"Christie Lee" by Billy Joel is about a woman who is impressed by a nightclub saxophone player's skill and takes him home with her to "perform." What keeps this from being merely veiled language is the fact that the lyrics explicitly make it clear she's not interested in him sexually, even in between the silly puns lampshading the obvious parallels to a very different situation:
He couldn't see that Christie Lee was a woman Who didn't need another lover; all she wanted was the sax!
"Ten Cents a Dance" really is about the trials and tribulations of a woman who rents herself out as a dance partner — a real phenomenon during the period it was written. That doesn't stop modern audiences, and possibly even the original listeners, from seeing a similarity to another, older profession. BioShock 2 took it even further and featured it in the loading screen for Siren Alley, the city's red-light district.
A lot of songs by the Lords of Acid invoke this trope, being just barely ambiguous enough to make you think they may not be about sex. A good example is one of the mixes of the song "Pussy" that even has cats meowing in the background.
''"When I hold you in my arms, and I feel your finger on my trigger I knooooowww nobody can do me no harm, because... Happiness is a warm gun, mama (bang bang, shoot shoot)""
Peter Sellers once performed a spoken word version of "A Hard Day's Night" in the style of Richard III, which dripped with this trope due to some very carefully placed pauses.
Jimi Hendrix was famous for using his guitar for visual innuendos when performing.
"Reach Out to the Truth-Reincarnation" has some rather...iffy...lyrics.
Now I face out, I make head/I reach out cock and bull of this globe/Thinking to seeking on the whole moment now it's on!
''Pink Floyd has the chorus in "Another Brick in the Wall: Part II" say "Hey! Teacher! Leave those kids alone!" It sounds like "Hey! Hitler! Leave those Jews alone!". Considering that the whole album is about protesting institutions that preached conformity and herd mentality, this was likely intended.
On a considerably less political level, there's the lines during the outro of the same song "If you don't eat your meat, you can't have any pudding! HOW can you have any pudding if you don't eat your meat!"
The music video for FANTASY by DyE involves four teenagers who sneak into a pool at night, and everything goes awry when two of them start doing naughty things with each other. Very very awry. Two of the teenagers jumped in and swam to the other side of the pool. They start to make out as the guy starts fingering the girl. Meanwhile, the other two are sitting there as the second guy starts to drink a beer and offers a kiss to the girl sitting by him. She blushes and jumps into the pool to get away. As she enjoys the water, she notices something wrong with her crotch. Her swimsuit starts bulging out as if something inside was trying to escape. She climbs out of the pool in a hurry and starts crying. As the guy approaches her, the girl looks up and screams in horror. The two that were making out earlier become what resemble zombies, with the guy's arm becoming a giant worm that was shoved up the girl's crotch. As the other two try to run, this worm-arm flies forward and rips off the swimming trunks of one of the teenagers, and the zombie girl flies toward the exposed guy as her body splits at the mouth, looking like a crocodile, as she clamps down on the poor guy's crotch. The last girl first tries the door in the swimming pool area, only to find it locked, so she dashes to the window they entered in, but can't climb back out. She looks to both sides of her to find that the zombie girl has fused with the guy she clamped down on. Cornered, the last girl dives into the pool as a last ditch effort to get away, and she notices the bottom of the pool is another surface. She climbs out onto a rocky wasteland, and as she looks up, her eyes explode and she collapses as she witnesses some Eldritch Abomination. Most of the video can be seen as a metaphor for the trials of going through puberty and growing up.
Older Than Radio: When reading the lyrics (or listening) to the 17th-century catch My Man John, remember that it's about a manservant using a stick to repair a maidservant's broom which has a broken handle:
My man John had a thing that was long,
My maid Mary had a thing that was hairy.
My man John put his thing that was long
Into my maid Mary's thing that was hairy ...
Michael Jackson's short film Ghosts (1997) starts with a Torches and Pitchforks mob of people from "Normal Valley" storming the mysterious "Maestro"'s (Jackson) mansion. This is because a young boy didn't keep the secret that the Maestro was meeting up with him and other boys for ghost stories and magic tricks, and the adults find this behavior freakish. The Maestro insists that it's all in good fun. As Nathan Rabin jokes in his My Year of Flops review, "the film poignantly reflects Jackson’s conception of himself as a wide-eyed, childlike innocent persecuted by a glowering adult world. Why must we judge people just because they’re eccentric, look weird, or like to sleep in the same bed as pre-pubescent boys they aren’t related to?"