Learn Spanish With Cris MJ with these 23 Song Recommendations (Full Translations Included!)

Chilean artist Cris MJ leaves no room for doubt in this track. The message is simple and repeated throughout: if it's not with a specific person, he doesn't want anyone at all. He says it plainly in the chorus: "Si no es contigo, amor / Yo no quiero a nadie más" (If it's not with you, love / I don't want anyone else). This isn't just a casual feeling; he's so completely into her that he blurts out, "Mamita, casémonos" (Mamita, let's get married), right after telling her how good she looks in her pajamas.

The song mixes sweet, grand romantic gestures with raw, physical desire. One moment he's buying her hundreds of flowers that smell like Chanel, and the next he's describing her modeling red underwear for him. He's totally obsessed, telling her to "Tómame de rehén" (Take me hostage) and do whatever she wants with him. It's a song about being so captivated by someone that everything else just fades away.

This song is a straightforward invitation for a late-night hookup. Cris Mj tells a woman, "llama después de la una" (call after one), because as he sees it, "como tú no hay ninguna" (there's no one like you). He's not shy about what he wants, promising her a wild night and a better experience than she had with her last guy, who "no supo valorarte" (didn't know how to value you).

The whole vibe is about a flashy, hedonistic lifestyle. The artists mention cruising in a nice car ("la nave") in Miami, Medellín, and even Las Condes in their native Chile. It's a party scene filled with confidence and explicit desire, with lines like "Voy a chingarte bajo la lluvia" (I'm going to f*ck you in the rain). It's a classic reggaeton theme: the singer positions himself as the exciting, powerful guy who can give a woman the thrilling night she's been missing.

Chilean artist Cris MJ isn't playing around in this track. "No Ponga Excusas" is a direct plea to a woman he's involved with. He's tired of waiting and wants to get together right now. He asks her, "si tú ere la musa / ¿Por qué me rehusa'?" (if you are the muse / Why do you refuse me?), showing he's confused by her hesitation, especially since he wants to "repetimos lo de ayer" (repeat what we did yesterday).

He mixes sweet talk with a much more intense, demanding side. One moment he says, "Sabes que te amo" (You know that I love you), and the next he calls himself her devil. He sees her as both a "diabla y a veces ángel" (she-devil and sometimes an angel), and feels so drawn to her that he thinks she cast a spell on him. The song is full of classic reggaeton boasts about a luxury lifestyle, offering her a "yate Lamborghini" (Lamborghini yacht) as a place for them to escape and be together. Ultimately, his message is simple and blunt: stop making excuses and let's be together.

Frozen is anything but cold; in this steamy reggaetón hit, Chilean artist Cris MJ plays a restless lover glued to his phone, waiting for one special call. The instant his crush gives the signal, he is ready to cancel every plan, crank up the music, and turn the night into a private party for two.

Throughout the lyrics he showers her with playful compliments, urging her to dance, move, and keep the lights on so he can admire her. The chorus repeats "tú, tú, tú" like a hypnotic drum, making it clear that all of his attention is centered on her. The song celebrates spontaneous desire, nightlife energy, and the thrill of escaping routine—whether it's flying off in a jet or simply turning on the TV and hitting replay. Expect a high-octane mix of flirtation, irresistible rhythms, and a very direct invitation: drop everything and come dance with me.

This song from Chilean artist Cris Mj is a super direct proposition to a girl he's into. He lays all his cards on the table right from the start. The chorus is a simple question: "Nena dime si tú estás pa' mí / Como yo estoy puesto pa' ti" (Baby tell me if you're for me / Like I'm ready for you). His offer for her affection is a wild mix of luxury and, well, practicality. He promises, "Te llevo una noche a Medellín / Y te pago el gym" (I'll take you for a night in Medellín / And I'll pay for your gym). A trip to one of reggaeton's most famous cities and a gym membership is a pretty unique combination!

Beyond the funny offer, Cris Mj describes a whole lifestyle he wants to share with her. He's flexing his designer clothes ("me puse las Balenciaga" [I put on my Balenciagas]) and his money ("me ayuda a contar billete" [she helps me count cash]). He likes her because she's naturally beautiful and has a wild side, calling her "brava" (fierce) and "malvada" (wicked). The song is all about a flashy, confident guy trying to win over a girl who he sees as his perfect partner in crime and romance.

