Learn Spanish with Alternative Music with these 23 Song Recommendations (Full Translations Included!)

"Me Gustas Tú" is an irresistibly catchy list of everything Manu Chao enjoys in life, repeated like a playful chant. Over a breezy acoustic rhythm, Chao names everyday pleasures, places, and habits—from "los aviones" (airplanes) and "la lluvia" (the rain) to "la canela" (cinnamon) and "el reggae" (reggae music). He gives shout-outs to real locations like "la Coruña" (a coastal city in Galicia, Spain), "Malasaña" (a bohemian neighborhood in Madrid), and countries across Latin America like Cuba, El Salvador, and Nicaragua. Yet no matter what random thing he lists, he immediately loops back to the exact same punchline: "me gustas tú" (I like you).

Between these sunny lists, the mood takes a funny, slightly dramatic turn. Radio-style time checks asking "¿Qué horas son, mi corazón?" (What time is it, my sweetheart?) crash into anxious French lines: "¿Qué voy a hacer? / Je ne sais pas... Je suis perdu" (What am I going to do? / I don't know... I am lost). It sounds like someone so infatuated that their brain is completely overwhelmed. It is simple, slightly chaotic, and one of the most charming love songs you will ever hear.

Have you heard Carla Morrison's "Disfruto"? It's such a beautiful song, a real warm hug in musical form. Carla, being from Mexico, always brings so much emotion to her music, and this one is all about completely falling for someone and wanting to spend forever with them. It opens with this incredible feeling of pure joy, saying, "Me complace amarte, disfruto acariciarte y ponerte a dormir" [It pleases me to love you, I enjoy caressing you and putting you to sleep]. It's not just about grand gestures; it's about the simple, tender moments.

What I love most is how it describes such deep devotion. She sings, "No te fallaré, contigo yo quiero envejecer" [I won't fail you, with you I want to grow old], which is such a strong promise of loyalty and a future together. Then she lists all these wonderful ways she wants to show love: "Quiero darte un beso, perder contigo mi tiempo, guardar tus secretos, cuidar tus momentos" [I want to give you a kiss, lose my time with you, keep your secrets, take care of your moments]. "Perder mi tiempo" here isn't about wasting it, but about dedicating every moment to the person. And my favorite line has to be, "Tu locura es mi ciencia" [Your madness is my science] – it's such a sweet way to say she understands and loves every unique, quirky part of them. It's a song that makes you believe in that kind of all-encompassing love.

In "Si Me Voy", Cuco and The Marías team up for a dreamy track built on total, devoted romance. The speaker is completely head over heels, offering unconditional commitment with lines like "Yo te doy lo que quieras / Yo me voy donde quieras" (I give you whatever you want / I go wherever you want). There is an underlying worry about parting ways or being physically separated, but the promise remains solid: "Y si me voy / Quiero que tu amor esté conmigo hoy" (And if I go / I want your love to be with me today). When sadness creeps in, the mood shifts to comfort and reassurance, telling the listener, "No te agaches y no llores" (Don't hang your head and don't cry) because better moments are ahead.

The lyrics mix sweet reassurance with playful imagery. The invite "Acompáñame en mi nave" (Join me in my spaceship) turns a romantic getaway into something fun and cosmic, followed by a reminder to stop overthinking and just toast by the ocean ("Vamos a brindar, pisamos en el mar" [Let's make a toast, we step in the ocean]). Even when miles apart, connection takes over distance: "Aunque estés lejos de mí / No olvides / Tú me haces tan feliz" (Even though you are far from me / Don't forget / You make me so happy). It is an affectionate promise that love bridges any physical gap.

In Lejos De Ti, The Marías take us right into late-night heartache with cold air and endless memories. The singer is overwhelmed by everything that triggers thoughts of an absent lover: "El frío, la noche / Siempre me acuerdo de ti" [The cold, the night / I always remember you] and "Miles de canciones" [Thousands of songs]. The central conflict is the physical distance between them and the quiet panic that they might slip out of each other's memories. That is why she keeps repeating the plea, "No te olvides de mí" [Don't forget me], while wondering why they are apart in the first place.

