[Wyllys]

As often happens, labeling things is more complcated than just going for the sound. If one places equal emphasis and time learning notation/chord spelling and ear/interval training you're WAY ahead.

Taken to the extreme, analyzing music/harmony is like making a circle out of short dashes. The shorter the dashes (down to an infinte number of single points) the closer you come to a perfect circle...but you never really get there although your approximation will be very close.

The SOUND is a perfect circle, the analysis and theoretical constructs always an approximation and a "road map". The trick is to balance things such that the information provided points to "the circle" without being so cumbersome as to be impractical. Once you reach that point, further academic parsing results in "paralysis by analysis".

But this song has such a great melody that it can withstand several levels of statement, yet the recorded performance is a real "carrot on the stick" to coax all of us to examine the nuances such as the F#m11.

I've learned a lot about extensions reading and posting hear...or at least clarified my ear-based understanding. Where before I would have considered the "B" note in the F#m11 some sort of sus tone, I now understand a better way to state and communicate it. Thanks to Jon and Stanron among others who have goaded this old goat into further study.

I still refer to the Joel Mabus PDF I linked previously regarding chord namng/spelling protocol.

Thanks to all for your contributions and the OP for bringing this tune up for study.