The Book..I'll try and explain it one more time, becuase I'm not quite sure your understanding it. The book consists of 10 Beatles songs that were arranged to be played as instrumental peices on the guitar using basic fingerstyle techniques. Just like if you took the melody of twinkle twinkle little star and and arranged it for a 20 peice orchestra, you would have strings playing harmony, counter melodies, bass lines, variations, turnarounds, etc...except in this case I did the opposite, I took a song that was written to be played by a full band and reduced it for 1 instrument, so in this case the guitar is acting like a piano, providing all the key elements of the song (melody, harmony, bass) instead of just playing 1 element. So yes, the cd is of me playing through my compositional interpretations of these 10 songs written by the Beatles.

Theory....Good and Bad
The nice thing about theory is that if you dig deep enough you can intellectualize some compositional devices that you may not normally come up with on your own. As you had done with the E7add b13 to Aminoraddb6, sounds nice. But you have to be carefull not to over intellectualize stuff into something it isn't just so it satisfies a theoretical explanation. If I was transcibing that progression off of a recording I would definitely hear it as E7 alt to Fmaj7/A. The tonality is much to bright to be considered a minor chord, which is pretty much why you will never see Aminorw/b6 labeled that way. Play your voicing of Aminorb6 and follow it w/Aminor, now play it and follow it w/F maj7 in root pos., sounds more closely related to F to my ears.