Maybe…?
“Elizabethan Serenade,” written in 1951 for the coronation of QE II:
And now for something completely different:
Eva Cassidy’s cover of “Fields of Gold”?
For Enya, it was Caribbean Blue for me. I have at least four of her albums, five I think, which is more than any other artist in my collection.
My tastes seem to be several decades older than the average here, but I enjoy Perry Como’s version of this appropriately-named (“breezy” and “smooth”) number:
I once had at least five of them myself, but I had to leave them behind in my Moscow apartment, which I probably will never see again. I used to buy them as presents for my girlfriends.
wow forgot how good that is!
In my experiences, the ‘something’ that folks are often unable to put their finger on is the chord progression. There’s a saying in military science that amateurs discuss tactics while professionals discuss logistics. The analog with music should be amateurs discuss melodies or ‘the beat’ while professionals discuss chord progressions. Music is practically a science from one perspective. Certain chord progressions evoke a predictable emotional response in us quite dependably. It’s why we keep seeing certain successful chord ‘formulas’ repeated time and again.
If you haven’t already watched Axis of Awesome’s song ‘4 Chords’ which is dedicated to the aforementioned idea, you owe it to yourself to give it a watch.
Thanks. I had seen that before.
I don’t know if this is interesting enough for another thread, but my “sweet spot” seems to include the following.
Almost always high pitch vocals. Either female or higher pitch male.
Has some “power” but I don’t know how to describe this. I looked at a list of best power ballads and the only songs that fit are, Amanda, The Flame, Beth, Eternal Flame, Love Bites, More than a Feeling (a power ballad?) and Keep on Loving You. Other songs on the list seem to have too much emphasis on the singer, not the song (if that makes sense). The Carpenters are too boring to fit, but Touch Me When We’re Dancing fits.
I’m sure there are other factors.
My thought is if there might be different categories, such as pitch, tempo, or whatever, and people prefer a different level/type for each of the categories.
How about some breezy, ephemeral Bowie?
Rather charming, really. Yes?
j
Breezy cover of Steely Dan
Brazil is the home of summer breeziness
French jazz/disco breeze
How about Breezin from the George Benson album Breezin’?
The original of “Stuck in the Middle with You” was by Stealers Wheel, not Steely Dan. 
Stealers Wheel, Steely Dan, Whatever it takes…
Here are two songs that I often get confused with each other, and I think fit the brief.
I Love You Always Forever by Donna Lewis
Mouth by Merril Bainbridge
Thank you y’all. I didn’t expect to receive so many suggestions, so I’ll try to respond to the theme instead of addressing every single song. In any case, the MVs of ‘Flora’s secrets’ and ‘Elizabethan serenade’ are beautiful.
The blurb of BEP’s ‘Where is the love’ in your link caused me to immediately search for the full piece, and then shed some tears. Which, btw, made me believe I’m not an apathetic person since I cry once in like every 5 years or so. But then, if such I-V-vi-IV evokes a predictable (read: similar) emo response in us dependably, why don’t I cry when listening to, say, ‘I’m yours’ or ‘You’re beautiful’?
Also, could you advise me on the chord progression of ‘Hot’ & ‘Perfect night’ in OP?
Not ‘Lush’. ‘Super shy’ is closer, but not quite. To me, breezy is almost the same with breathy, i.e. they sing it using lots of air. Ephemeral is about length: ‘Perfect night’ and especially ‘Hot’ are short; they end when we’re still wanting more (as a side note, I think Enya songs are “ethereal”, not ephemeral). Smooth is when a song doesn’t contain any extremes, e.g. beats too loud, notes too high or low, tempo too fast or slow, voices being strained much… But
this is more important. Those words of breezy, smooth, ephemeral, or funky, disco, and melodic are just descriptions plucked out of an article that happens to compare the 2 songs. I feel like I made a mistake of directing you guys’ attention to those languages, which are quite open to different interpretations, instead of just listening to ‘Hot’ and feeling what’s there.
Moreover, what intrigues me is the fact that the 1st time listening to ‘Hot’ and ‘Roly-poly’, either I didn’t realize their charming qualities, or I heard something I disliked. It were during subsequent exposures that I became more & more addicted. Therefore, I guess those qualities are somewhat hidden. They could be mood or atmosphere or whatever, but if they were blatantly apparent then I wouldn’t have this question