Cris MJ's "Vamo A Bailotear" is all about celebrating a new, luxurious lifestyle. The song invites you to a wild night out, full of dancing, drinking, and romance. He sets the scene in a club with "Botellas prendi'as" [Bottles lit up], likely with sparklers, and makes his intentions clear with lines like "Gata, tú eres mía" [Girl, you are mine]. It's a straightforward party track on the surface, but there's more going on.

Beneath the party vibe, Cris MJ paints a picture of his success and the tough world he comes from. He boasts about his new status, saying "ya no soy un pobre / Ahora soy un rico joven" [I'm not poor anymore / Now I'm a rich young man]. This new wealth comes with danger; he mentions leaving the club in an armored truck with a loaded rifle ("Salimos en la blinda' / La R15 carga'"). He contrasts this hard image with how he feels about his girl: "En la calle viviendo a lo maldito / Mami, contigo me derrito" [In the street living like a badass / Mommy, with you I melt]. The song is a mix of celebrating success, flexing wealth, and the dangerous realities of street life, all while trying to have a good time at the club.

This song is a full-on declaration of obsession for one specific person. The main hook says it all: "Si no es contigo, amor / Yo no quiero a nadie más" [If it's not with you, love / I don't want anyone else]. Cris Mj and JHAYCO are completely focused on their one and only, mixing sweet compliments with some very direct, spicy language. They jump from romantic ideas like "Mamita, casémono'" [Mamita, let's get married] to admiring how good she looks in her pajamas, and they make it clear there is no Plan B.

Then Kali Uchis comes in and flips the whole thing around. She knows she's the one they're obsessed with, and she owns it. She calls herself "la gata fina" [the classy cat] and confirms she's the one he needs. She's not just a passive object of desire; she's powerful, confident, and fully aware of her effect on him. She knows he'd do anything for her, saying, "Give me whatever I want, he know I'm worth it." It's a fun power play where everyone agrees on one thing: it's all or nothing for this one person.

Cris MJ builds the whole track around one hook that repeats until it sticks: "Conmigo se escapa, sus ojos me matan" ("With me she slips away, her eyes kill me"). He's talking about a girl he's spotted on the club floor, and the verses fill in exactly how the night goes: "Y cuando la miré" ("And when I looked at her"), "Nos fuimos conectando" ("We started connecting"), then things move to the dance floor with "En la disco perreándote" ("In the club grinding on you"). By the second verse other women are trying to get his attention, "Par de gatas tirándome" ("A couple of chicks hitting on me"), and he brushes past it: "Pero sabes que la quiero a usted" ("but you know that I want you").

The word "rapta" in the hook, him calling himself the one who "kidnaps" her, is a wink, not a threat; it's the same cocky, half-serious tone that runs through the whole song. Once the story's told there's nothing left to explain, so the track just rides its own groove out through a repeated "Tra, tra, tra" hook and closes with Cris MJ naming himself and his label, "Mj, del Más Que Suena'" ("Mj, from Más Que Suena").

“¿Qué hay, amor?” opens like a late-night text from an ex: short, direct and packed with unfinished business. Cris Mj talks to a former lover he has not seen “de hace tiempo,” admitting that their romance is dead, yet the chemistry refuses to go quietly. Over a slinky reggaetón-trap beat he flips between nostalgia, raw desire and a no-regrets attitude. He tells her he can still “resolverlo todo,” but swears he will not step back into the past, choosing instead to enjoy whatever sparks are left for the moment.

The song is basically an urban confession booth. Cris Mj praises her glow-up, boasts about new admirers circling him, and paints steamy scenes of hair-pulling and perreo. Beneath the bravado you sense a bittersweet edge: they once had love, now they only have lust and late-night memories. “Que Hay Amor” invites listeners to dance, flirt and maybe text that ex, while reminding them that sometimes the hottest fire is also the one you walk away from once the music fades.

In "Ponte Bonita," Chilean artist Cris Mj lays out a plan for a perfect night with his partner, mixing luxury with intense intimacy. He tells her, "Ponte bonita, más de lo normal" (Get pretty, more than usual), because he wants to treat her to an unforgettable experience. This isn't just a normal date; he's offering to fly her to Madrid and buy her designer clothes, singing, "Vamos a gastar en la Amiri / Quiere Louis V, ya no quiere Gucci" (We're going to spend on Amiri / She wants Louis V, she doesn't want Gucci anymore). He sees her as a powerful and perfect woman—"ella está empodera', no tiene falla'" (she's empowered, she has no flaws)—and he's ready to fulfill her every desire.

