GALEN AYERS & PAUL SIMONON

A prog legend's daughter and The Clash's former bassist aren't the most obvious collaborators. But Can We Do Tomorrow Another Day? is the thoroughly arresting debut from Galen Ayers and Paul Simonon, who create a set of pan-European songs (sung in both English and Spanish) with a laidback Mediterranean vibe that's often reminiscent of Galen's late father, A Kevin. Produced by Tony Visconti, and featuring guest spots from Damon Albarn (Blur, Gorillaz) and others, the album has its roots in a Mallorcan fishing village, where Simonon stayed during lockdown.
How did this album happen?
Galen Ayers: After the hard Covid lockdown, Paul was just coming back to London from Spain and I was coming back from Greece. And we'd both been writing songs. We just started chatting and realised we were in the same place. The fun thing, I think, is this third space that opens up in any good collaboration, because you're being pushed in ways that you wouldn't necessarily go if you were just alone.
Paul Simonon: It was quite intense, in a way, because you open up completely. We both agreed from the beginning that we should just be totally honest with each other. That seemed to be the best way to move forward, going by gut instinct.
So, is Mallorca a key place for both of you, creatively?
GA: Sure. I grew up there, with my dad. And I lived there with my stepfather and my mum and I went to school there. I was practically a Spanish girl and spoke the local dialect, Mallorquin.
PS: This record really started off there, after I'd gone to Mallorca to paint. I had a guitar with me as well, so it was just an alternative way of being creative. It's the same thing - the element of thought and feeling and expression. And I've always been open to European music. Jacques Dutronc and people like that. My dad used to play things like Françoise Hardy and Jacques Brel.
But you wanted to be a painter rather than a musician, right?
PS: Yeah, I wanted to be an artist. Eventually, I got to art college, met Mick Jones [Clash co-founder] and somehow ended up playing bass. Mick said, "You're a bit like Stuart Sutcliffe." I went, "Who's he?” He said, “The one that was in The Beatles. He couldn't play bass either, but he was a good artist." So that was sort of my inspiration in the very beginning.
And was it always going to be a musician's life for you, Galen?
GA: No, I rebelled against it. At first I was always singing and toured a bit with my dad. But then I saw the human cost of the life and I didn't want that. I was quite a strong academic: I have two masters and was adamant to find a different path. But eventually, it just came naturally that, as a writer, adding music is another form of expression. Now you have a whole other layer of emotion.
Was prog ever on your radar, Paul?
PS: My brother used to be into Yes and things like that, but it just didn't speak to me. It didn't represent anything that I felt. They knew too many chords, that's the problem! Galen and I are really from two different worlds
GA: [To Paul] But we did find some middle ground. You enjoyed the early Syd Barrett albums I played you.
PS: Yeah, that's interesting, it's like your dad's stuff.
GA: It's more song-based. Growing up, when I started getting interested in songwriting, there were progressives in my house at all times.
Didn't Daevid Allen used to be your babysitter, Galen?
GA: They all were! I went to see King Crimson a few years back and met ...