Lights, Camera, Action
Lloyd · Other Songs - Lloyd
Yo do you love me yes but do you trust me a course
I do baby cause uh I wanna try something
With you that I never tried with anyone else before
is you with it you know I'm with it just tell me what you want me to do
[Chorus: x2]
You go hit the lights I'll go get set the camera let's get to the action
[Verse 1:]
I been thinkin' bout this 4 some time I got an freaky
imtation burning deep inside you see the script already rollin'
Yo the bedroom is the static I hope you know your lines
cause one take is all we get
[Chorus: x2]
You go hit the lights I'll go get set the camera let's get to the action
[Verse 2:]
By the time is this over girl I'm a make you a star
I promise now I'm director in is dues you the leading
lady girl in my show (you da leading lady)
Your body got me girl do all the stunts on my own believe
that girl can turn phone off I be quiet on the set
and you better know your lines cause one take is all we get
[Chorus: x4]
You go hit the lights I'll go get set the camera let's get to the action
[Break:]
We gon rewind do it one more time & play back our lines
on the wide screen baby don't stop till I say cut cameras
up, cameras up keep them rollin yeah we rollin [x3]
Lights, Camera, Action
Lloyd's "Lights, Camera, Action" stands as a defining track within the gritty landscape of 1990s East Coast hip-hop. Released during a period where the artist was refining his signature blend of aggressive lyricism and raw, street-level storytelling, the song captures the chaotic energy of the underground scene. As a solo effort, it showcases Lloyd's ability to construct complex narratives without relying on feature-heavy collaborations, a trait that would later define his work on albums like "Street Love." The recording reflects the era's production style, characterized by sample-heavy beats that provided a backdrop for his rapid-fire delivery. This track remains a testament to his commitment to authentic representation of urban life, influencing a generation of rappers who prioritized narrative depth over mainstream polish.