s life
WEDDING DAY
Watch the story unfold to the authentic home studio recordings.
Between 1968 and 1972 Rob and Tom wrote Ashmore-Payne favourites such as
JIGSAW, GOSPEL LANE, THE THINGS I DO FOR PAMELA, DON’T EVER RING
DOWN THE CURTAIN, IS LIFE IN THE METROPOLIS AS GROOVY AS THEY SAY,
FRIDAY NEVER COMES, A TICKET TO MEMPHIS, A CRY TO A FACE IN THE
CROWD, and many, many more.
This was by far their most prolific period, with the pair often writing three or four songs
each week, using their limited home studio time to make basic recordings of each new
song, usually in one take and very rarely in more than two, but never having the luxury to
refine and polish the finished article. Recording engineer Chris Ward, with his faithful
Tandberg tape recorder, was kept very busy during this period.
By 1972, when Rob moved abroad and the pair decided it was time to concentrate on
their day jobs and families, Ashmore-Payne had well over 300 songs to their names.