The emotion turns dramatically heavy in the bridge when she admits, "¿Por qué yo sigo cantando 'No Me Queda Más'?" [Why do I keep singing 'I Have Nothing Left'?] and describes herself crying out loud ("a todo llanto"). Here, she drops a direct nod to the famous Selena ballad "No Me Queda Más", using that classic tune of total defeat to measure her own pain. By the end, the question flips from asking why she is away to wondering why they are away: "¿Por qué estás lejos de mí?" [Why are you far from me?], answering her own fears with a final, stubborn promise: "Nunca me olvido de ti" [I never forget you].

Manu Chao delivers a hypnotic, relentless rhythm built on sharp, paired contrasts in "El Viento". The lyrics treat human movement across borders with the same cold inevitability as the weather. In the opening lines, he sets up the movement: "El viento viene, el viento se va / Por la frontera" ("The wind comes, the wind goes / Through the border"). Notice how he plays with nearly identical words that sound almost identical in Spanish: "El hambre viene, el hombre se va" ("Hunger comes, the man leaves"). It is a blunt wordplay where one vowel shift turns a physical human being (el hombre) into the starvation driving him away (el hambre).

As the track repeats along "la carretera" ("the road"), the stakes get even darker with "La muerte viene, la suerte se va" ("Death comes, luck leaves"). Chao also brings in the phrase "Ruta Babylon" ("Babylon route"), using reggae and Rastafari slang where "Babylon" stands for oppressive, corrupt systems and harsh state authorities. Instead of a tidy story, you get a looping mantra about people walking roads toward uncertain fates, asking the simple, unanswered question: "¿Cuándo volverá?" ("When will he return?").

Willkommen zu einem der eingängigsten Songs von Manu Chao! „Me Gustas Tu“ ist im Grunde eine riesige, fröhliche Liste von Dingen, die der Sänger liebt, und am Ende jeder Zeile steht immer die gleiche einfache Aussage: „me gustas tú“ (ich mag dich). Er singt über alles Mögliche, von großen Abenteuern wie „Me gusta viajar“ (Ich reise gern) und „Me gustan los aviones“ (Ich mag Flugzeuge) bis hin zu den kleinen Freuden des Lebens wie „Me gusta la mañana“ (Ich mag den Morgen) und „Me gusta el viento“ (Ich mag den Wind). Du bist für ihn genauso wichtig wie all diese wunderbaren Dinge.

Aber der Song hat auch eine andere, etwas verwirrte Seite. Zwischen all den Liebeserklärungen fragt er auf Französisch: „¿Qué voy a hacer? Je ne sais pas“ (Was soll ich tun? Ich weiß es nicht) und gesteht sogar: „Je suis perdu“ (Ich bin verloren). Es scheint, als ob dieses starke Gefühl ihn ein wenig überfordert. Die wiederholte Frage „¿Qué horas son, mi corazón?“ (Wie spät ist es, mein Herz?) und die Radioansagen aus verschiedenen lateinamerikanischen Städten geben dem Ganzen das Gefühl einer Live-Übertragung, die um die Welt geht. Es ist ein einfacher, globaler Liebessong, der sich ein bisschen in seinen eigenen Gefühlen verliert.

Mexican singer-songwriter Jósean Log brings pure romantic charm in "Chachachá", turning a simple date invitation into a playful, desperate bid for attention. The speaker lays all his cards on the table, asking for just enough time to look into someone's eyes and feel alive again: "Dame de tu vida y de tu tiempo" (Give me some of your life and your time) / "Que yo ya perdí el conocimiento" (Because I've already lost my senses / fainted). It is dramatic, sweet, and wonderfully direct. He even takes it a step further by wishing they could linger together "Hasta evaporarnos en el viento" (Until we evaporate into the wind).

The real magic is his confidence in the chorus. He insists there is no reason to part ways yet ("No hay motivos para decirnos adiós tan pronto" [There is no reason to say goodbye so soon]), humorously reassuring his crush with "Sigo vivo, créemelo mi amor, no soy tan tonto" (I'm still alive, believe me my love, I'm not that foolish). His ultimate solution to win them over is effortless: just go out and dance. With the simple promise, "Si tú quisieras esta noche ir a bailar un chachachá / Yo te puedo enamorar" (If you'd like to go dance a chachachá tonight / I can make you fall in love), he bets everything on rhythm and a single evening together.

