Tony Oller is in love with a reckless woman in the infantile “Bad Girls.”
Frisky synths open the single, setting an eager tone. He checks his phone. 508? He doesn’t know anyone that lives in the 508 area. He checks his messages and it’s sometimes-girlfriend. In her message she purrs that she misses him. He googles the phone number, trying to get some information. Is the phone number another guy’s? Is she sleeping with him? He would like for them to be a great romance that people will admire. (“Late night, she on fire/Calling me from numbers I don't recognize/Wonderin' if there's somebody else in the room/She'd say that I'm crazy, nah baby it's you/Shows up, fill her cup/I know what she wants is to get my love/I wish we could be just like Johnny and June/She'd cut out my heart and let me in the room.”)
In the pre-chorus, she’s so many problems. Most of the time she’s either drunk or high. There are a lot of girls who are interested in him that would be better. However, he really likes her. (“And I know I, I should quit her/And I'd do it if I could/She a hot mess, but I confess/Damn, she got me good.”)
In the chorus, he likes her rude demeanor. She does whatever she wants. She’s out to please herself and no one else. (“Cause I love them bad girls doin' bad things/Lookin' hot with an attitude/Love them bad girls like a bad dream/Shouldn't want them, but I do/Singin'/All the bad girls singin'/Yeah, all the bad girls singin'/And I can't help it, no/Damn, it feels good when you're messin' with a bad girl.”)
He says she’s gorgeous. Whenever he’s with her, all the guys give him jealous looks. She likes skinny dipping. She’ll whip out a joint from her purse and not even look if there any cops around. She’s so brave. (“She got a body like a fast car, movie star/I'd do anything to be your bodyguard/She like gettin' naked and swimmin' in pools/She make it look sexy to break all the rules/Falling too fast, I might crash/But once you go in bad you know you can't go back/I just wanna watch every way that she moves/She out on the edge like there's nothing to lose.”)
Oller sings the chorus again.
In the bridge, Malcolm Kelly gets gross: bodily fluids and sweat. Somehow, she’s sweet and innocent when they sleep together. What does that even mean? She’ll pick a fight with him and he’ll wonder what he did wrong. (“She bad/She got my number/So hot she hotter than Vegas in August; Donna Summer/High class under the covers/Wakin' up, we so sticky, we stuck to one another//She gets what she wants, she takes what she needs/She all over me/She kind to me but ain't a problem to me/A little bit of hell, but she got me in heaven/She my Bond girl, I'm MKT-007.”)
The chorus is sung once more to end the single.
MKTO just don’t get it. The girl he’s in love with now will only bring him down. The self-destruction is viewed through rose-colored glasses. Then there’s Kelly’s line of “high class under the covers.” She’s actually submissive and defers to him the entire time then? He likely feels superior to her in some way and is on a power trip.
The condescending “Bad Girls” turn the band into a lost cause: they always seem to take the low road.