The way fruitier passing chords can flavour a tune is astonishing. They can completely put you off a piece of music, or turn you on to it. I am particular un-fond of gratuitous relative minors(often used in Victorian piano accompaniments odd Scottish trad songs, and Californian soft rock); they can make me feel physically ill. A great example of this can be heard by comparing Bob Dylan's version of Blowin'in the Wind with Peter Paul and Mary's. Dylan does a straight down the line three chord trick version, brilliant (to my ears). PPM lard it up with syrupy minors, which I find terrible. But they obviously suited the public, who made it a great hit. It's all down to taste. But if I was singing that song at a session and some second guitarist started joining in and adding those PPM chords, well I'd take his guitar and, without greasing the machine heads, I would... (rest of post deleted Joe Offer)