Mutiny In The Nursery
Louis Armstrong · Other Songs - Louis Armstrong
There's mutiny in the nursery
Mother Goose is on the loose
Her kids are swingin' out
There's mutiny in the nursery
And music in the nursery
Mother Goose is on the loose
You ought to hear them shout
If you could see miss Jenny Jones, Jenny Jones, Jenny Jones
If you could see miss Jenny Jones
You'd find her swinging lightly
And lately Mary won't get up
She won't get up, she won't get up
She stays out too late nightly
Oats, peas, beans, and barley grow
Oats, peas, beans, and barley grow
You and I and everyone knows how
Oats, peas, beans, and barley grow
Oats, peas, beans, and barley grow
How they do it I don't know
But if you hand me my horn
I promise I won't blow no corn
Little Bo Peep has lost her sheep
But she knows just where to find them
For they all stand around the bend
Waggin' their tails behind them
One little, two little, three little jitterbugs
Four little, five little, six little jitterbugs
Seven little, eight little, nine little jitterbugs
Ten little jitterbug boys
Ten, nine, eight little jitterbugs
Seven, six, five little jitterbugs
Four, three, two little jitterbugs
One little jitterbug girl
Mutiny, mutiny, must have mutiny
Mutiny, mutiny, must have mutiny
Swing out, kids, swing out
There was mutiny in the nursery when they all got loose
They began to yell for old Mother Goose
Get on down, all together
Get on down, take a gander
Get on down, struck on home
Don't miss the jamboree
Mutiny, mutiny, must have mutiny
In the nursery
Mutiny In The Nursery
Louis Armstrong's "Mutiny In The Nursery" stands as a vibrant testament to his mastery of swing and his ability to transform simple nursery rhymes into complex musical statements. Recorded during the height of his career, the track showcases his signature scat singing and improvisational brilliance, turning a playful lullaby into a spirited dance number that defined the era of big band jazz. Armstrong's energetic delivery and the ensemble's tight rhythm section create an infectious groove that captures the joy and spontaneity of the 1920s and 30s. The song exemplifies his unique approach to vocal jazz, where the voice functions as a lead instrument capable of both melodic precision and rhythmic freedom. It remains a cherished piece in the canon of Armstrong's discography, illustrating his enduring influence on popular music and his role in popularizing the art of scat singing for a global audience.

