{
  "song_id": "01_Old Dirt Roads_20260507",
  "prompt": "Genre: Modern Country-Pop Anthem; BPM: 166; Key: C# Major; Rhythm: Driving half-time country-rock groove with a heavy backbeat on 3 and a constant chugging 16th-note acoustic guitar pulse.; Instruments: Bright plucky banjo, Hard-strum acoustic, Layered mandolin, Overdriven rhythm e-gtr, Warm lead e-gtr; Vocals: Male lead with a clear, strong baritone and slight country twang, lush background vocal stacks in the chorus.; Mood: The feeling of driving down a familiar dirt road at dusk, windows down, with the radio playing a song that takes you back to being seventeen.; Production: High-Fidelity, Pristine Radio-Ready Mix with expensive analogue warmth and silky smooth high-end. Powerful, centered kick/snare, wide-panned guitars, vocal sits perfectly on top.; Highlight: The explosive downbeat of the first chorus, where the full drum kit and banjo hook crash in simultaneously after the sparser, building pre-chorus.",
  "title": "旧茧",
  "lyrics": "[intro]\n(Mix: High-Fidelity, Pristine Radio-Ready Mix with expensive analogue warmth and silky smooth high-end. Mix is loud, dynamic, and polished. Powerful, centered kick/snare, wide-panned guitars, solid mono bass. Vocal sits on top without being harsh.)\n(Inst: Bright plucky banjo playing main riff, hard-strummed steel-string acoustic, round P-bass, punchy kick drum.)\n(Hook-DNA: Banjo riff uses a syncopated 16th-note pattern, circling the 3rd and 5th of the tonic; motif repeats twice then varies on the third statement to lead into the vocal.)\n\n[verse]\n(Inst: Texture thins out. Main rhythm from strummed acoustic guitar and simple kick/bass pattern. Banjo plays subtler fills.)\n(Vocal-Perf: Conversational, narrative-focused delivery in a comfortable lower-middle range.)\n(Melody-Rhythm: Primarily syllabic phrasing that follows natural speech patterns, landing squarely on the beat.)\n(Chords: C# - G# - A#m - F#)\n爷爷的旧皮带挂在谷仓门\n上面还嵌着三十年前的锈\n我头一次骑上那匹花斑马\n摔进泥里哭了，爬起来又笑\n那时候的夏天烫脚板\n玉米叶子割出一道细口\n\n[pre-chorus]\n(Inst: Energy builds with steady eighth-note bassline and cymbal swells. Mandolin enters, doubling banjo.)\n(Vocal-Perf: Intensity and volume increase, ascending melodically into the chorus.)\n(Melody-Contour: Stepwise ascending line, building tension towards the chorus launch.)\n(Chords: A#m - F# - C# - G#)\n我以为走远就能不想\n以为换一身衣裳就能换心脏\n却在最陌生的路口\n闻到了那个味道\n\n[chorus]\n(Mix: Stereo image widens significantly. Parallel compression on drum bus adds punch. Vocal reverb becomes more prominent.)\n(Inst: Full band enters with power. Overdriven electric guitars playing power chords, banjo hook returns, crash cymbals on downbeats.)\n(Vocal-Perf: Shifts to powerful chest belting, joined by layered, wide-panned harmony stacks.)\n(Hook-DNA: Vocal hook uses a descending pattern of \"quarter, quarter, eighth-eighth, half note\"; motif repeats over each chord change, anchored to the root.)