Learn Spanish With Tainy with these 23 Song Recommendations (Full Translations Included!)
Lo Siento BB:/ blends Tainy’s polished Puerto Rican reggaeton groove with Julieta Venegas’s dreamy hook and Bad Bunny’s straight-shooting verses to paint the scene of an unexpected night out. Julieta invites her partner to let go and flow in the moment, hinting at something special brewing on the dance floor, while the beat wraps everything in a neon glow.
Enter Bad Bunny, who slams the brakes on any talk of romance with his repeated “lo siento, bebé.” He’s all for the chemistry and the heat, but he refuses to fall in love or be rushed—his time is “oro.” The back-and-forth creates a playful tug-of-war between longing and detachment, showing how modern flings can sizzle without settling down. It’s a soundtrack for living in the present: dance hard, feel the spark, and leave Cupid waiting at the door.
Get ready for a late-night thrill ride. “Sci-Fi” drops us into a neon-lit rendezvous where Tainy’s futuristic beats and Rauw Alejandro’s velvet vocals chase an attraction so strong it feels out of this world. The singer spots his crush again, heart racing like a Lamborghini engine, and every line is a battle between holding back and giving in. He knows exactly how the night will end: rules broken, pulses racing, and a cinematic chemistry that blurs reality.
The lyrics paint her as a magnetic work of art—la más cara de todas las pinturas—whose gaze says “stay” even when she pretends to resist. Between city lights that feel like Los Angeles and curves that send him spinning, the song celebrates pure, undeniable desire. It is a playful confession of longing, drenched in reggaetón swagger, proving that when these two Puerto Rican hitmakers link up, romance turns into a blockbuster sci-fi movie where passion always wins.
MOJABI GHOST slips you into a velvet-dark reggaeton night where luxury cars roar and club lights flash, yet a single, stubborn memory haunts the party. Tainy and Bad Bunny brag about threesomes, bottles, yachts, and million-dollar toys, but every boast is shadowed by a confession: “No sé a quién le miento si esto que siento no me deja dormir.” No matter how loud the music or how thick the smoke, the “ghost” of a lost lover lingers like an unforgettable perfume, turning every celebration into an escape plan that never quite works.
Beneath the swagger, the song wrestles with emptiness. Fame, cash, and adrenaline fill the verses, but the hook keeps circling back to a simple wish—“ojalá que hoy sueñe contigo.” That line flips the whole track: the real treasure isn’t money or stardom, it is a peaceful night’s sleep wrapped in the arms of the one who got away. MOJABI GHOST is, in the end, a bittersweet dance between indulgence and nostalgia, reminding listeners that even reggaeton’s brightest stars can’t party away a broken heart.
"11 Y ONCE" teams Puerto Rican super-producer Tainy with the soulful Sech and electronic wizard E.VAX for a midnight breakup anthem that blends pop-punk nostalgia with Latin urban swagger. The title nods to 11:11, the moment people traditionally make a wish, yet here that wish has expired: the singer looks at the clock and realizes he no longer wants his ex. Over shimmering synths he flips from Spanish to quick English references, even name-checking Blink-182 to show how far their connection has drifted.
At its heart, the song is a candid post-relationship checklist. The narrator admits he still feels something, "pero lejos" (from a distance), and refuses to hate her yet squarely points to the mirror for the blame. He lists the ways he tried to save the romance—quitting smoking, dream vacations, shared heart tattoos—only to conclude that both kept provoking each other until everything cracked. The playful production masks a sharp message: when wishes run out and attitudes clash, the healthiest love might be loving someone far away and moving on to new horizons.
"Mañana" is a sultry invitation to hit the pause button on today’s worries and dive head-first into tomorrow’s promise of passion. Over a dreamy reggaetón-meets-indie-pop beat, Tainy, Young Miko, and The Marías paint a picture of two lovers who can’t wait to reunite. The chorus repeats like a mantra: “Dime que mañana yo te llevaré” (“Tell me that tomorrow I’ll take you”), turning “mañana” into a secret password for late-night escapades, stolen kisses that taste “a azúcar,” and drinks shared under dim lights. The lyrics switch effortlessly between Spanish and English, mirroring the push-and-pull of longing and playful teasing: from “Hold me closer” to “Esto es easy peasy lemon squeezy,” the singers blur cultural lines while keeping the flirtation crystal clear.
