{
  "song_id": "01_Take Me Home, Country Roads_20260601",
  "prompt": "Genre: Country / Folk; BPM: 164; Key: A Major; Rhythm: Simple country backbeat driven by acoustic strumming; relaxed, slightly behind-the-beat feel.; Instruments: Strummed steel-string acoustic (warm, full body), Round-toned electric bass, Pedal steel guitar (gentle swells), Light percussion (subtle backbeat), Lush string section (pads).; Vocals: Male tenor, clear and gentle timbre, clean delivery, minimal vibrato; warm male harmony vocals added in choruses; light plate reverb.; Melody: Gentle arch, stepwise motion; phrases land on tonic; short pickups.; Mood: Driving a familiar backroad as the sun sets, feeling a quiet, deep sense of belonging.; Production: Analogue warmth, smooth high-end; vocal-centric mix, moderate stereo width, plate reverb.; Language: English; Highlight: The sudden entry of full male harmony vocals on the first chorus's downbeat, creating an expansive, communal lift.",
  "title": "Slow Burning Fields",
  "lyrics": "[intro]\n(Mix: Baseline. Analogue production, warm tape saturation. Lead acoustic guitar centered. Bass centered. Pedal steel enters with wide stereo presence. Light plate reverb creates a gentle, cohesive space. Minimal, transparent compression.)\n(Inst: Strummed steel-string acoustic guitar, pedal steel swells with melodic fills.)\n(Hook-DNA: Rhythmic Pattern: eighth-note strum on acoustic, emphasizing backbeat 2 & 4; Pitch Anchor: melodic phrases revolve around tonic and dominant; Repetition: simple two-bar pedal steel motif repeats twice.)\n(Transition: Pedal steel melody fades slightly to create space for vocal entry.)\n\n[verse]\n(Chords: A - E - F#m - D - A - E - D - A)\n(Inst: Strummed acoustic guitar, root-note electric bass, subtle percussion.)\n(Vocal-Perf: Lead vocal enters, soft chest voice, sincere and clear delivery, mezzo-piano.)\n(Melody-Contour: Gentle ascending line in first half, descending stepwise in second half; phrases resolve to tonic.)\nHay bales drying on the eastern slope\nRed clay dust on my father's coat\nThe porch swing groans like it always did\nUnder the weight of everything we hid\n(Transition: Bass and drums become slightly more present, building energy into the chorus.)\n\n[chorus]\n(Chords: A - E - D - A)\n(Inst: Full band enters: acoustic guitar, bass, drums, pedal steel fills, lush string section pads.)\n(Vocal-Perf: Lead vocal becomes more open, mezzo-forte. Joined by prominent male harmony vocals.)\n(Melody-Contour: Ascending arch, peaking on the downbeat of the third bar, stepwise descent to resolution.)\n(Melody-Harmonic-Tension: Melody hangs on the 2nd over the IV chord (D) for one beat of gentle tension before resolving to the tonic over the final A chord.)\n(Hook-Recall: The main vocal melody directly presents the core melodic and rhythmic hook of the song.)\n(Mix: Stereo field widens with strings and harmonies; overall level increases.)\nShe still waits by the old fence line\nWhere the goldenrod grows and the tall oaks shine\nI left her standing in the amber heat\nShe still waits, Lord, she still waits for me\n(Transition: Strings and harmonies fade out, returning to the sparser verse arrangement.)\n\n[verse]\n(Chords: A - E - F#m - D - A - E - D - A)\n(Inst: Acoustic guitar, bass, subtle percussion. Pedal steel plays more frequent melodic fills.)