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Silly Girl said
Haha, whenever I come up with chord progressions they usually have far more maj7s than is good for them. I have an unhealthy love for maj7s.

I’ve also been fiddling with a thing around Cmaj7 and Fmaj7… it’s just such a suggestive couple of chords. I put other chords in there as well, though. I like Fmaj7 and Am7 together…  

I like Cma7 to Fma7, I have a part of a song I wrote that repeats those at length.  The Santana song “Song of the Wind” is one long repetition of those two chords (no other chords), with Carlos weaving in and out of a long, extended guitar solo over them. 

McCartney’s song “Bluebird” has a part (repeated throughout) that goes from Ebma7 to Abma7 (basically the same thing as Cma7 to Fma7, just transposed): “I’m a bluebird — I’m a bluebird, I’m a bluebird, I’m a bluebird, yeah, yeah, yeah”

Another progression I like is Dm7 — G7 — Cma7 — Fma7. 

Then there’s the trick of playing, say, an Ama7 (the one that looks like a diagonal line on the fretboard where G# on the high E string is the closest note to the pegs while A on the D string is the closest to the guitar hole) where I like to reach over with my thumb to ground the chord with a G# bass, and even sometimes strum all six strings so that G# and the open A flow together with a dissonant sound.

QuarryMan said

What fingering do you use for the Am7? I’ve never felt the open position with the open G sounds particularly good.  

Silly Girl said
@QuarryMan I use that one and the open shape (D string 2nd fret, B string 1st fret) interchangeably. There are probably other fingerings…  

@Silly Girl, aren’t you describing the same chord QuarryMan was?

@both Silly Girl & QuarryMan, I personally like that open Am7. You can vary it by pressing on the high G note of the high E string).  Another variation that’s cool is to stretch your pinkie up to press the B note on that G string — the B note clashes with the C note in a nicely discordant way, especially if you fingerpick arpeggios.

The Hole Got Fixed said
The Cm chord is there for a very minor climax, as it is essentially a ballad (which builds throughout the song). It’s also there because we try to be experimental, and use chords not in the key signature. 

I do like the C#m/E, but where you weren’t sold on the Cm, I’m not sold on the C#/F – it sounds too good! I need it to sound dark and unexpected, and the C#/F is the logical place to go normally!   

I agree, that’s a good instinct for a songwriter, to experiment and “color outside the lines”.  That said, in that sequence, I too found the Cm out of place and I couldn’t find a place for it (maybe that’s just me).

Dark and unexpected — how about after C#m go to G#m — Fm — E aug5 (C note instead of B in the E chord) — Am.  Sorry, I can’t stop…

I solved my little puzzle about working out a cover version for “Meglio Stasera”.  It wasn’t the tempo I needed to worry about (though I did change it anyway); it was the fact that people who have sung it (including the inimitable gold standard by Fran Jeffries) tend to parcel out the syllables of the lyrics as a straight string of successive quarter beats, with only minor exceptions.  Instead, I worked out a more complicated variation of beats the syllables as they are sung out would create.