Beneath the catchy hook lies a simple message: love should feel easy, sweet, and irresistibly fun. Instead of overthinking, the narrators ask their partner to drop the drama, skip the digital flirting, and meet face-to-face for real connection. “Mañana” becomes a promise that no matter how complicated life feels tonight, there’s always a new sunrise ready for fresh beginnings, another chance to love freely, and a soundtrack that keeps the chemistry alive.
VOLVER is a sultry, late-night confession where Rauw Alejandro steps into the shoes of an ex-lover who simply cannot move on. He has heard that his former partner is dating someone new, yet every beat of the song pulses with his certainty that their chemistry is still alive. He teases her with gentle bravado: “Si tú quieres volver, sabes dónde llamar” (If you want to come back, you know who to call). The lyrics paint a push-and-pull between nostalgia and desire—he admits past mistakes, but also claims that their passion never expired.
Surrounded by Tainy’s hypnotic reggaetón groove, Skrillex’s sharp electronic accents, and Four Tet’s atmospheric layers, the track turns that longing into a club-ready dance floor anthem. The narrator imagines her thinking of him even while she is with her new partner, and he playfully promises that no one knows her body the way he does. At its core, VOLVER is about irresistible attraction that keeps circling back despite time, distance, and new relationships. It celebrates the thrill of unfinished stories and the magnetic pull that can drag two people together again—maybe for one more night, maybe for good.
Picture that magical minute at 11:11, when everyone makes a secret wish. In this interlude, Kany pushes the clock back to 10:00, showing she was already done with the relationship. The hook "Tú desde las once y once pero yo desde las diez" turns a sixty-one-minute gap into a bold statement: while the other person still hopes, she has moved on and does not want to see them.
With sly confidence she even lets her ex keep the story that they ended things, when she was the one pulling every string. Over Tainy’s sleek Puerto Rican production, the track becomes a smooth, almost whispered anthem of self-empowerment. It reminds listeners that deciding the moment to let go can feel as freeing as resetting the clock.
“NADA” spins a late-night story of unbalanced love over Tainy’s sleek, urban beat. Lauren Jauregui’s velvety hooks meet C. Tangana’s street-wise verses to reveal a frustrating loop: one partner counts the days to reconnect, while the other keeps offering nada—absolutely nothing. Each line drips with impatience and desire, capturing the sting of dressing up, showing up, and still getting shrugged off.
Beneath the seductive rhythm lies a tug-of-war between freedom and commitment. He boasts about city hustle, quick cash, and “don’t hate the player, hate the game,” while she fires back that money can’t buy real care. Neither wants to change, yet both crave more than a fleeting night. By the final chorus, the message is clear: if you keep giving nothing, that’s exactly what you’ll get in return.
PASIEMPRE (a playful take on para siempre, Spanish for “forever”) is a star-studded victory lap where Tainy and his Puerto Rican dream team plant a flag of permanence. Each verse bursts with swagger: they remind us they are businessmen, not momentary trends; they count stacks, light up Phillie blunts, cruise in Bentleys, and shout out the producers who shaped the genre. All of it adds up to one loud message: “We are not here for the moment, we are here for good.”
Beneath the bravado sits a code of loyalty and hustle. The artists brag about luxury cars and Parisian clothes, yet they never forget the crew that has been with them “desde siempre.” They salute pioneers like Luny Tunes, flex numbers that “speak facts,” and warn doubters to step aside. In short, PASIEMPRE is an anthem of endless ambition—celebrating wealth, hard work, and Puerto Rican pride while promising that their music, their legacy, and their influence will echo forever.
“LA BABY” is a high–energy reggaetón anthem that spotlights a woman who has it all: money, style, confidence, and a next-level social media presence. Tainy teams up with Daddy Yankee, Feid (Ferxxo), and Sech to paint the picture of a self-made diva who rolls up in a black-tinted SUV with 23-inch rims, crushes her workouts, and turns every dance floor into her own runway. The lyrics celebrate her independence—she pays her own way, ignores thirsty DMs, and only answers to those who can keep up with her lavish lifestyle and love for reggaetón.
