Leaving the listener with a sense of suspense and unresolved, which brings us to the C major chord next.

*this is where I disagree, if the next chord is C maj. then I would defintely label this chord as F.

Although the idea is there are two different phrases, the first in A minor which ends with E7(b13) to Fmaj7/A. Then a new one begins in C major. Point is the C major is not the final resolve, but Fmaj7/E. Re-voiced and renamed as Amaddb6, to make sense of a A harmonic minor cadence.

*your stretching things here.

No your not getting it. Your not reading what I am saying and that's why. The phrase in A minor and the phrase in C major are completely seperate. So you won't name it F if it ends the phrase in A minor. It has to be A, ends with the tonic. The new phrase, like a new song, starts with the C major chord. The Aminaddb6 and C major are not linked in any way. To get that, Read it, take it for what I said (not what you can make it into) and you will get it. :)

The chord progression is right, it is D major. The same movement Imin - IVmaj - Vmaj happens in 'Sweet Dreams are made of these'. I believe that one is Cmin to Abmaj to Gmaj. Try playing a Bm7b5 instead of the last D major if you want a smoother sound. Bm7b5 seems to go to E7(b13) alittle smoother. The dramatic effect is what I was going for though.