\n(Melody-Harmonic-Tension: Vocal melody soars to the 5th over the IV chord (F#) on \"whole damn thing,\" holding the tension before resolving down on the tonic.)\n(Chords: C# - F# - C# - G#)\n是晒干的麦秸和柴火的烟\n是牲口圈旁边那口老井\n没有人告诉我 离开有多重\n直到脚底的茧子 替我记清\n风吹过来的时候整个胸腔都疼\n我把那些年磨出的旧茧 贴在心上当证明\n\n[post-chorus]\n(Inst: Banjo and mandolin riffs are the primary focus, drums maintain the driving chorus groove.)\n(Hook-DNA: Simple, descending pentatonic vocalise motif (\"La-da-da\"); rhythmic pattern is two eighths + quarter, repeated; designed for singalong.)\n啦 哒哒 哒哒哒哒哒哒\n啦 哒哒 哒哒哒哒哒哒哒\n啦 哒哒 哒哒哒哒哒哒\n啦 哒哒 哒哒哒哒哒哒哒\n\n[verse]\n(Inst: Texture drops back similarly to first verse, but a clean electric guitar arpeggio is added for movement.)\n(Vocal-Perf: Returns to a more intimate, narrative tone, but with slightly more energy than the first verse.)\n(Chords: C# - G# - A#m - F#)\n后来我在城里学会了低头\n学会把口音磨成另一种腔调\n有一年除夕没赶上末班车\n对着出租屋的墙壁喝了碗方便面汤\n咸得刚好 又咸得不像话\n才明白有些人一生只有一个家\n\n[chorus]\n(Mix: Even wider and more compressed than the first chorus. Lead guitar fills added in the gaps.)\n(Inst: Full band, more aggressive crash cymbals and a subtle lead electric guitar counter-melody.)\n(Vocal-Perf: Maximum power and intensity, with more prominent ad-libs and harmonies.)\n(Hook-DNA: Vocal hook uses a descending pattern of \"quarter, quarter, eighth-eighth, half note\"; motif repeats over each chord change, anchored to the root.)\n(Melody-Harmonic-Tension: Vocal melody soars to the 5th over the IV chord (F#) on \"whole damn thing,\" holding the tension before resolving down on the tonic.)\n(Chords: C# - F# - C# - G#)\n是晒干的麦秸和柴火的烟\n是牲口圈旁边那口老井\n没有人告诉我 离开有多重\n直到脚底的茧子 替我记清\n风吹过来的时候整个胸腔都疼\n我把那些年磨出的旧茧 贴在心上当证明\n\n[outro]\n(Inst: Melodic guitar solo takes center stage over the chorus chord progression. Banjo hook weaves around the solo. Band hits final chord and holds, then fades with acoustic strumming.)\n(Vocal-Perf: Ad-lib vocalizations and final \"la-da-da\" phrases fade out under the solo.)\n(Mix: Begins to slowly fade out, automating a high-pass filter on the master bus for the final few seconds.)\n啦 哒哒 哒哒哒哒哒哒\n啦 哒哒 哒哒哒哒哒哒哒\n啦 哒哒 哒哒哒哒哒哒\n啦 哒哒 哒哒哒哒哒哒哒",
  "cover_prompt": "生成一张无字音乐专辑封面。风格参照日本「もの派」（Mono-ha）的物质感与李禹焕（Lee Ufan）绘画中「留白与一笔」的克制美学，结合湿拓画（Ebru / paper marbling）的有机纹理。画面核心：一个边缘自然晕散的椭圆形磨痕印记，质感如同皮革反复摩擦后留下的包浆光泽，颜色从深棕赭石向枯黄过渡，处于大面积粗粝米白色手工纸背景之中，纸面可见细密的纤维纹路与轻微的水渍痕迹。技法要求：几何图形的边缘必须是颜料在湿润纸面上自然扩散形成的（ink bleeding on wet paper），而非数字绘制的精准轮廓。背景需要呈现真实手工纸的纤维质感（visible paper fibers, deckled edges texture），可以带有轻微的水渍痕迹（watermark stains）和纸张泛黄的老化感。构图极度克制，大面积留白，主体偏离中心（off-center composition）。整体像一张被扫描的实体版画作品（scanned fine art print），而非数字生成图像。绝对禁止：任何文字/字母/拼音、人物或人物轮廓、复杂场景、风景照片感、3D渲染、塑料质感的光泽。",
  "cover": {
    "template_id": 2,
    "template_name": "几何光影艺术流",
    "scene_description": "一个边缘自然晕散的椭圆形磨痕印记，质感如同皮革反复摩擦后留下的包浆光泽，颜色从深棕赭石向枯黄过渡，处于大面积粗粝米白色手工纸背景之中，纸面可见细密的纤维纹路与轻微的水渍痕迹。构图极度克制，主体偏离中心，大面积留白，整体散发出岁月磨损的质朴气息。"
  }
}