Behind the flashy cars and perfect gym selfies, the song delivers a message of modern empowerment. La baby is an architect of her own dreams, going viral not because someone “put her on” but because she built her brand from the ground up. Tainy’s slick production, Daddy Yankee’s veteran swagger, Feid’s laid-back charm, and Sech’s melodic hooks combine to create a track that feels like a night out on Puerto Rico’s Loíza Street—fast, flashy, and full of unstoppable confidence.
“Obstáculo” is Myke Towers’ victory lap, produced by fellow Boricua hit-maker Tainy. In rapid-fire lines he retraces the climb from the streets of Quintana y Caimito to the peak of the music pyramid, bragging that even the blind have witnessed his rise. Every verse turns past struggles into trophies: envy never caught him, fake-chain rappers can’t match the shine he forged by converting lágrimas into diamonds, and sold-out arenas now light up the moment he arrives in a fleet of Cadillacs.
Beyond the swagger, the track doubles as a playbook on resilience. Towers keeps emotions out of business, stays laser-focused on “cálculos,” and treats money moves like a perfectly tuned machine. Haters toss mud, but he walks out spotless; rivals chase clout, yet he’ll settle for steady Bitcoin deposits. The message is clear: obstacles are meant to be stepped on, not stumbled over—turn pressure into performance, and let the spectacle begin.
CORLEONE INTERLUDE slips us into that late-night mindset where your heart and your head argue about the same person. Over a smooth, atmospheric beat cooked up by Puerto Rico’s hit-maker Tainy, Chencho Corleone sings about a love that everyone can see but nobody really understands except the two involved. He admits he has “given up” on being with her, settling for scrolling through her pictures instead, yet every time she calls, he gets tangled up in her spell again. The lyrics feel like a whispered confession: We know this is messy, but we still can’t stop.
At its core, the song captures the magnetic pull of a relationship that is equal parts irresistible and problematic. There is nostalgia, temptation, and an undercurrent of danger – the kind that makes you hit replay even when you swear you won’t. Chencho’s smooth vocal delivery reinforces that push-and-pull tension, reminding listeners how hard it is to walk away when someone looks “más bonita” every day. It is the musical equivalent of scrolling through memories at 2 a.m., knowing it is trouble, but loving the thrill anyway.
Todavía drops us straight into a moment of reggaetón déjà-vu: the beat is thumping, the volume is cranked up, and the singers are flashing back to an unforgettable night of perreo that started in the club and ended with sunrise vibes at the luxurious Vanderbilt hotel. The lyrics paint a picture of two people who once shared an off-the-charts, no-rules encounter—so legendary that the photos still live in her phone gallery as proof. They tease each other about pretending to be “innocent,” while both know exactly how wild the night really was.
Now the trio of voices—Tainy’s sleek production behind Wisin & Yandel’s signature swagger—call for a rematch. They promise VIP access to the same fiery chemistry: neck-kissing, spilled wine, phones on airplane mode, and designer clothes scattered on the floor. Beneath the playful braggadocio lies a simple message: certain memories are too good to fade, so why not hit repeat? "Todavía" is an ode to that one epic night you still replay in your mind, set to a rhythm designed to make you move all over again.
EN VISTO dives into the modern heartbreak of being left on read. Over a smooth reggaetón beat, Tainy and Ozuna paint the picture of a guy who can’t get over an unforgettable night. He scrolls through his ex’s photos, spots her new boyfriend, and still shoots messages on Telegram and WhatsApp, hoping she’ll answer. Even with Miami nights, Ferraris, parties, and a millionaire lifestyle, nothing compares to the vibe he shared with her.
The lyrics swing between confidence and vulnerability: he swears he could win her back if she just gave him a chance, and he’s convinced they both still check up on each other online. Lines like “Tú me necesitas, yo te necesito, ¿o no?” show a two-way longing that’s hard to shake. In short, the song captures that universal, phone-screen glow of 2 a.m. longing where love, ego, and unread messages all mix into one irresistible hook.
