This is a wonderful song, poetic yet hard-hitting: an artistic recreation in two parts, of an experience and a contemplation of that experience.This is not the only time Ferry produces a disturbing monologue on the vacuous nature of opulence to for its own sake. "Dreamhome" resonates with the same notion.
I have yet to see a coherent explanation of this song. It has been interpreted as a eulogy to cocaine, but I disagree. Maybe the song is a poem, a song and an experience which defies explanation but here goes anyway!
The first part creates the party, with its frenzied pace and loud guitar. The music is overpowering, everyone of note is there, and they all "take a powder". The scene is set, and is underpinned by Mananzera's dominant guitar.
Then Ferry takes centre stage, and with stylised movements, begins a stream of consciousness contemplating the emptiness of the life he has chosen. He is the consummate player, with every movement, every wave of his hand carefully orchestrated.
At this point, it is necessary to consider the title. "Mother of Pearl" is a substitute for real pearl. and is derived from a veneer inside the oyster's shell. An excellent metaphor for his superficial life which has a lustrous veneer but no substance.
He is aware that this "party time wasting" is devoid of meaning, empty, superficial, "a pantomime" yet he is lured in just the same.
.
The world of fame, parties, changes of partners who are solely concerned with image is not conducive to happiness. The following line will feature several times:
"If you're looking for love/in a looking glass world /it's pretty hard to find."
However, although aware that there is a higher love, it is out of reach, and at that point begins the religious imagery, which adds an ambivalent overlay to the song:
"Very holy grail" " Lustrous lady of a sacred world". "Highbrow holy"
This love may be aspired to but was "never mine." The celestial, which is merely glimpsed briefly, is juxtaposed with secular love, and the protagonist seems unable to make the distinction.
And so it is that the substitute life is embraced. This false shimmering god is irresistible, even to Zarathustra. (Zarathustra is a character in Nietzsche's philosophical novel which is often mistaken as a nihilistic system of thought- Ferry himself makes this error), and in the same way Ferry cannot resist.
"Serpentine sleekness" refers to the biblical temptress who engineered the downfall of Adam, and who is the false ideal the protagonist has chosen to worship. He is fully aware of the choice he has made and so " no filigree fancy beats the plastic you." All the magazine cover girls are vacuous and interchangeable:
"Career girl cover/exposed and another/slips right into view."
The "throwaway kisses" could be for anyone, who cares if they meet their intended target? Just fall back into a life of luxury and all will be in order.
Towards the end we have the "choker" image, which is both the necklace which adorns the female, yet also a symbol of her demise, being literally choked in the world where image is rated more highly than reality and sincerity.
Finally, and depressingly, we have the affirmation of superficiality above authenticity.
"Mother of pearl/ so semi precious/ in your detached world."
There is multiple repetition, involving several unaccompanied voices, of:
"Mother of Pearl
I wouldn't trade you for another girl", reinforcing that message.
@Jillgiannotta
This is commentary worthy of the song.
I wish all SongMeanings analysis was as profound as what you have written here.
I am inspired and encouraged by your articulate appreciation of an immortal group.
Roxy Music: one of the greatest bands ever. Happy New Year.
Come visit some time:
connecthook.wordpress.com/tag/roxy-music/
@Jillgiannotta
This is commentary worthy of the song.
I wish all SongMeanings analysis was as profound as what you have written here.
I am inspired and encouraged by your articulate appreciation of an immortal group.
Roxy Music: one of the greatest bands ever. Happy New Year.
Come visit some time:
connecthook.wordpress.com/tag/roxy-music/
@Jillgiannotta absolutely adored this interpretation. I also know the work that goes into condensing a complex theme into an economy of words. Something I struggle with myself. Beautiful. Bryan would be proud.
@Jillgiannotta absolutely adored this interpretation. I also know the work that goes into condensing a complex theme into an economy of words. Something I struggle with myself. Beautiful. Bryan would be proud.
@Jillgiannotta Zarathustra is more than just a character in one of Nietzsche's. He is the historical founder of the Zoroastrian religion, which Freddie Mercury's family were members of. (I say to confuse the matter even further).
@Jillgiannotta Zarathustra is more than just a character in one of Nietzsche's. He is the historical founder of the Zoroastrian religion, which Freddie Mercury's family were members of. (I say to confuse the matter even further).