Maki teams up with María Artés and Fernando Moreno for a massive football anthem that turns a simple matchday into an all-out celebration. The title screams it right away: La Roja ("The Red One") is the famous nickname for Spain's national football team. The track pulls you across the map "Desde Huelva hasta Navarra" (from Huelva to Navarra), connecting the southern tip of Andalusia all the way to northern Spain. It trades polite stadium manners for flamenco-infused fire, demanding rhythmic handclaps in the stands with "Que suenen palmas en toda la grada" (Let clapping ring out across the whole terrace) whenever the guitar strikes up.

What makes this track so fun is how it mixes everyday Spanish culture with dramatic matchday stakes. One minute you get the humorous contrast of "De la siesta a la victoria" (From the afternoon nap to victory), and the next, Maki and his crew are roaring a battle cry: "¡Que tiemble el mundo, somos Roja!" (Let the world tremble, we are La Roja!). The lyrics keep the energy pinned to the fans in the street, moving "Del barrio hasta la plaza" (From the neighborhood to the town square) until the whole country holds its breath as the ball rolls, ending in that unmistakable, lungs-out roar: "¡¡Goooool de Españaaaaa!!"

Carla Morrison does not hold back on this track: she is offering every single part of herself to make someone feel safe and loved. Right from the start, she asks for permission to get close, singing "Déjame tomarte de la mano" [Let me take you by the hand] and "Déjame besarte ahí / Donde guardas tus secretos" [Let me kiss you there / Where you keep your secrets]. It feels intimate and direct, as if she is promising to love both the bright spots and the parts you try to hide from everyone else.

Then comes the chorus, which turns into a literal gift list of her own body and spirit. She offers her lap with "Te regalo mis piernas / Recuesta tu cabeza en ellas" [I gift you my legs / Rest your head on them] and even volunteers her own energy whenever the other person runs out ("Te regalo mis fuerzas / Úsalas cada que no tengas" [I gift you my strength / Use it whenever you have none]). Notice how she uses the casual contraction "pa'" instead of "para" in "pa' que sientas lo que sentí" [so that you feel what I felt] and "pa' hacerte muy feliz" [to make you very happy]. It keeps her bold vow of "Te voy a amar hasta morir" [I am going to love you until I die] sounding like a warm, late-night confession between two people.

„Me Gustas Tu“ je jednou z nejchytlavějších písní o zamilovanosti. Manu Chao vytvořil jednoduchý, ale geniální koncept: vezme dlouhý seznam věcí, které má rád, a za každou z nich přidá „me gustas tú“ (líbíš se mi). Seznam je úžasně náhodný a zábavný. Zpívá o tom, jak má rád cestování, moře a reggae, ale také o konkrétních věcech jako „Me gusta la vecina, me gustas tú“ (Líbí se mi sousedka, líbíš se mi ty) nebo „Me gusta la marihuana, me gustas tú“ (Líbí se mi marihuana, líbíš se mi ty). Ta neustálá opakování dávají jasně najevo, že ať už má rád cokoliv, ta osoba, které zpívá, je stejně důležitá.

Ale píseň není jen veselý seznam. Mezi verši slyšíme úryvky, které znějí jako hlášení z rádia, oznamující čas v různých městech Latinské Ameriky, což vytváří pocit cestování a noční atmosféry. A pak je tu ten francouzský refrén, který dodává další rozměr: „¿Qué voy a hacer? Je suis perdu“ (Co budu dělat? Jsem ztracený). Najednou ta zamilovanost není jen radostná, ale také trochu matoucí a ohromující. Zpěvák je tak poblázněný, že se cítí ztracený. Spolu s neustálým dotazem „¿Qué horas son, mi corazón?“ (Kolik je hodin, mé srdce?) to celé působí jako okouzlující a upřímné vyznání lásky s nádechem sladkého zmatku.

Carla Morrison gives us a fierce, uplifting anthem about betting on yourself when nobody else will. Right from the start, she faces doubt head-on with "Aunque dicen no puedo, quiero ver / Yo quiero intentar" ("Even though they say I can't, I want to see / I want to try"). She grounds her strength in advice from home, remembering "Mi madre me dijo / No olvides jamás / Las alas, te di yo / Para que pudieras volar" ("My mother told me / Never forget / The wings, I gave them to you / So that you could fly"). Even with almost nothing in her pockets—"tengo poco para llevar" ("I have little to carry")—she wagers everything on a single chance to rise.

