The tune is called I Am You, You Are Me, We Are One. It's a crappy sappy title, but that doesn't matter. Because my discovery of this tune has been the musical equivalent of finding my One True Love.

What's funny about this tune is its contradictory nature. It's a brisk light frothy tune that contains a core of deep & profound sadness. The melody is played by a flute. And the harmony is played by another flute. It's the harmonic flute (playing just below the melodic flute) which gives the tune its profound sadness. The flutes are accompanied by a rhythm section of 2 fingerpicked acoustic guitars. There's also a bass & drums.

I Am You is a piece of fluff, really. If you were to hear it, you'd probably consider me insane to make such a big deal about it. It's so light & airy & ephemeral that it's hardly there at all. Except that it's really really there.

There's another tune on this record called For All We Know. I'm glad that Karen Carpenter popularized it, because it's another great tune. Unfortunately, the version on this record was sung by a soulful dork named Larry Meredith. Larry's thin & strained voice is the epitome of banality.

Karlin included 2 instrumental versions of For All We Know. The rest of the record consists of perfectly fine mediocre hack-tracks. Karlin wrote 2 tunes for a sweet wholesome white-bread singing-group called Country Coalition. Comin' Thru to Me
is a fab white-bread country-rock tune that contains weird & haunting harmonics from the guitar & organ combination. Wedding Waltz & Hesitation Waltz are banal Italian dance-band tunes. There's No Gap is a mod-a-go-go jazz tune. It's Not The Same Anymore is a low-key bossa-nova tune. The Night Before is a boogie-woogie jazz version of one of the country-rock tunes, but at the end it seques into a passage of beautiful languishing string chords.