Thanks, my friend, for this excellent, spot-on analysis. I would only add a big of context. Ferry’s I-want-it-but-I-loathe-it obsession is no doubt largely fueled by the driving force in his life, by his own admission: having grown up locked into the British working class, he felt almost doomed in his options, and was determined, like Gatsby, to break out and seize the money and position he’d been denied. But as he edges toward attaining it, as in “Every Dream Home a Heartache,” in the cold light of day, it’s as vacuous as a blow-up doll. In fact, it’s a nightmare, like that beauty in “The Shining” who’s revealed as a cackling ghoul. This is all part of the times, of course, with the unbridled freedom and joy of the hippy 60s coming up sad and disappointing. In the same period Joni Mitchell condemns that daydream asl little more than “Acid, booze and ass/Needles, guns and grass.” As you brilliantly point out, the mother of pearl is a cheap knock-off of the real McCoy. Yet, in the end, Ferry prefers this cheaper version - “No dilettante filigree fancy/Beats the plastic you.” Ultimately, he’s happy with the working class and the working girl striving, like Ferry, to be something they ain't. On one hand he worships at the altar of the posh woman and culture’s “highbrow holy,” but in the end he adores the lowly but lovely mother of pearl: “I wouldn’t trade you for another girl.”
Thanks, my friend, for this excellent, spot-on analysis. I would only add a big of context. Ferry’s I-want-it-but-I-loathe-it obsession is no doubt largely fueled by the driving force in his life, by his own admission: having grown up locked into the British working class, he felt almost doomed in his options, and was determined, like Gatsby, to break out and seize the money and position he’d been denied. But as he edges toward attaining it, as in “Every Dream Home a Heartache,” in the cold light of day, it’s as vacuous as a blow-up doll. In fact, it’s a nightmare, like that beauty in “The Shining” who’s revealed as a cackling ghoul. This is all part of the times, of course, with the unbridled freedom and joy of the hippy 60s coming up sad and disappointing. In the same period Joni Mitchell condemns that daydream asl little more than “Acid, booze and ass/Needles, guns and grass.” As you brilliantly point out, the mother of pearl is a cheap knock-off of the real McCoy. Yet, in the end, Ferry prefers this cheaper version - “No dilettante filigree fancy/Beats the plastic you.” Ultimately, he’s happy with the working class and the working girl striving, like Ferry, to be something they ain't. On one hand he worships at the altar of the posh woman and culture’s “highbrow holy,” but in the end he adores the lowly but lovely mother of pearl: “I wouldn’t trade you for another girl.”
MOTHER OF PEARL
This is a wonderful song, poetic yet hard-hitting: an artistic recreation in two parts, of an experience and a contemplation of that experience.This is not the only time Ferry produces a disturbing monologue on the vacuous nature of opulence to for its own sake. "Dreamhome" resonates with the same notion.
I have yet to see a coherent explanation of this song. It has been interpreted as a eulogy to cocaine, but I disagree. Maybe the song is a poem, a song and an experience which defies explanation but here goes anyway!
The first part creates the party, with its frenzied pace and loud guitar. The music is overpowering, everyone of note is there, and they all "take a powder". The scene is set, and is underpinned by Mananzera's dominant guitar.
Then Ferry takes centre stage, and with stylised movements, begins a stream of consciousness contemplating the emptiness of the life he has chosen. He is the consummate player, with every movement, every wave of his hand carefully orchestrated.
At this point, it is necessary to consider the title. "Mother of Pearl" is a substitute for real pearl. and is derived from a veneer inside the oyster's shell. An excellent metaphor for his superficial life which has a lustrous veneer but no substance.
He is aware that this "party time wasting" is devoid of meaning, empty, superficial, "a pantomime" yet he is lured in just the same. . The world of fame, parties, changes of partners who are solely concerned with image is not conducive to happiness. The following line will feature several times: "If you're looking for love/in a looking glass world /it's pretty hard to find."
However, although aware that there is a higher love, it is out of reach, and at that point begins the religious imagery, which adds an ambivalent overlay to the song: "Very holy grail" " Lustrous lady of a sacred world". "Highbrow holy"
This love may be aspired to but was "never mine." The celestial, which is merely glimpsed briefly, is juxtaposed with secular love, and the protagonist seems unable to make the distinction.
And so it is that the substitute life is embraced. This false shimmering god is irresistible, even to Zarathustra. (Zarathustra is a character in Nietzsche's philosophical novel which is often mistaken as a nihilistic system of thought- Ferry himself makes this error), and in the same way Ferry cannot resist.
"Serpentine sleekness" refers to the biblical temptress who engineered the downfall of Adam, and who is the false ideal the protagonist has chosen to worship. He is fully aware of the choice he has made and so " no filigree fancy beats the plastic you." All the magazine cover girls are vacuous and interchangeable: "Career girl cover/exposed and another/slips right into view."
The "throwaway kisses" could be for anyone, who cares if they meet their intended target? Just fall back into a life of luxury and all will be in order.