SACRIFICIO feels like a pep rally for the hustle: Tainy and Xantos rhyme about endless vueltas (loops) and sacrifices, the blurry beginnings that no one understands until success finally shows up. Over a head-nodding beat they remind us that storms will come, temptations will swirl, and outsiders will doubt, yet a true creator keeps moving, fueled by Puerto Rican pride and an unbreakable commitment to self-expression.
The heart of the track lives in its self-talk. Tainy compares his mindset to young Kobe, craving the ball and thriving under pressure; the only real opponent is the mirror. He lists where his creativity comes from—necessity, his mother’s smile, and a few secret sparks—while preaching freedom of mind and respect for others. The message is clear: compete only with yourself, protect your aura, accept failure as part of the path, and trust that everyone gets their moment. SACRIFICIO turns personal resilience into an anthem you can dance to.
“FANTASMA | AVC” feels like a late-night voicemail sent from a spinning head and a wounded heart. Over an addictive reggaeton beat, Tainy and Jhayco remember a wild, unforgettable hook-up that seemed destined for something deeper… until the girl disappeared like a phantom. One moment she is on top of the world with him, champagne in hand; the next she vanishes, leaving only mixed signals, bittersweet memories and a frustrated wish that no one else ever satisfies her quite like he did.
The lyrics flip between swagger and vulnerability. Pop-culture nods (Pokémon, Superman, Anuel & KAROL G) show how quickly dreams can burst, while fiery images of volcanoes and hurricanes capture the chaos she leaves behind. In short, the song turns a fun, steamy night into a lesson about illusion: desire can burn bright, but it can also disappear without warning—just like a ghost.
“Si Preguntas Por Mi” drops us right into a neon-lit Puerto Rican night, where a girl who meant to stay home ends up hitting the streets with freshly cashed-out pockets and a bold escote. The whole block is hypnotized, but the narrator’s eyes are locked on her alone. He has been low-key following her online, and now—face to face—he feels that spark: “Si conecto, con ella me quedo y me pierdo.” The track paints the dance-floor tension: bass thumps, sweat drips, and every glance says something big could happen tonight.
As the beat slides between Spanish swagger and slick English ad-libs, the lyrics move from immediate club chemistry to lingering obsession. Even after the music stops, she lives rent-free in his head; he replays their moves, wonders if anyone else gives her what he once did, and asks himself what she tells people “if they ask about me.” Tainy, Kris Floyd, and Judeline fuse flashy confidence with vulnerable craving, capturing that bittersweet space between a wild first connection and the unanswered “what now?” The result is a reggaetón-soaked postcard of desire, nostalgia, and the hope that the next time the clocks break, they’ll break together.
BUENOS AIRES is a sultry late-night postcard from Puerto Rican super-producer Tainy and his partners in crime, Mora and Zion. The lyrics paint the scene of a woman who is fed up with being policed by a jealous ex, so she slips away into the narrator’s world of after-hours freedoms. Between steamy sunrise views and coffee-brown eyes, the song celebrates that electric moment when two people decide to ignore every outside voice and just live in the now.
Wrapped in reggaetón drums and whispered invitations, the chorus turns into a spontaneous getaway: “Vámonos first class para Buenos Aires.” Buenos Aires is more than a destination; it is a symbol of escape, luxury, and starting fresh. Time is the only enemy, so the lovers cram every thrill into one endless weekend, laughing at whatever “los terceros” might think. In short, the track is an anthem for breaking free, grabbing your passport, and letting desire set the itinerary.
CÁMARA LENTA drops us right into a steamy, neon-lit club where the bass rattles the floor and every move feels like it’s being replayed in slow motion. Tainy, one of Puerto Rico’s top hit-makers, teams up with reggaetón legend Yandel to celebrate a fearless woman who lives for the thrill of the dance floor. She loves to experiment, demands the DJ turn up the dembow, and knows exactly how to make heads spin while keeping her mystery intact. The repeated line about watching everything “en cámara lenta” turns the club into a cinematic experience, highlighting each hypnotic sway of her hips and every spark of chemistry in vivid detail.
