{
  "prompt": "Genre: Modern Country Pop-Rock; BPM: 108; Key: B Major; Rhythm: Driving mid-tempo 4/4 rock groove with a strong backbeat (snare on 2 & 4) and straight eighth-note hi-hats; Instruments: Punchy hybrid drums, clean p-bass, dual overdriven rhythm guitars (L/R), saturated melodic lead guitar, subtle synth pads; Vocals: Male modern country baritone with slight twang and rasp, transitioning to powerful chest belting in the chorus, supported by wide, stacked background vocals; Mood: The specific satisfaction of hearing the front door click shut behind you on a Friday night, knowing you're exactly where you're supposed to be while the city hums outside; Highlight: The abrupt dynamic shift at the start of the bridge where the full rock band cuts out, leaving only a clean, arpeggiated electric guitar and an intimate, close-mic'd vocal.",
  "lyrics": "[intro]\n(Mix: High-Fidelity, Pristine Radio-Ready Mix with expensive analogue warmth and silky smooth high-end. Punchy, centered low-end; wide-panned, crunchy mid-range guitars; bright but controlled cymbals. Light plate reverb across the mix for cohesion.)\n(Inst: Saturated lead electric guitar plays main riff, chugging palm-muted rhythm guitar, driving kick/snare pattern, clean electric bass.)\n(Hook-DNA: Rhythmic motif is syncopated eighth-note phrase starting on beat 1; melody circles the root; repeats twice with a third, higher variation.)\n\n[verse]\n(Chords: E - B - G#m - F#)\n(Vocal-Perf: Relaxed, conversational chest voice with a slight country drawl.)\n(Inst: Arrangement thins out. Drums reduce to kick and hi-hats. Bass holds root notes. Rhythm guitar continues palm-muted chug.)\n(Melody-Rhythm: Vocal phrases land just after beat 1, syncopated and speech-like.)\n(Melody-Contour: Primarily flat contour with small, stepwise movements, reinforcing the narrative feel.)\nIt's 9 o'clock, the boys are all over\nThey talkin' that talk like they ain't gettin' older\nThey wanna go out, get some names and some numbers\nFind some tens in a bar with a tab they can cover\nOh-ooh, they beg me to go\nBut I'm stayin' home 'cause you already know\n\n[chorus]\n(Chords: E - B - C#m - B/D#)\n(Vocal-Perf: Erupts into a powerful chest belting performance; supported by wide, stacked harmony vocals.)\n(Inst: Full band crashes in. Guitars play open power chords. Ride cymbal drives the energy forward.)\n(Mix: Stereo image widens significantly. Drums hit with more parallel compression. Vocals get a longer reverb tail.)\n(Hook-DNA: Rhythmic motif is 'quarter, quarter, dotted-eighth, sixteenth'; melody anchors on the 5th, resolving to the root at the end of the phrase; repeats in an A-A-B pattern.)\n(Melody-Contour: Signature melodic hook features an ascending perfect 4th leap on the opening line, then descends stepwise.)\n(Melody-Harmonic-Tension: Lead vocal holds the 4th over the I chord for a full beat, creating a pleasant suspension before resolving down into the chord tones.)\nYeah, they talkin' 'bout girls (Girls)\nBut I got a woman (I got a woman)\nYeah, I got a woman right here in my hands\nThey talkin' 'bout girls (Girls)\nBut I got a woman (I got a woman)\nYeah, I got a woman\nOh yeah, and she got a man\n\n[verse]\n(Chords: E - B - G#m - F#)\n(Vocal-Perf: Returns to the intimate, narrative tone of the first verse.)\n(Inst: Dynamics drop back to the verse arrangement; a short, bluesy guitar fill connects to the chorus.)\nYeah, one of a kind, yeah, one in a million\nSupernatural high, got me up to the ceilin'\nBaby, good as you look without even tryin'\nTurn this house to a home, whatever you want, girl, I'ma provide it\nYou, you're all that I need, it's hard to believe that used to be me\n\n[chorus]\n(Chords: E - B - C#m - B/D#)\n(Vocal-Perf: Full power, with added ad-libs and more aggressive delivery.)\n(Inst: Maximum energy from the full band.)\n(Mix: Pushed to its loudest and widest point in the track.)\n(Hook-DNA: Rhythmic motif is 'quarter, quarter, dotted-eighth, sixteenth'; melody anchors on the 5th, resolving to the root at the end of the phrase; repeats in an A-A-B pattern.)\n(Melody-Contour: Signature melodic hook features an ascending perfect 4th leap on the opening line, then descends stepwise.)\n(Melody-Harmonic-Tension: Lead vocal holds the 4th over the I chord for a full beat, creating a pleasant suspension before resolving down into the chord tones.)\nJust talkin' 'bout girls (Girls)\nBut I got a woman (I got a woman)\nYeah, I got a woman right here in my hands\nThey talkin' 'bout girls (Girls)\nBut I got a woman (I got a woman)\nYeah, I got a woman\nOh yeah, and she got a man\n\n[interlude]\n(Chords: E - B - C#m - B/D#)\n(Vocal-Perf: Energetic ad-lib shout.)\n(Inst: Melodic, blues-rock guitar solo takes center stage, featuring expressive bends and fast pentatonic runs over the driving rhythm section.)\nC'mon\nWhoo\n\n[bridge]\n(Chords: G#m - E - B - F#)\n(Vocal-Perf: Abrupt dynamic shift to a more intimate, almost-spoken delivery, then builds in intensity.)\n(Inst: Full band drops out, leaving a single clean, arpeggiated electric guitar. The full band crashes back in on the third line for maximum impact.)\n(Mix: Stereo field narrows to near-mono on the drop, then explodes wide when the band re-enters.)\n(Melody-Harmonic-Tension: The vocal melody deliberately ends phrases on the 2nd over the I chord, creating an unresolved tension that strongly pulls toward the final hook.)\nTalkin' 'bout girls that ain't got nothin' on you\nAin't no way I'm leavin' this room\nThey all say that I'm missin' out\n\n[outro]\n(Chords: E - B - C#m - B/D#)\n(Vocal-Perf: Final, high-energy vocal runs and ad-libs.)\n(Inst: Full band plays with peak intensity; lead guitar improvises fills.)\nThey talkin' 'bout girls, but I got a woman\nYeah, I got a woman right here in my hands\nThey talkin' 'bout girls, but I got a woman\nYeah, I got a woman\nOh yeah, and she got a man\nWhoo\nAnd she got a man\nThey talkin' 'bout girls\nBut I got a woman",
  "song_id": "01_Woman_20260419",
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    "model": "gemini-2.5-pro",
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    "generated_at": "2026-04-19T13:05:15.578350+08:00"
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