Partner In Crime
Dancing with Danger: Matt Cooper's Tale of Love, Rebels, and Wild Hearts
Lyrics
She's drivin me crazy calling me baby making me fall in love
Expressing the impact of the woman's actions on the speaker, leading to feelings of love.
That pretty lady's, pretty amazing, pretty dangerous
Highlighting the woman's attractiveness and the potential risks associated with her.
Tennessee faith but she acting insane
Describing the woman's conflicting characteristics, with a reference to faith and erratic behavior.
Cuz she know she'll be saved from the man above
Suggesting that the woman believes she'll be saved despite her actions.
Rockin' like daisy, dirty like Swayze, yeah my baby loves to have
Describing the woman's carefree and rebellious nature, referencing iconic figures (daisy and Swayze).
Fun
Emphasizing the enjoyment and excitement in the woman's life, urging caution for others.
Fun
-Fun
-So boys you better turn and run
Warning other men to avoid getting involved with the woman.
Run
-Run
-So boys you better
-That girl's not an ordinary women
Stating that the woman is not an ordinary individual.
That girl's got a wild side for lovin
Acknowledging the woman's adventurous and passionate side.
Daddy's girl don't need daddy's southern money
Indicating the woman's independence by mentioning she doesn't rely on her father's money.
I call her Bonnie she call me Clyde
Drawing parallels between the speaker and the woman to the famous criminal duo Bonnie and Clyde.
Yeah that girl's my partner in crime
Affirming that the woman is the speaker's partner in crime.
She'll make ya miss her, she'll make ya kiss her, she'll make a man of you
Describing the woman's ability to influence and shape a man.
She got a mister, she got a temper, got an attitude
Highlighting the woman's possessiveness and temperament.
You better wish that you ain't on her list
Warning that being on the woman's bad side could have consequences.
Cuz you know she'll predict your every move
Suggesting that the woman can predict others' actions.
Sweet and then bitter, you better win her heart if you wanna call her
Describing the woman's contrasting nature, alternating between sweetness and bitterness.
Boo
-Boo
Implying that the woman may not be genuinely interested in certain men.
Boo
-She ain't really into you (Boy)
-Into you (Boy)
Repeating the idea that the woman may not be into certain men.
Into you (Boy)
-Into you
-That girl's not an ordinary women
Reiteration that the woman is extraordinary.
That girl's got a wild side for lovin
Reaffirming the woman's wild and loving side.
Daddy's girl don't need daddy's southern money
Reiterating the woman's independence from her father's money.
I call her Bonnie she call me Clyde
Repeating the Bonnie and Clyde metaphor.
Yeah that girl's my partner in crime
Reaffirming that the woman is the speaker's partner in crime.
She's so, she's so dangerous
Emphasizing the woman's dangerous allure.
She's so, she's so dangerous
-She's so, she's so dangerous
-She's so, she's so dangerous
-That girl's not an ordinary women
Repeating the theme of the woman's uniqueness and wild nature.
That girl's got a wild side for lovin
-Daddy's girl don't need daddy's southern money
-I call her Bonnie she call me Clyde
-Yeah that girl's my partner in crime
Reiterating the woman as the speaker's partner in crime.
That girl's not an ordinary women
Repeating key themes of the woman's extraordinary qualities and her role as a partner in crime.
That girl's got a wild side for lovin
-Daddy's girl don't need daddy's southern money
-I call her Bonnie she call me Clyde
-Yeah that girl's my partner in crime
Final affirmation that the woman is the speaker's partner in crime.
Comment