What makes this track hit so hard is how directly she brushes off gossip. People will nitpick everything about you, from what you wear to how you live: "Que lo que visto y cómo enfrento / Que mi bandera o mi verdad" ("What I wear and how I face things / What my flag is or my truth"). Some folks even bet on your downfall ("Que unos ya quieren apostar"), but she shrugs it off with the classic Spanish saying "lo que digan, va y viene" ("whatever they say comes and goes"). It is all about silencing those negative voices—"Borrar los ecos que me dan" ("Erase the echoes they give me")—and pushing forward until you prove you can dream on your own terms.

Avec Disfruto, l'artiste mexicaine Carla Morrison livre une déclaration d'amour totale, d'une douceur absolue. Dès les premières notes, elle détaille le bonheur simple des gestes du quotidien : caresser son partenaire, l'endormir, ou simplement le regarder bouger (« Disfruto mirarte, cada movimiento » [J'apprécie te regarder, chaque mouvement]). Ce n'est pas un amour distant ou compliqué, elle promet carrément un engagement pour toujours avec la phrase directe « Contigo yo quiero envejecer » [Avec toi je veux vieillir].

Le texte regorge de jolies trouvailles affectueuses. Ma préférée ? « Tu locura es mi ciencia » [Ta folie est ma science], une façon malicieuse de dire qu'elle a fait de l'autre son sujet d'étude favori, avec tous ses petits travers. Elle propose de « perdre son temps » ensemble (« Perder contigo mi tiempo ») et de garder tous ses secrets. C'est tendre, sans filtre et terriblement réconfortant à écouter.

In "Te Perdí", Mexican alternative artist Carla Morrison looks back on a broken relationship and points the finger directly at herself. Instead of blaming her ex, she walks through all the warning signs she missed because she was too caught up in her own world. She admits, "No te vi / En mi paso acumulado de ausencia / Y de apariencia" ("I didn't see you / In my accumulated streak of absence / And appearances"). It is a strikingly direct confession about letting a partner slip away while pretending everything is fine on the surface.

The real weight of the song hits when Carla realizes her own selfishness caused the split. She looks back and sees that memory is finally laying out "cada pieza, cada error, cada verdad" ("every piece, every mistake, every truth"). Her biggest admission comes in the chorus: "Te perdí / Cuando olvidé el valor de nuestra vida / Cuando mis placeres fueron toda guía / Y solté tu mano y me solté a mí" ("I lost you / When I forgot the value of our life / When my pleasures were my only guide / And I let go of your hand and let go of myself"). It is an honest, self-critical track about ignoring someone's doubts until it is too late to fix the damage.

“Mi Querido, Mi Viejo, Mi Amigo” feels like opening a family photo album while soft sunlight pours in through the window. Cuco lovingly paints a portrait of an elder whose cabellos blancos (white hair) and pasos lentos (slow steps) tell stories of a life well lived. Every wrinkle is a victory mark, every tired yet profound word is a life lesson. Listening to the track is like sharing a quiet walk with a parent, grandparent, or mentor who has already sprinted through life’s marathons and now strolls beside you, offering wisdom, comfort, and the warmest friendship.

At its heart, the song is a tender thank-you note. Cuco celebrates the bond that turns respect into companionship—showing how memories, guidance, and unconditional love echo across generations. With gentle melodies and heartfelt lyrics, he reminds us to cherish the people who have shaped us, to honor their past that still lives in the present, and to say out loud, “Mi querido, mi viejo, mi amigo” (“My dear one, my old one, my friend”).

Carla Morrison gives us pure, glowing infatuation in this alternative track. She is completely swept off her feet, opening with the relief of waking up next to someone and leaving behind old heartaches: “Despertar junto a ti / Es ya no tener miedo a tanto desconsuelo” ("Waking up next to you / Is no longer fearing so much grief"). Instead of holding back, she leans into the dizzying high of new affection, singing “Floto y puedo volar” ("I float and I can fly") and declaring that sleeping beside this person makes her feel at peace with her own mortality (“Dormir junto a ti es aceptar que si muero / Seré feliz” ["Sleeping next to you is accepting that if I die / I will be happy"]). It is dramatic and deeply romantic.

