"Washboard Blues (Hoagy Carmichael, music; Fred B. Callahan and Irving Mills, lyric - 1926) Hoagy Carmichael with Paul Whiteman and his Orchestra "cohesiveness...a long melody...unique musically...for 1926 something extraordinary is taking place""
"Rockin' Chair (Hoagy Carmichael, music and lyric - 1929) Eric Clapton "a simple song, yet it never resorts to a cliche...form is not conventional...harmony is more satisfying than that of most songs of that time""
"Star Dust (Hoagy Carmichael, music; Mitchell Parish, lyric - 1929) Billy Ward and The Dominoes "perhaps the most recorded of all popular songs...instrumental beginnings are obvious...no trifle to sing or whistle...truly a most unusual song and absolutely phenomenal for 1929""
"Georgia on My Mind (Hoagy Carmichael, music; Stuart Gorrell, lyric - 1930) Michael Bolton "a very sweet, warm song...makes but one unusual melodic move...has its own distinct character, easily recognizable""
"One Morning in May (Hoagy Carmichael, music; Mitchell Parish, lyric - 1933) Matt Monro "an uncharacteristic song...a long, strong line...pleasing by itself in the manner of a great Kern melody...a perfect illustration of his theatrical flair""
"Little Old Lady (Hoagy Carmichael, music; Stanley Adams, lyric - from The Show Is On, 1936) Julie Andrews with orchestra conducted by Irwin Kostal "one of his most successful...so cute and so stereotypically little-old-ladyish that I find it mawkish""
"The Nearness of You (Hoagy Carmichael, music; Ned Washington, lyric - 1937) Norah Jones "isn't a typical Carmichael song, but it is a marvelous example of youthful sentimentality...tender, forthright...simple and unclever...sensuous without being sensual""
"Two Sleepy People (Hoagy Carmichael, music; Frank Loesser, lyric - from Thanks for the Memory, film, 1938) Art Garfunkel "melodic line is not so spare, needing many more notes to accommodate the very tender lyric...main idea, but for the engaging first measure, is made up of scale lines""
"Small Fry (Hoagy Carmichael, music; Frank Loesser, lyric - from Sing You Sinners, film, 1938) The Hi-Lo's "somehow unmistakably a Carmichael song...lyric...has such a Mercer flavor as to suggest Loesser greatly admired Mercer's work...very charming, inventive song from every point of view""
"Heart and Soul (Hoagy Carmichael, music; Frank Loesser, lyric - from A Song Is Born, film, 1938) The Cleftones "on the pedestrian side, not nearly up to Carmichael's usually high standard of writing, except for the release...what does fascinate me...is how it came to be more popular with small children than Chopsticks""
"Blue Orchids (Hoagy Carmichael, music and lyric, 1939) Dick Todd "a weak, somewhat maudlin lyric and a very difficult melodic line, truly instrumental in character...harmony leads the melody every step of the way...constantly startles and resorts to...unheard-of devices""
"I Get Along without You Very Well (Hoagy Carmichael, music; Hoagy Carmichael and Jane Brown Thompson, lyric - 1939) Kenny Rogers "a very clean, direct melody, as far from Blue Orchids as Kern is from Gershwin...borders on the saccharine...a class I choose to call Ladies' Luncheon Songs...unique in that it is unlike any other popular song I know""
"Skylark (Hoagy Carmichael, music; Johnny Mercer, lyric - 1942) Jackie Paris "another feathered friend...like the oriole, has no verse, and it also has a superior lyric...proceeds on its memorable, distinguished way...until it arrives at one of the most extraordinary releases I've ever heard...a solid standard, loved equally by singers and players""
"How Little We Know (Hoagy Carmichael, music; Johnny Mercer, lyric - from To Have and Have Not, film, 1944) Susannah McCorkle "a happy, romping delightful song...whole song is engaging, but I'm particularly fond of the release""
"Memphis in June (Hoagy Carmichael, music; Paul Francis Webster, lyric - from Johnny Angel, film, 1945) Hoagy Carmichael "typical Carmichael, written as if for a rhythm section, and a very attractive song...one of those great regional lyrics...very solacing...a very fetching little song""
"Ivy (Hoagy Carmichael, music and lyric - from Ivy, film, 1947) Jo Stafford "none of his characteristic harmony or melodic or rhythmic idiosyncrasies...one of his gentlest melodies...phrases which are like Kern and Rodgers...comes off as an expression of great tenderness and unity""
"My Resistance Is Low (Hoagy Carmichael, music; Harold Adamson, lyric - from The Las Vegas Story, film, 1951) Dominique Eade "a fast waltz...absolutely great...witty gaiety...very pert and neat and smiling""
"My Buddy (Walter Donaldson, music; Gus Kahn, lyric - 1922) Jerry Jeff Walker "an early waltz...moves back and forth between two notes...device already used by Kern in The Siren's Song...though no burst of invention...remains unlike any other song""
"Carolina in the Morning (Walter Donaldson, music; Gus Kahn, lyric - 1922) The American Quartet "a perennial standard...monotonous, yet its very insistence was what caught the public's fancy...towards its close, does an unexpected caper which pleases me""
"My Blue Heaven (Walter Donaldson, music; George Whiting, lyric - 1927) Fats Domino "only as one acknowledges the landmark of an era - big a hit as it was, there is nothing of any musical interest to mention""
"Changes (Walter Donaldson, music and lyric - 1927) Bobby Short "a swinging little song which does a few unexpected things...obviously because of the title, it does a little harmonic experimenting...lyric is sweetly naive""
"Love Me or Leave Me (Walter Donaldson, music; Gus Kahn, lyric - from Whoopee, 1928) Robert Palmer "a most unusual and marvelously conceived song - strict A-A-B-A, to be sure, but every note is right""
"You're Driving Me Crazy (Walter Donaldson, music and lyric - 1930) Helen Humes "for a rhythm song, it contains a minimum number of notes - insofar as it does, it's innovative...release is highly unexpected...a landmark of inventiveness""
"It's Been So Long (Walter Donaldson, music; Harold Adamson, lyric - cut from The Great Ziegfeld, film, 1935) Patti Page "shows immediate ingenuity...then, as if having taken the high dive, the writer returns to the side of the pool from which he makes safe and sane plunges""
"Did I Remember (Walter Donaldson, music; Harold Adamson, lyric - from Suzy, film, 1936) Billie Holiday "a much more open and free melody...this song simply happens, or at least it gives that illusion...it is in that one degree higher than pop song category""
"Mister Meadowlark (Walter Donaldson, music; Johnny Mercer, lyric - 1936) Helen Forrest with Benny Goodman and his Orchestra "unlike any he had written up till then...lyric is by the bird man, John Mercer, and it's great as usual...simply splendid""