Towards the end we have the "choker" image, which is both the necklace which adorns the female, yet also a symbol of her demise, being literally choked in the world where image is rated more highly than reality and sincerity.
Finally, and depressingly, we have the affirmation of superficiality above authenticity. "Mother of pearl/ so semi precious/ in your detached world."
There is multiple repetition, involving several unaccompanied voices, of: "Mother of Pearl I wouldn't trade you for another girl", reinforcing that message.
@Jillgiannotta This is commentary worthy of the song. I wish all SongMeanings analysis was as profound as what you have written here. I am inspired and encouraged by your articulate appreciation of an immortal group. Roxy Music: one of the greatest bands ever. Happy New Year. Come visit some time: connecthook.wordpress.com/tag/roxy-music/
@Jillgiannotta This is commentary worthy of the song. I wish all SongMeanings analysis was as profound as what you have written here. I am inspired and encouraged by your articulate appreciation of an immortal group. Roxy Music: one of the greatest bands ever. Happy New Year. Come visit some time: connecthook.wordpress.com/tag/roxy-music/
@Jillgiannotta The best interpretation I've ever read. Thankyou.
@Jillgiannotta The best interpretation I've ever read. Thankyou.
@Jillgiannotta Fantastici insight into this song which has always puzzled me.
@Jillgiannotta Fantastici insight into this song which has always puzzled me.
@Jillgiannotta absolutely adored this interpretation. I also know the work that goes into condensing a complex theme into an economy of words. Something I struggle with myself. Beautiful. Bryan would be proud.
@Jillgiannotta absolutely adored this interpretation. I also know the work that goes into condensing a complex theme into an economy of words. Something I struggle with myself. Beautiful. Bryan would be proud.
@Jillgiannotta Zarathustra is more than just a character in one of Nietzsche's. He is the historical founder of the Zoroastrian religion, which Freddie Mercury's family were members of. (I say to confuse the matter even further).
@Jillgiannotta Zarathustra is more than just a character in one of Nietzsche's. He is the historical founder of the Zoroastrian religion, which Freddie Mercury's family were members of. (I say to confuse the matter even further).
@Jillgiannotta
@Jillgiannotta
Thanks, my friend, for this excellent, spot-on analysis. I would only add a big of context. Ferry’s I-want-it-but-I-loathe-it obsession is no doubt largely fueled by the driving force in his life, by his own admission: having grown up locked into the British working class, he felt almost doomed in his options, and was determined, like Gatsby, to break out and seize the money and position he’d been denied. But as he edges toward attaining it, as in “Every Dream Home a Heartache,” in the cold light of day, it’s as vacuous as a blow-up doll. In fact, it’s a nightmare, like that beauty in “The Shining” who’s revealed as a cackling ghoul. This is all part of the times, of course, with the unbridled freedom and joy of the hippy 60s coming up sad and disappointing. In the same period Joni Mitchell condemns that daydream asl little more than “Acid, booze and ass/Needles, guns and grass.” As you brilliantly point out, the mother of pearl is a cheap knock-off of the real McCoy. Yet, in the end, Ferry prefers this cheaper version - “No dilettante filigree fancy/Beats the plastic you.” Ultimately, he’s happy with the working class and the working girl striving, like Ferry, to be something they ain't. On one hand he worships at the altar of the posh woman and culture’s “highbrow holy,” but in the end he adores the lowly but lovely mother of pearl: “I wouldn’t trade you for another girl.”
@Jillgiannotta
@Jillgiannotta
Thanks, my friend, for this excellent, spot-on analysis. I would only add a big of context. Ferry’s I-want-it-but-I-loathe-it obsession is no doubt largely fueled by the driving force in his life, by his own admission: having grown up locked into the British working class, he felt almost doomed in his options, and was determined, like Gatsby, to break out and seize the money and position he’d been denied. But as he edges toward attaining it, as in “Every Dream Home a Heartache,” in the cold light of day, it’s as vacuous as a blow-up doll. In fact, it’s a nightmare, like that beauty in “The Shining” who’s revealed as a cackling ghoul. This is all part of the times, of course, with the unbridled freedom and joy of the hippy 60s coming up sad and disappointing. In the same period Joni Mitchell condemns that daydream asl little more than “Acid, booze and ass/Needles, guns and grass.” As you brilliantly point out, the mother of pearl is a cheap knock-off of the real McCoy. Yet, in the end, Ferry prefers this cheaper version - “No dilettante filigree fancy/Beats the plastic you.” Ultimately, he’s happy with the working class and the working girl striving, like Ferry, to be something they ain't. On one hand he worships at the altar of the posh woman and culture’s “highbrow holy,” but in the end he adores the lowly but lovely mother of pearl: “I wouldn’t trade you for another girl.”