The song is also very direct about their physical connection. Cris Mj promises that when they are alone, "Yo te voy a elevar a otro lugar" (I'm going to take you to another place), suggesting a transcendent, private moment. He appreciates her wild side, noting, "A mí me gusta cuando te pones traviesa" (I like it when you get mischievous). But even with all the talk about five-star hotels and expensive gifts, he makes it clear that their bond is what matters. He says she has "algo que nadie tiene" (something no one else has) and that money doesn't change her, showing that his admiration goes beyond the material things he can offer.

ÉLITE drops listeners straight onto the hottest dancefloor in Santiago, where Cris Mj flaunts his top-tier status and invites every woman in the club to perrear without holding back. The Chilean artist paints himself as the ultimate nightlife VIP: luxury cars outside, designer drip inside, and a playlist that slides from his own beats to The Weeknd. He’s not shy about cash, charm, or confidence, and he makes it clear that the only job for the “gile’” (haters) is to step aside.

Behind the swagger, the track is a celebration of escapism. Cris Mj promises a thrilling runaway romance, whisking his chosen partner away from prying eyes to a world fueled by reggaetón rhythms, marijuana smoke, and unapologetic pleasure. ÉLITE is all about living fast, dancing close, and savoring the electric freedom that comes when the night belongs entirely to you.

Dime Tú is a fiery reggaetón-trap anthem where Chilean artist Cris Mj turns the flirtation all the way up. Throughout the track he keeps asking, “Mami, dime tú… si apagamo’ la luz” – basically, “Tell me, girl… are we turning off the lights or what?” What follows is a no-holds-barred invitation to sneak away from the dance floor, ditch the phone, and dive into a night of raw, uninhibited passion. Cris brags that everything is paid for – hotel, drinks, even the perfect soundtrack courtesy of his producer friend Big Cayú – so nothing should stand between the couple and their private party.

Behind the explicit lines and club-ready beat, the song celebrates confidence, mutual attraction, and living in the moment. Cris paints a picture of late-night rendezvous, luxury perks, and fearless sensuality, reminding listeners that reggaetón is just as much about attitude as it is about rhythm. If you’re learning English (and Spanish slang) through music, Dime Tú offers a bold vocabulary lesson in modern romance, nightlife culture, and the art of asking for – and getting – exactly what you want.

Ever been confused by someone sending mixed signals? That's the whole mood of Cris Mj's "Daytona." He kicks off the song completely baffled, singing, "No entiendo por qué / Ya-ya-ya tú no me quieres ver / Me deja' de responder" (I don't understand why / You don't want to see me anymore / You stop responding to me). He thinks she's just playing games, pretending she's not interested when he's sure she is. He brags that he's "el cantante que a ella se la lleva" (the singer who takes her away) and that she secretly likes his rough-around-the-edges style, or what he calls his "flaite" persona.

He's not shy about what he wants, laying out his plan to win her back with expensive gifts and reminding her of their physical chemistry. He offers her a Daytona watch, calling her "la reina, la patrona" (the queen, the boss), and then gets very direct, saying he wants to get her naked "mirando el Amazona'" (looking at the Amazon). The song is a confident, slightly frustrated plea from a guy who thinks he knows exactly what this woman wants, even if she won't admit it.

Cris MJ is throwing a party, and you're invited! But this isn't just any party. The song is a very direct and explicit invitation to a wild night. He sets the scene immediately, inviting a woman to his "party de los MJ" [MJ's party] with a clear goal in mind: "Pa' guayarte y dártelo" [To grind on you and give it to you]. There's no mystery here; he's laying it all out.

He's confident she's on the same page, saying she's a "Demonia" [Demoness] who is horny and that they should turn off their phones, "pa' que no nos graben" [so they don't record us]. The lyrics are all about a high-energy, purely physical connection. He's not talking about love, he's talking about a night where "no vamos a dormir / Porque vamos a fornicar" [we're not going to sleep / because we're going to fornicate]. It's a classic reggaeton track focused on dancing, luxury like his "Lambo exótica" [exotic Lambo], and a very intense, private encounter.

