If you use it on the 2nd degree of the scale, it really emphasizes things and then you can use it again, on the 5 chord. I love how they are used in Spanish guitar music and latin stuff. So, switching from an A7 or A aug to an A7 #5 sounds pushy to me. They add some spike-y ness to an already edge-y chord. I like using them- the Dominant 7 #5, as a variation on the augmented chord.
So, if you're using it in A minor, then 2 = Bm7 flat5 and it leads to E7, where you might have been playing D minor instead.
Both of these examples happen to use C#m into D#m7 flat 5 going to G#7. In Clapton's Change the World or Because by the Beatles it is used as 2 chord following a 1 minor chord. This same use occurs in Cole Porters Night and Day (I'll have to check the lyrics to indicate where/when this one shows up), though it goes into a 4 minor (vs a 4 major). So I think of it as a lift to a leading tone chord (ie G7 to C in the key of C) One of the most common uses of it would be on the #4 or b5 position, like in God Only Knows where Bb minor7 flat5 "pushes or leads into" ( on the phrase "sure about it") Amaj7th of the chorus. For me the simplest use is to think of it as a 9th/3( G9/B =G 9th chord over a B bass), ie Bm7b5 works great as a movement/stepping up from G or G7(so the root of your minor7 flat5 goes on the 3rd of whatever your Dominant 7th chord is. OOOPS I didn't have my glasses on! So Excuse this minor7 flat 5 rant.
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