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Wired For: 🎧 Fenvian Child
(`NO COVERS`)
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We Had a Real Good Run
(Music starts with a driving, open-G tuned acoustic guitar riff, reminiscent of early Black Crowes)
(Verse 1)
Remember that first summer, the ground was soft and deep
We had a love like an artesian spring, promises we meant to keep
Never had to check the levels, never worried 'bout the cost
Just left the tap wide open, didn't care what might get lost
We built a life on that assumption, that it would never change
Figured that well of goodness was way outside of drought and range
(Pre-Chorus)
Then came a season, started noticing the pressure drop
We told ourselves it's temporary, told ourselves it's bound to stop
We papered over the first crack lines showing in the clay
And went on drawing more tomorrow from the debt of yesterday
(Chorus - Full band kicks in: punchy drums, bass, second guitar)
'Cause I can't stand here and say that it was only you
And Lord, you know you can't say it was only me
We had a real good run 'til the water ran right through
Yeah I had some help, and you had some help from me
Blamin' the sky for a well we both bled dry, for the whole damn world to see
Yeah I had some help... and you had some help from me
(Verse 2)
I'd take a little extra when you'd turn your back and leave
Another silent victory worn right on my sleeve
You'd start a project halfway down the hill just for the view
Divertin' just enough so I wouldn't have a clue
Each time we patched a fight up, we'd drill another twenty feet
Fighting for the last cool drop against the rising, bitter heat
(Pre-Chorus)
Yeah, the signs were all there, a little salt upon the tongue
That panicked conversation 'bout where we came from
We turned the music up to drown the groanin' of the pump
Just two fools standin' on a sinkhole 'bout to slump
(Chorus - More energy, vocals gaining a rougher edge)
'Cause I can't stand here and say that it was only you
And Lord, you know you can't say it was only me
We had a real good run 'til the water ran right through
Yeah I had some help, and you had some help from me
Blamin' the sky for a well we both bled dry, for the whole damn world to see
Yeah I had some help... and you had some help from me
(Bridge - Music pulls back to a sparse, reverb-heavy guitar and bass)
And now the floorboards in the kitchen are all starting to slant
The foundation that we built this on says 'never say you can't'
But we did... we hit the bedrock... there's just dust in the pail
Staring at each other at the end of a cautionary tale
(Guitar Solo - Melodic, soulful, and gritty, more about emotion than speed. It carries the weight of the bridge's realization before swelling back towards the final chorus.)
(Outro Chorus - Huge, almost like a barroom singalong, ad-libs underneath)
I can't stand here and say that it was only you! (It wasn't just you!)
And Lord, you know you can't say it was only me! (It wasn't just me!)
We had a real good run 'til the water ran right through! (It's all gone!)
Yeah I had some help, and you had some help from me!
Blamin' the sky for a well we both bled dry, for the whole damn world to see...
Yeah I had some help... you had some help...
(Music fades on the repeating acoustic riff and one last, fading electric guitar note.)
About The Song
"We Had a Real Good Run" translates a macro-level environmental crisis into an intimate, human-scale story of a relationship's collapse. Inspired by the news of irreversible groundwater depletion in farming regions, the song uses the aquifer as a central metaphor for the finite supply of love, trust, and goodwill in a partnership. The couple in the song treats their emotional bond like an infinite resource, continually drawing from it without replenishing it, ignoring the warning signs until the "well runs dry" and the foundation of their life together starts to subside. The lyrical style, focused on shared accountability and a sort of defiant nostalgia, draws from the country-pop blend of hits like Post Malone and Morgan Wallen's "I Had Some Help." It rejects a simple villain/victim narrative, instead focusing on the mutual complicity in a slow, preventable tragedy. This is a song about what happens when two people who built a world together are forced to confront the fact that they are the co-authors of its demise.
Production Notes
Genre: Country-Rock / Americana-Pop
Vocals: A male duet is ideal. Vocal A should have a clear, powerful country tenor. Vocal B should have a grainier, rock-inflected baritone. They should trade lines in the verses and harmonize with grit in the choruses. Use a Neumann U 87 for the clean vocal and an SM7B for the grittier one, running both through a vintage-style preamp like a Neve 1073 to get warmth and presence.
Instrumentation: The song is built around a driving acoustic guitar (a Martin D-28 or Gibson J-45 in an open tuning). Layer a gritty electric guitar (Fender Telecaster through a slightly overdriven Vox AC30) that plays counter-melodies and the main solo. The bass should be a Fender P-Bass, played simply and locked tight with the drums. Drums should be organic and punchy, mixed to feel live and powerful, not overly processed.
Arrangement: Build dynamics carefully. The verses are sparse, letting the storytelling breathe. The pre-chorus should build tension with a steady kick drum or a stomp-clap pattern before the chorus explodes with the full band. The bridge must be a significant dynamic drop to create an intimate, confessional moment. The final outro chorus should feel anthemic and raw, with ad-libs pushed slightly back in the mix to create a "crowd singalong" feel before fading out.
Mix Automation: Ride the vocal faders to emphasize key lines. Automate the reverb and delay throws, especially on the vocals in the bridge, to create a sense of space and desolation. During the final chorus, push the drum overheads and room mics up slightly to enhance the 'live energy'.
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