Cris MJ kicks off this song with some seriously dramatic imagery: the end of the world. He sings, "Siete trompetas en el cielo" (Seven trumpets in the sky), a reference to the apocalypse. He feels like everything is ending, and the world is full of "Traición y odio" (Betrayal and hate). He's also fighting his own battles, confessing, "Vivo en guerra y no duermo / Demonios me hablan antes de dormir" (I live in a war and I don't sleep / Demons talk to me before I sleep).

But this isn't just a song about the end times. It's a love song set during the apocalypse. In the middle of all this chaos, he finds someone special. He sees her as an escape, a "Lady de otro planeta / Donde no existe maldad" (Lady from another planet / Where evil doesn't exist). He recognizes she's been hurt in the past, but tells her, "Tú no eres mala, solo te hicieron sufrir" (You're not bad, they just made you suffer). His devotion is total. Even as the trumpets sound, his focus is on her, promising, "Aunque / Se me acabe el mundo, contigo yo voy a proceder" (Even if the world ends, with you I'm going to proceed).

"Piso 13" is Cris MJ's play-by-play of a late-night hookup, dressed up as an address. He opens on a woman who answers to nobody, "Mi gatita no se acompleja" (My kitty's got no hang-ups), "De ninguna ella se deja" (She doesn't let anyone push her around), then gets straight to the point: "Hoy lo vamos a hacer en el piso 13" (Today we're going to do it on the 13th floor). The floor number never explains itself. It's just where the night happens.

The hook chants "En el 13" three times before every payoff line, which is the whole trick of the song: turn a number into something you can't stop repeating. Between rounds of that chant he circles back to compliments, "Su cuerpo lo probé y es toda natural" (I tasted her body and it's all natural), and to easy money, "el dinero llueve y llueve" (the money rains and rains), as proof the night is going his way. By the outro he's dropped any pretense of a bridge and is just repeating "Pa' que sepas" (so you know) over ad-libs until the track fades.

Welcome to the VIP lane. In “Maybach,” Chilean hit-maker Cris MJ turns a sleek luxury car into the ultimate party passport. Over a hypnotic reggaetón groove he flaunts a life of Mercedes seats, Brickell suites, Lambos, and late-night flights, while inviting a fearless partner to “entrégate” and enjoy every extravagant moment. The song’s Spanish slang and playful commands paint a vivid picture of dawn-till-dusk seduction where there is “no time to waste” and money is made to be spent.

More than name-dropping brands, the track celebrates freedom and mutual desire. The Maybach symbolizes a fast-moving escape from routine, a roaming dance floor where confidence, status, and passion collide. Cris MJ encourages listeners to feel untouchable, live lavishly, and keep the energy high until the sunrise peeks through—because tonight, the road, the rhythm, and the good life belong to you.

Partyson drops you right into a late-night reggaetón scene where Chilean artist Cris MJ locks eyes with a girl across the dance floor and everything else fades out. Over booming drums he mixes street swagger with tenderness: he loves her as much as his Glock, yet he is willing to ditch the guns, spend his newfound fame on Sephora runs, and whisk her away in a Mercedes or on a motorcycle. The chorus captures that first electric moment at the party, the grinding dance (“guayé”) that seals their chemistry, and the playful question: Are you going to wrap me up in your vibe?

Behind the party lights the song is a promise of loyalty and protection. Cris MJ owns his rough past (“yo vengo de la calle”) but insists he will care for her like no one else, showering her with affection, designer gifts, and even a star in the sky. She likes danger, he likes her daring spirit, and together they ride the thin line between romance and rebellion—proof that love can bloom in the middle of bass drops, flashing lights, and a life that still carries echoes of the streets.

In "2032," Chilean artist Cris MJ delivers a direct and passionate reggaeton track all about intense physical attraction. The lyrics are a straightforward invitation to a woman he finds incredibly desirable, describing her as being one of a kind ("Tú estás rica, no hay como ella" / "You're hot, there's no one like her"). He doesn't hide his intentions, expressing a strong desire to be with her and only her, both on the dance floor and in more private moments.

