From Dave Hickey’s “The Song in Coun­try Music,” in Greil Marcus and Werner Sol­lors’ A New Lit­er­ary His­tory of Amer­ica, quoted by Maud Newton:

When I asked Roger Miller what it was about Williams’s song­writ­ing that touched him, he said, “Metic­u­lous. They’re metic­u­lous and all hooked up.” When I asked him what this meant, he sang me two lines from one of his songs.

The moon is high and so am I.
The stars are out and so will I be pretty soon.

“That’s maybe a little too hooked-​up,” Miller said, and sang half a verse of “Me and Bobby McGee” a song by Kris Kristof­fer­son and Fred Foster that Miller had dis­cov­ered and recorded first.

Busted flat in Baton Rouge
Headed for the trains.
Feel­ing nearly faded as my jeans.

“That’s hooked up,” Miller said. “I love the ‘as’ that picks up ‘flat’ and bat.’”

…

Harlan Howard, the most metic­u­lous of coun­try song­writ­ers after Hank Williams, went into more detail. He sang the first verse of “Cold Cold Heart.”

I try so hard my dear to say

That you’re my every dream.
Yet you’re afraid each thing I do
Is just some evil scheme
Some mem’ry from your lone­some past
Keeps us so far apart.
Why can’t I free your doubt­ful mind
And melt your cold, cold heart

Howard then pointed out what Roger Miller meant by hooked up. He explained that those eight short lines were invis­i­bly held together by fif­teen inter­nal r phonemes. There are triples in the first two lines, four pairs, and the ter­mi­nal “heart” that gives the verse clo­sure. “Nobody notices this,” Howard said. “That’s the idea, but once these words are put together this way, they don’t come apart.