Beyond the flirtatious vibe, the song captures reggaetón’s core spirit: freedom, confidence, and pure rhythm. The party they describe is a no-rules zone where “el que entra no sale” — once you step inside, you surrender to the beat and forget the outside world. Tainy’s slick production and Yandel’s unmistakable vocals create a magnetic atmosphere that invites listeners to let go, feel powerful, and relish every second as if it were being replayed in glorious slow-mo.
Get ready for a dose of pure Puerto Rican flow! In “HÁBLAME CLARO,” producer-extraordinaire Tainy teams up with reggaetón icon Yandel to lay out the rules of a no-strings-attached adventure. Over an irresistible beat, the narrator notices that the other person is starting to catch feelings, so he hits pause and says, “Háblame claro” – “Speak to me clearly.” He likes the chemistry, but he doesn’t want anyone confusing late-night texts with everlasting love.
The lyrics are a playful checklist of what this encounter is and what it isn’t: • Feelings? Not invited. • Fun? Absolutely. • Tomorrow? No promises. By repeating lines like “Los sentimientos no son parte de esto” (“Feelings are not part of this”), Tainy and Yandel remind the listener that this is a one-night-only experience. Think of it as a musical disclaiming: enjoy the moment, dance till sunrise, but leave your heart at the door. The result is a catchy, candid anthem for anyone who wants honesty on the dance floor. 🕺💃
Me Jodí pairs Puerto Rican super-producer Tainy with reggaetón icon Arcángel for a confession that is equal parts seductive and self-inflicted trouble. The title literally means I messed up, and from the opening line the narrator admits he is helplessly hooked. Forget diamonds, luxury cars, or fancy apartments — what the woman in the song “needs” is pure, unfiltered passion. Over a hypnotic beat, the singer offers pleasure instead of presents, promising to dive in (“sumergirme”) and make her scream his name while the rhythm bumps beneath them.
Beneath the swagger, though, lies obsession. He remembers her “on top of me,” tries not to get involved, but keeps slipping back, repeating ya me jodí as if cursing his own weakness. The lyrics switch between tender admiration and raw lust, sprinkled with Puerto Rican slang like enchula’o (smitten) and juqueado (hooked). In the end, the track becomes a steamy anthem about choosing real, physical connection over superficial status symbols — and paying the emotional price when desire takes control.
Buckle up for an emotional joyride. In “PARANORMAL,” Puerto Rican super-producer Tainy teams up with word-play master Álvaro Díaz to tell the story of a guy who is haunted by a past love. He flashes luxury—black cards, Dior bags, VIP tables—to win her back, yet she stays “fría como Alaska.” The result? Sleepless nights in the “ciudad que no duerme,” racing thoughts that loop “flow NASCAR,” and a heart that feels her absence more than normal. It is so intense the singer calls it paranormal, like a ghost he cannot shake.
Despite the glossy trap-reggaeton beat, the lyrics drip with vulnerability. Our narrator toys with time-travel fantasies—jumping in a DeLorean to undo his mistakes—while admitting he still rewatches their “movie,” samples her voice in his MPC, and drinks enough to blurt out the truth. The song balances swagger and heartbreak, revealing that even amid fame, flashbacks, and party smoke, he remains stuck on one question: “¿Dónde estás?” The paranormal force here is love that refuses to die, no matter how fast life races forward.
Picture a buzzing nightclub in Puerto Rico: neon lights flare, the bass shakes the floor, and all eyes lock onto one unstoppable dancer. “SI LA VES” tells the story of that magnetic woman everyone keeps whispering about — the lyrics literally challenge you: “If you see her, take a good look.” She glides like a medal swinging on a chain, shining bright even if her wallet is empty, and every DJ lines up tracks hoping she will spin back for another round.
Beyond the smoky room and pounding beat, the song celebrates total self-ownership. She has no dueño, no one pulling her strings; past heartbreak may have “loaded” her with pain, yet it fires her confidence instead of weighing her down. Tainy’s sleek production and Las Villa’s fierce vocals turn that empowerment into a dance-floor command: drop low, own your space, and let regrets melt away. So, if you spot her tonight, remember — you are witnessing freedom in motion.