The song is filled with classic reggaeton imagery, using words like "perrear" (to dance reggaeton) and "castigo" (punishment) to describe a raw, energetic, and purely physical connection. The singer paints a picture of a passionate night, from picking her up to dancing closely and even escaping to a beach alone. It's a song that captures the feeling of overwhelming desire and the anticipation of a fiery encounter.

Cris MJ's "El Tiempo Se Pierde" is all about seizing the moment and not letting time slip away when it comes to romance! He's clearly smitten and can't stop thinking about this woman, saying, "Tú me tienes aquí pensando en todas las cosas que yo a ti te haré" [You have me here thinking about all the things I will do to you]. He's impatient for her to show up, lamenting, "El tiempo está pasando y tú no te deja' ver" [Time is passing and you don't let yourself be seen].

He's ready to spoil her, offering to buy her anything she wants: "Toma, compra lo que quieras, que el ticket traje pa' que te relaje'" [Here, buy whatever you want, I brought the ticket so you can relax]. Cris MJ is very direct about his desires, repeatedly saying, "Ya quiero comerte toda" [I already want to eat you whole] and even planning to make her his girlfriend, "Yo voy a hacerte mi polola" [I'm going to make you my girlfriend]. He feels lost without her, describing it as "Me siento en un infierno viviendo muerto por dentro" [I feel like I'm in hell, living dead inside]. It's a passionate plea to make the most of their time together.

Marisola [Remix] is a bold reggaeton-trap party anthem where a group of Chilean and Argentine stars toast to carefree nights, loud beats, and undeniable chemistry. The repeated line “Ya no fuma mari sola” (“She no longer smokes weed alone”) sets the scene: the girl who once partied by herself now has a whole crew ready to roll, light, and share every thrill with her. Over rumbling bass and flirtatious melodies, the artists brag about fast cars, hot dancing, and the electric pull that keeps them thinking about each other long after the club lights fade.

Beneath the swagger, the song celebrates freedom and shared rebellion. The woman is portrayed as confident and irresistible, choosing who she wants and setting her own rules, while the men promise excitement, protection, and a night she will never forget. In short, Marisola [Remix] is a soundtrack for living in the moment—sparking up, turning the volume up, and letting the chemistry do the rest.

Cris MJ spends this song trying to out-party a breakup and not quite managing it. The chorus states the damage plainly — "Me dejaste solo y vacío, con el corazón negro" (You left me alone and empty, with a black heart) — and the verses are the cure he prescribes himself: the club, smoking, "Un Moet, dos Moet" (One Moët, two Moëts), somebody else to dance with. It doesn't take. "Aunque no es lo mismo si no estás aquí, mujer" (Although it's not the same if you're not here, woman) is the line that undercuts the whole night out.

Underneath the swagger he is mostly asking her to answer her phone. "Si te llamo al celu, cógelo" (If I call your cell, pick up), "No me dejes como un pendejo" (Don't leave me like an idiot) — and he will take whatever is left, "Aunque sea por teléfono" (Even if it's over the phone). The touring is part of what broke it: "Con to' esto de la gira tú te pones atrevida" (With all this tour stuff, you get daring). Progress arrives late and small, in "Pero de a poco yo estoy bacano" (But little by little, I'm doing fine) and the proverb Spanish reaches for at times like this, "Al mal tiempo, buena cara" (Put on a brave face when times are tough). Then a girl texts that she will be there in five, he puts on perfume, and the night starts over.

"No Te Vayas" is Cris MJ's plea to a partner not to walk out the door, set to a slow, grinding reggaeton beat made for close dancing. He opens with the hook straight up: "Ma, no te vayas, quédate para siempre" (baby, don't leave, stay forever), and the song just keeps saying that line different ways: begging, bargaining, showing off. He gets specific about what he wants from her physically, "Pa' guayarte y perrearte" (to grind on you and twerk with you), then turns almost possessive: "Ella es mía nada más, yo la quiero pa' toda la vida" (she's only mine, I want her for my whole life).

By the second half he's less begging and more strutting, promising "Voy a explorar y conquistar" (I'm going to explore and conquer) once she stays. The chorus keeps circling back to the same plea though, so under the bravado is someone genuinely scared she'll leave. He closes the way a lot of his tracks do, dropping his own name into the outro: "Cris Mj, el más que suena" (Cris Mj, the one everyone's playing right now). The track ends on that note, half love song and half advertisement for himself.