One of the greatest joys I have listening to music is when I mentally (or literally) pause the song because I have to have an inner
"I see what you did there!"
dialogue with the artist. The "what five letters spell apocalypse?" line — and its payoff — in Josh Ritter's Temptation of Adam. The slow-and-hilarious descent into insanity of the protagonist in Steve Poltz's Pitbull, the plot of each verse getting progressively more far-fetched than the last. The way Bernstein gives us just a tiny preview of Somewhere in the final seconds of Tonight. The clinical dissection of both his own and Adam Schlesinger's signature moves in Robbie Fulks' Fountains of Wayne Hotline. Jonathan Richman's subtle-but-not-too-subtle description of the heroine's boots in Since She Started To Ride. Bonham and Page playing different time signatures on Four Sticks.
The closest I've come to one of those moments in one of my own songs happened after playing Girl Gone Wild for Steve Poltz in Yosemite on an epic SYMG songwriting adventure. I finished and was treated to this from Steve, perhaps one of my greatest moments as a songwriter:
Did you just say "one thing Neil Young would never think to do is change the key"... and then change the key ??!
<humblebrag> I suppose I did. <\>