Learn Spanish With Prince Royce with these 23 Song Recommendations (Full Translations Included!)

Corazón Sin Cara (Heart Without a Face) is Prince Royce’s ultimate Bachata love letter about looking past physical appearance. The core message is sweet, direct, and wonderfully simple: love lives in the soul, not in the mirror. Royce hears that the girl he likes feels insecure about how she looks ("te acomplejas de tu imagen" [you feel insecure about your image]). He jumps straight in to reassure her that she looks great without makeup ("sin maquillaje"), and whether she is chubby or skinny ("gorda o flaca"), or light-skinned or dark-skinned ("blanquita, morenita"), none of that matters to him at all.

He takes the pressure off by admitting his own flaws too. Royce sings that he is far from perfect, joking that even with a handsome face, he still deals with his own insecurities ("Aunque tenga cara de bonito me acomplejo yo también" [Even though I have a pretty face, I get insecure too]). The phrase "el corazón no tiene cara" [the heart has no face] carries the whole track, reminding her that true love does not care about exterior looks. He even tells her to light a candle and ask for forgiveness ("Prende una vela / Pide perdón") simply for thinking she was ugly in the first place!

Prince Royce brings smooth Bachata rhythms to a classic romantic mess in "Recházame" ("Reject Me"). Instead of bragging about a secret affair, he is practically begging the other person to push him away. He admits they fell hard and shared smiles, but there is a massive problem right in the chorus: "Es que yo tengo mi mujer / Y tú tienes tu novio" ("It's just that I have my woman / And you have your boyfriend"). He knows sneaking around ("Vivimos escondidos" / "We live hidden away") will only lead to trouble, and he directly admits his own lack of willpower: "Yo no, no quiero ser infiel / Me matará la tentación" ("I don't, I don't want to be unfaithful / The temptation will kill me").

What makes the track stick is how blunt the plea is. Royce stops pretending things can work out and insists that calling it quits is the only way to avoid a trainwreck: "Nuestro amor / Tiene que terminar aquí" ("Our love / Has to end here"). To seal the deal, he drops an English spoken interlude addressing all the players out there, reminding everyone that guilt and temptation spare nobody. It is a desperate, catchy plea for someone else to make the hard choice and walk away before both of their actual relationships fall apart.

Prince Royce takes a familiar classic and brings it straight into the world of bachata, mixing English and Spanish throughout the whole track. The message is simple and direct: as long as you stay close, nothing else is scary. He sings about dark nights where the moon is the only light in front of him ("Y la luna es la luz que brilla ante mí" [And the moon is the light that shines before me]), promising that he will not cry ("No lloraré" [I won't cry]) even if mountains collapse or the whole sky falls down ("Y aunque las montañas o el cielo caiga" [And even if the mountains or the sky falls]).

What makes this version fun is how naturally he switches languages mid-thought. He flips between "Miedo no, no tendré" [Fear, no, I won't have it] and "I won't, me asustaré" [I won't be scared], pairing the English phrase "stand by me" directly with its Spanish counterpart, "junto a mí" [next to me / by my side]. Royce even interrupts his own romantic mood to hype himself up, dropping lines like "That's class right there" and shouting out his own name: "What's my name? Royce." It is warm, sweet, and packed with playful confidence.

Prince Royce is shutting out the noise in "Tu Y Yo", setting up an "us against the world" bubble where outside opinions aren't welcome. The whole premise kicks off because the girl's friends are busy badmouthing him, warning her that he is no good and claiming he is out running around: "They tell you that I might be going around cheating / Don't believe them girl they're just hating." Royce shuts down the drama with the Spanish phrase "Te meten cosas en la mente" [They put things in your head / They mess with your mind], which is a classic everyday idiom for someone poisoning your thoughts with gossip. For him, a relationship is strictly business for two: "Lo que sucede es entre tú y yo / Es un problema de dos" [What happens is between you and me / It is a problem of two]. He is telling her to ignore the chatter and remember the baseline fact that they belong together.

To prove his loyalty, Royce pulls out the ultimate sweet nostalgia card: schoolyard romance. He takes her back to day one, reminding her: "En la escuela yo te conocí / Yo te cantaba desde el corazón" [I met you in school / I sang to you from the heart]. He gathered all his courage to confess his feelings back then, and he argues that a bond built on childhood promises shouldn't fall apart over rumors now. He even throws in some dramatic devotion, swearing "por ti soy capaz de morir" [for you I am capable of dying]. It is an intense, protective bilingual plea where he reminds his partner of their history and begs everybody else to simply butt out.

Prince Royce brings his signature bachata rhythm to a really messy breakup story in "El Amor Que Perdimos". He starts off by waking up from a dream about a failed relationship: "Anoche soñé yo contigo del amor que perdimos" (Last night I dreamed with you about the love that we lost). The core problem? Constant betrayal. He calls out her mixed signals directly, noting that her lips said love while her eyes showed rejection ("Tus labios me decían te amo / Y tus ojos me rechazaban"). It is a classic bachata rollercoaster where the couple spent one night loving and the next night fighting ("Duramos una noche amando y la otra peleando").

Even with all the drama, there is an interesting twist in the story. Despite the lies, he acknowledges a silver lining: their child, which he calls a miracle and the thing he loves most ("Ese fruto de tu vientre que yo más amo" [That fruit of your womb that I love the most]). Still, being grateful for their child does not mean he wants her back. The blunt, repetitive chorus drives that boundary home: "Yo te amé, te adoré / No te quiero ver" (I loved you, I adored you / I don't want to see you). He loved her, he suffered, and now he is completely done.

