Mutiny In The Nursery

Louis Armstrong · Other Songs - Louis Armstrong

There's mutiny in the nursery

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.