The centerpiece of the song is its bright metaphor for affection: “Son tus besos, diamantes / Que cuelgan en mi cuello” ("Your kisses are diamonds / That hang around my neck"). She treats affection like sparkling jewelry that makes her glow from the outside in. Notice her joyful exclamation “¡Qué rico es encontrarte!” which translates roughly to "How lovely it is to find you!" In everyday Spanish, rico usually means "rich" or "delicious," but here it describes a deeply satisfying, sweet emotional state. Later, she celebrates healing from the past with “Me devolviste la flor / Que alguien un día me robó” ("You gave me back the flower / That someone stole from me one day"), treating this fresh romance as a second chance at joy.

This song is a beautiful mess of feelings for someone you probably shouldn't be with. Carla Morrison swings from feeling happy to feeling bad, but ultimately says to her lover, "daño es lo que me haces más" [what you do most is hurt me]. It's a relationship so intense that she feels her "locura está por estallar" [madness is about to explode]. The whole song is basically a plea for this person with pale blue eyes to stay, even though it's a painful situation.

The lyrics are full of regret and impossible wishes. She sings about having this person as her everything, but admits she didn't know how to keep them: "Que tuve sin saber conservar" [That I had without knowing how to keep]. The relationship is also a secret, or at least forbidden. She knows it's wrong, singing, "El hecho que eres de otro / Me recuerda que sigo sin ver / Que es pecado amarte, ya lo se" [The fact that you belong to someone else / reminds me that I still don't see / that it's a sin to love you, I already know]. But even knowing all that, she'd do it all again.

"Dueles Tan Bien" is about loving someone who hurts you and not being able to stop. The singer admits they always believed in the happy endings sold by movies and TV, but this relationship taught them something else: pain that somehow feels good.

The chorus lives in that contradiction. This person hurts more than they should, and yet it feels so good the singer doesn't know what to do about it. They compare the feeling to alcohol, something that tastes better than it should and slowly takes control.

By the end, the singer tells themselves to be careful. They know they could break. Still, the song keeps circling back to the same confession: they're intoxicated by this person, unable to walk away even though it clearly isn't good for them.

This song feels like being caught in a loop you can't escape. The singer is pleading with someone, asking for everything: "Dame tu amor / Dame tu alma" [Give me your love / Give me your soul]. They imagine a whole life together, from waking up in the morning to growing old. It's this beautiful, intense dream of total connection.

But then, the mood completely shifts. The dream becomes a source of pain. The singer repeats the phrase "Basta ya, basta ya" [Enough now, enough now], as if trying to convince themselves to stop. It's a desperate cry against their own feelings, admitting this obsession is destroying them: "Aunque me está matando y más / Pierdo hasta la sanidad" [Although it's killing me and more / I'm even losing my sanity]. They want the person to come home, but they also know they need to stop this cycle of wanting and hurting.

«Me Gustas Tu» — это одна из самых известных и заразительных песен Ману Чао, и её прелесть в её простоте. По сути, это песня-признание, но сделанная очень необычно. Певец перечисляет всё, что ему нравится в жизни, и после каждого пункта добавляет: «...me gustas tú» [ты мне нравишься]. Список получается очень эклектичным и немного случайным: от «Me gusta viajar, me gustas tú» [Мне нравится путешествовать, ты мне нравишься] до «Me gusta la vecina, me gustas tú» [Мне нравится соседка, ты мне нравишься]. Получается, что человек, которому он поёт, стоит в одном ряду со всеми радостями мира, будь то путешествия, музыка или даже еда.

Но между этими весёлыми признаниями звучит тревожный припев на испанском и французском: «¿Qué voy a hacer? Je ne sais pas... Je ne sais plus... Je suis perdu» [Что мне делать? Я не знаю... Я больше не знаю... Я потерялся]. Кажется, что эта сильная симпатия сбивает его с толку, и он не знает, как справиться с таким чувством. А постоянный вопрос «¿Qué horas son, mi corazón?» [Который час, сердце моё?] вместе с объявлениями времени из разных городов Латинской Америки создаёт ощущение путешествия или радиоэфира, который связывает весь мир.

This track is pure football devotion set to music. The song opens with the phrase “Historia que tú hiciste / Historia por hacer” [History that you made / History still to make], celebrating both past trophies and future victories fueled by a relentless desire to win (“ganas de vencer” [will to win]). When the lyrics mention “mi viejo Chamartín” [my old Chamartín], they are calling out the historical district of Madrid where the Santiago Bernabéu stadium sits, bringing supporters together from near and far (“De lejos y de cerca” [From far and near]).

