"Baby, It's Cold Outside (from Neptune's Daughter, film, 1949) Dean Martin and Martina McBride "shows Loesser's sensibility...the interpretive instruction is Loesserando...funny, slangy, brash, urban-American""
"Once in Love with Amy (from Where's Charley?, 1948) Ray Bolger "one of those easy, dancey tunes in soft-shoe two-to-the bar, drag-and-skip rhythm that lodge in memory...irresistibly jaunty...an unpretentious song that couldn't be nicer""
"1) Make a Miracle (from Where's Charley?, 1948) Pip Hinton and Norman Wisdom "charming...an affectionate period piece (set in 1893)...more than a duet: it has two parallel streams" 2) Lovelier Than Ever (from Where's Charley?, 1958) Marion Grimaldi and Jerry Desmonde "inexplicably neglected...melody and harmonization could easily be Jerome Kern...a built-in lilt""
"I've Never Been in Love Before (from Guys and Dolls, 1950) Maurice Hines "vocal line has an almost Handelian purity, and the entire song has an uncanny simplicity and poise...in the A-sections, sticks to plain and placid words...but things change...a textbook-perfect 32-bar popular song...songwriting doesn't get better than this""
"1) My Time of Day Robert Alda (from Guys and Dolls, 1950) "a stunning, loose-metered accompanied recitative...changes meter and rhythm constantly, uses extraordinarily expressive intervals" 2) Guys and Dolls (from Guys and Dolls, 1950) Stubby Kaye and Johnny Silver "well known, but not performed as much as it should be...an utterly delightful tune, with sassy, urbane lyrics""
"Joey, Joey, Joey (from The Most Happy Fella, 1956) Johnny Hartman "an extraordinary 'big ballad', requiring lots of voice and a commanding style...introduction is musically intense...in effect, the entire 90-bar song is in one simple major key, with an inexorable accumulation of force and intensity...very large in scale and import without being pompous""
"Warm All Over (from The Most Happy Fella, 1956) Frank D'Rone "luminous ballad...a hard song to sing, with very dense harmonies that could lead a singer astray...the words are wonderfully well controlled""
"The Music of Home (from Greenwillow, 1959) Anthony Perkins "nicest song from this show...short (the chorus has 20 measures) but must be performed with the verse, which is twice as long...an Irish ballad in character...the lyric...is the element to admire most...a folkish voice that is older than the classic American popular idiom but not incompatible with it""
"Never Will I Marry (from Greenwillow, 1950) Nancy Wilson with Cannonball Adderley, alto sax "a big declarative song, dark in tone...dramatic in its shape...phrases are all very short, incisive...like Joey, Joey, Joey, it's an uncompromising song, suitable only for a performer who can sing big but not belt""
"1)I Believe in You Robert Morse "a catchy medium-tempo song, with a great beat and neat words...the irony implicit...makes for a brilliant moment in the theater...outside this context, it sounds contrived" 2) The Brotherhood of Man Robert Morse, Rudy Vallee and Ruth Kobart "a rousing showbiz-gospel creation" (both from How To Succeed in Business Without Really Trying, 1961)"
"1) The Company Way Matthew Broderick, Gerry Vichi and Jeff Blumenkrantz "a driving ensemble number, with smarty-pants lyrics" 2) Happy To Keep His Dinner Warm Megan Mullally "at one level...delightful...and affectionate in tone...outside the show, it would sound either dumb or convey a rather condescending satirical attitude" (both from How To Succeed in Business Without Really Trying, 1961)"