\n(Vocal-Perf: Maintains the intimate, soft delivery of the first verse.)\n(Melody-Contour: Follows the same contour as the first verse.)\nSeven summers since I crossed that bridge\nCarried nothing but a stubborn itch\nShe pressed a stone into my open palm\nSaid keep it warm and keep yourself from harm\n(Transition: A sustained pedal steel note hangs, creating anticipation for the bridge.)\n\n[bridge]\n(Chords: F#m - E - A - D - A - E - F#m - E)\n(Inst: Acoustic strumming becomes slightly more insistent. Bassline is more melodic.)\n(Vocal-Perf: Vocal intensity increases, delivery becomes more rhythmic and speech-like.)\n(Melody-Contour: Rhythmic and repetitive, less arching than verses; phrases feel more insistent, pushing forward.)\n(Melody-Harmonic-Tension: Vocal line repeats the minor root (F#m) over changing harmony, creating a static feeling before the final phrase leads to the dominant (E) chord, setting up a strong resolution into the chorus.)\nThe city gave me wages but no ground to stand\nAnd pride kept me reaching with an empty hand\nNow every harvest moon pulls like a tide\nAnd I keep dreaming of her, can't shake it, can't hide\n(Transition: Brief pause after the final vocal line, followed by a light drum fill into the final chorus.)\n\n[chorus]\n(Chords: A - E - D - A)\n(Inst: The fullest arrangement. All instruments playing with heightened energy. Strings are more prominent.)\n(Vocal-Perf: Most powerful vocal delivery, with lead and harmonies at full volume.)\n(Melody-Contour: Same melodic shape as first chorus, but with more dynamic energy.)\n(Melody-Harmonic-Tension: Same tension/resolution pattern as the first chorus, but the heightened dynamics make the resolution feel more cathartic and final.)\n(Hook-Recall: The hook is repeated emphatically, acting as the song's emotional and dynamic climax.)\n(Mix: Widest and loudest point of the song.)\nShe still waits by the old fence line\nWhere the goldenrod grows and the tall oaks shine\nI left her standing in the amber heat\nShe still waits, Lord, she still waits for me\n(Transition: The main instrumental backing drops out, leaving vocals and sparse accompaniment to begin the outro.)\n\n[outro]\n(Chords: A - E - D - A (repeats and fades))\n(Inst: Full band gradually fades out, with acoustic guitar and pedal steel being the last to disappear.)\n(Vocal-Perf: Vocals repeat the main hook with increasing softness. Harmonies become more sparse, and the final lines are sung gently by the lead vocal, fading to silence.)\n(Melody-Contour: Repetitive hook phrase, descending in dynamics.)\nShe still waits by the old fence line\nWhere the goldenrod grows and the tall oaks shine\nShe still waits, Lord, she still waits\nShe still waits for me",
  "cover_prompt": "生成一张无字音乐专辑封面。风格严格参照 20 世纪 Color Field Painting（色域绘画），如 Mark Rothko 晚期作品的色层叠压逻辑与 Helen Frankenthaler 的浸染法（soak-stain technique）。画面的核心色彩与情绪：大面积沉静的琥珀金与燃烧橙向下渐变为深赭红，顶部压入一道低沉的暮色蓝灰——如同暮秋平原上最后一缕日光将熄未熄、烙进泥土的瞬间，孤独又滚烫。\n技法要求：色彩之间的过渡必须模拟颜料在未上浆的粗纹棉布（raw cotton canvas）上自然渗透、晕开的效果，边界柔软但保留颜料浓度不均匀造成的自然深浅变化（pigment pooling）。画面需要呈现真实画布的编织肌理（woven canvas texture），局部可见稀薄处透出的底布纹路。整体色调偏低饱和、微微发灰（muted, desaturated palette），避免荧光感和数字渐变的均匀平滑。\n绝对禁止：任何文字/字母/拼音、人物或人物轮廓、具象物体、几何图案、锐利边缘、胶片颗粒滤镜、3D渲染质感。",
  "cover": {
    "template_id": 1,
    "template_name": "环境光晕流",
    "scene_description": "大面积沉静的琥珀金与燃烧橙向下渐变为深赭红，顶部压入一道低沉的暮色蓝灰——如同暮秋平原上最后一缕日光将熄未熄、烙进泥土的瞬间，孤独又滚烫"
  }
}