It is delightfully over-the-top about fan loyalty: “Los días que tú juegas / Son todo lo que soy” [The days that you play / Are everything I am]. There is also a great historical nod in the line “Ya corre la saeta” [Now the arrow runs], referencing club legend Alfredo Di Stéfano, whose famous nickname was La Saeta Rubia (The Blonde Arrow). The chorus drives home the ultimate rally cry: “¡Hala Madrid! Y nada más” [Go Madrid! And nothing else], where the cheer hala acts like a giant shout of encouragement, telling you that once the match starts, literally nothing else matters.

Esta canção do artista franco-espanhol Manu Chao é construída sobre uma ideia muito simples e charmosa. O cantor faz uma longa lista de todas as coisas que ele gosta no mundo, e depois de cada uma, ele acrescenta: "me gustas tú" [eu gosto de você]. A lista é uma mistura divertida de coisas grandes e pequenas, desde "Me gusta viajar" [Eu gosto de viajar] e "Me gusta la mar" [Eu gosto do mar] até coisas mais específicas e engraçadas como "Me gusta la vecina" [Eu gosto da vizinha] e "Me gusta su cocina" [Eu gosto da cozinha dela]. A repetição constante faz com que a pessoa para quem ele está cantando pareça ser o ponto central de todo o seu universo, tão fundamental quanto o vento ou a música.

Mas a música não é apenas uma lista de gostos. Entre as declarações, Manu Chao canta em uma mistura de espanhol e francês, perguntando: "¿Qué voy a hacer? Je ne sais pas" [O que eu vou fazer? Eu não sei], e depois, "Je suis perdu" [Estou perdido]. Essa confissão de estar perdido sugere que esse sentimento por alguém é tão forte que o deixa desorientado. A canção também é pontuada por anúncios de rádio que dizem as horas em diferentes cidades da América Latina, como "Doce de la noche en la Habana, Cuba" [Meia-noite em Havana, Cuba], o que dá à música uma sensação de viagem e um clima global.

Carla Morrison jumps straight into an overwhelming romantic obsession from the very first line of "Eres Tú". She wakes up with an intense craving to touch and hold someone, admitting right away: "Hoy desperté con ganas de besarte / Tengo una sed de acariciarte" ("Today I woke up wanting to kiss you / I have a thirst to caress you"). Using sed (thirst) gives the affection a physical, almost desperate pull, and she compares this person's presence to being intoxicated when she sings "Eres tan embriagante" ("You are so intoxicating"). For her, love is not subtle here; it acts like a force pulling her in, described as "Ese imán de una preciosa energía" ("That magnet of a precious energy") that sends physical signals straight through her body.

What makes the track stick with you is the quiet conflict near the end. She plainly admits "Tenemos planes diferentes" ("We have different plans"), yet it does nothing to stop the daydreaming. Even with divergent paths in life, she cannot shake the feeling because "mis venas, tan sutilmente / Disfrutan tanto quererte" ("my veins, so subtly / enjoy loving you so much"). She would rather keep replaying their kisses from memory than let reality ruin the mood.

Need a complete mental and physical reset? Omar Valen, an alternative artist from Norway, brings a total breath of fresh air in "CÉLULAS DE TODO MI SER" (Cells of my whole being). The song plays out like a musical meditation or a morning affirmation. He opens with the sun waking up inside him (El sol despierta en mi interior), using the sensation of warmth and deep breathing to feel alive again (Respiro hondo y vuelvo a existir [I take a deep breath and exist again]). It is completely focused on letting go of past hurt to make room for self-compassion.

The core of the track is a direct command to the body and spirit: Sana cuerpo, sana corazón (Heal body, heal heart). Notice the grammar here: sana works as an imperative chant, telling both physical cells and emotions to mend at dawn (Renuevan al amanecer [They renew at sunrise]). Omar describes himself purely through energy and light (Soy energía, soy vibración [I am energy, I am vibration]), deciding to drop old baggage with Suelto lo viejo, me dejo sanar (I let go of the old, I let myself heal). If you are looking for vocabulary centered on wellness, gratitude, and renewal, this uplifting track gives you those words directly.