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February 2026
L-T Terror × 
On the record
Every single day at the job, grinding it out — but the parking lot version of L-T is a different person entirely.
Stream everywhere
About the track
"Clocked In" is a song about the double life. The version of you that shows up to work — does the job, takes the check, plays the game — and the version that emerges the second you hit that parking lot. L-T Terror knows exactly who that person is. He raps about the daily tension of being built for something bigger while stuck doing something smaller, and the creeping feeling that keeping it together at work might cost you the parts of yourself that actually matter.
Over a Super Tight Woody production that fuses chopped soul with thunderous 808 drums and a Miami bass low-end that hasn't been heard like this in decades, the track moves like a man with somewhere better to be. Propulsive, simmering, about to boil over.
Lyrics
Verse 1
Every single day I want to quit this shit, You don't know how fed up I am with this shit, Thinking bout the days I was robbin' and shit, Thinking bout the days I was mobbin' and shit, Shorting my check and I'm taking that risk, Every other day, somebody blowing my bliss, I could be at home just holding my bitch, Holding my dick, But if I quit, bills might go in my shit Hey yo! I ain't getting rocked like that, And my lady really hate when I talk like that, I'm the greatest and I know it, And I walk it like I own it, But my boss lady hate it when I walk like that, Yeah, yo! They just wanna burn me down, Light the bridges on fire, Let's burn this town, I'm geeked up I done made a whole new sound, I'm turned up, Imma need to turn me down
Pre-Chorus
On and on, I go from night to morning All the times, I'm clocked in, I've been locked in Night til morning I mean I'm off and on I know it's right It's right, it's right— til I'm boxed in
Hook
Still I do what I do when I do Still I do what I do when I do Still I do what I do when I do, I do I do I do I do Still I do what I do when I do Still I do what I do when I do Still I do what I do when I do, I do I do I do I do I'm clocked in now Let's go! Alright, alright!
Verse 2
I'm unlimited, God supply me, It don't matter when y'all deny me, I love going against odds try me Flow water on God tsunami, Swimming in bit, no swimsuit, You don't know what I done been through, Just know all this work that I tend to When Im at work gone work I'm fin to blow, There's a whole other side of me I don't show, Especially when I'm clocking out and walking out The transformation that I make when I get in the parking lot, Is the only time for you to ever see the shit I'm talking about
Pre-Chorus
On and on, I go from night to morning All the times, I'm clocked in, I've been locked in Night til morning I mean I'm off and on I know it's right It's right, it's right— til I'm boxed in
Hook
Still I do what I do when I do Still I do what I do when I do Still I do what I do when I do, I do I do I do I do Still I do what I do when I do Still I do what I do when I do Still I do what I do when I do, I do I do I do I do I'm clocked in now
Pre-Chorus
On and on, I go from night to morning All the times, I'm clocked in, I've been locked in Night til morning I mean I'm off and on I know it's right It's right, it's right— til I'm boxed in
Hook
Still I do what I do when I do Still I do what I do when I do Still I do what I do when I do, I do I do I do I do Still I do what I do when I do Still I do what I do when I do Still I do what I do when I do, I do I do I do I do
The Parking Lot Version
"There's a whole other side of me I don't show — especially when I'm clocking out and walking out. The transformation that I make when I get in the parking lot is the only time for you to ever see the shit I'm talking about."
That's the whole song in four lines. Whatever happens at work stays at work. What happens after? That's L-T Terror.
Behind the Beat
Every Super Tight Sessions episode is a live window into the studio — no polish, no edits, just the process. Watch how "Clocked In" came together from scratch: the sample flip, the 808 tuning, the moment the track locked in.
This is what sync-ready hip-hop looks like before the masters are delivered.
More Episodes →Super Tight Sessions · Ep. — Clocked In ft. L-T Terror
The Sound
Before trap. Before crunk. Before the 808 became the default heartbeat of every hip-hop record on the planet — there was Miami Bass. Born in the clubs and car parks of Liberty City and Overtown in the early 1980s, it was the South's answer to New York's boom-bap: louder, more physical, built for bodies in motion.
The signature was the Roland TR-808 kick drum set to maximum sustain — a low-end rumble that could rattle a car trunk from a block away. Paired with hissing cymbals, fast tempos, and a dance-floor energy that made the East Coast crowd uncomfortable, Miami Bass became one of the most influential and least credited genres in American music history.
Roland TR-808 Rhythm Composer · The machine that started it all
The Accidental BirthEngineer Amos Larkins II discovers that cranking the 808 kick through studio compressors makes kids in the studio lose their minds. The genre starts by accident, in a session in Miami.
2 Live Crew set the blueprint"Throw the D" establishes the template: thunderous 808, fast tempo, in-your-face vocals. The South finally has its own sound.
Goes mainstream — brieflyTag Team, 69 Boyz, Quad City DJs take the sound to pop radio. "Whoomp! There It Is" sells millions. Then gangsta rap pulls the spotlight west.
Goes underground — globallyMiami Bass seeds trap, crunk, bounce, and Brazilian funk. Its DNA is everywhere. Its name is forgotten by most.
Clocked InL-T Terror and Super Tight Woody pull the 808 back up from the basement, chop it with soul, and clock back in.
"There's a whole other side
of me I don't show."
— L-T Terror · Clocked In · 2026
Production
Chopped soul samples over 808 drums, with a big Miami bass low-end twisted into something new. Super Tight Woody pulls a classic Southern frequency back up from the underground and runs it through 2026.
L-T Terror
A lyricist who lives in the tension between who you have to be and who you actually are. On "Clocked In" he raps about the grind, the frustration, and the version of himself that only comes out once he hits the parking lot. Vivid, specific, real.
Sync Ready
Cleared for TV, commercials, trailers, and digital. This track is one-stop ready — all rights holders have signed off, so you can license it without chasing approvals. Ideal for workplace narratives, hustle content, and any story about ambition refusing to stay seated.