Prince Royce brings his smooth bachata style to a song that is all about sticking around when things get messy. Instead of walking away after hard times, he opens with "Sigo aquí, a pesar de lo malo" (I am still here, despite the bad things). He admits he hit rock bottom fighting for the relationship, singing "he tocado fondo tantas veces" (I have hit bottom so many times). In Spanish, tocar fondo is the exact equivalent of the English idiom for reaching your lowest possible point. He even claims he cried more tears than the sky itself ("he llorado tanto más que el cielo"), which is dramatic, but it proves he is completely committed.

The chorus spells out what unconditional love looks like to him. It is "un amor tan real que no juzga, que sueña, que sufre y perdona" (a love so real that it doesn't judge, that dreams, that suffers and forgives). Notice the phrase "no tiene horario" (it doesn't have a schedule). That is a great everyday detail: real devotion does not punch a clock or keep office hours. He gives everything without demanding payback, holding on tight to a feeling that simply refuses to fade.

Prince Royce brings his signature Dominican-American bachata rhythm to a confession about having a massive, hopeless crush. Right from the start, he piles on dramatic legal and moral comparisons: loving this person is complicado (complicated), thinking about them is un pecado (a sin), and touching them is un delito (a crime). He is ready to do the absolute most—whether that means learning new languages with falar en portugués, aprender a hablar francés (speaking in Portuguese, learning to speak French) or literally trying to apagar el sol (turn off the sun) just to brighten their morning.

Yet, behind all the wild promises to change his religion or hand over the world, his actual dream is simple: Yo sólo quiero darte un beso (I only want to give you a kiss). The tragedy? The person he loves barely acknowledges he exists. He uses a funny Spanish idiom to call them out: tú no me das ni las noticias (you don't even give me the news), which means they do not even bother giving him updates or checking in. It is playful, sweet, and a little desperate all at once.

Ever felt stuck in a bad romantic loop? That is exactly what Prince Royce and Shakira tackle in this smooth bachata track. Royce starts by admitting that an ex ripped open wounds he thought he had already cured with limón, tequila y sal ("lemon, tequila and salt"). Now, the old drama is creeping back, feeling like un déjà-vu que nunca llega a su final ("a déjà vu that never reaches its end"). Instead of getting tricked by the sweet memories again (volverme a engatusar / "sweet-talk me again"), both singers decide it is better to stay solo and dodge the mess altogether.

The chorus hits hard with real skepticism about romance. They ask the room: ¿Quién puede hablar del amor y defenderlo? Que levante la mano por favor ("Who can talk about love and defend it? Raise your hand please"). Royce and Shakira even joke about needing someone to pay bail (pagar la fianza) just to get the heartbreak evicted from their chest. By the end, they make one thing crystal clear: whoever is willing to vouch for love next, esa no voy a ser yo ("that's not gonna be me").

Prince Royce takes us on a lonely late-night drive in "La Carretera", blending sweet Bachata rhythms with the desperation of trying to win an ex back. The setup is immediate: he is behind the wheel, staring at the headlights shining "como las estrellas en el cielo del dolor" ("like stars in the sky of pain"), while the radio happens to play the exact song the two of them used to dance to. Instead of moving on, he hits the gas pedal, gets stuck in his memories, and leaves a voicemail admitting that he is drowning his sorrows in alcohol ("me ahogo en el alcohol").

Things get dramatic fast when he brings up his competition. He complains about the new guy trying to "secuestrarme tus caricias" ("kidnap your caresses from me"), insisting that nobody can love her better. Between begging to know "¿Todavía piensas en mí?" ("Do you still think of me?") and watching the sun come up over the asphalt, he makes the road trip feel endless. It is a classic tale of late-night regret where driving aimlessly feels like the only cure for a broken heart.

Prince Royce opent deze bachataklassieker door een meisje dat hij liefheeft te vertellen dat hij heeft gehoord dat ze onzeker is over haar uiterlijk. Zijn antwoord is recht voor zijn raap en lief tegelijk: kijk in de spiegel en zie hoe mooi je bent zonder make-up. Uiterlijk zegt hem niets, zingt hij: "Y si eres gorda o flaca / Todo eso no me importa a mí" [En of je dik bent of dun / Dat alles maakt mij niets uit]. Het gaat hem om wie je vanbinnen bent.

De titelregel maakt dat af: "Y el corazón / No tiene cara" [En het hart / Het heeft geen gezicht], want de liefde leeft in de ziel. En hij houdt zichzelf niet buiten schot. "Aunque tenga cara de bonito me acomplejo yo también" [Ook al heb ik een knap gezicht, ik voel me ook onzeker], geeft hij toe, en juist dat toegeven maakt het nummer ontwapenend in plaats van belerend.

Ever done something completely irrational because you were head over heels in love? That is the exact excuse Prince Royce is serving in "Culpa Al Corazón" (Blame the Heart). Instead of taking responsibility for his obsessive habits, he shifts all the blame straight onto his chest. He stays up all night, loses his mind over the sparkle in her eyes, and calls her in the middle of the night. His defense? "Y por mis llamadas de madrugada / Culpa al corazón" (And for my late-night calls / Blame the heart). He literally argues that his frantic texts and phone calls aren't even his fault: "No pienses que soy yo" (Don't think it's me).

To make his case even more dramatic, he compares himself to "una marioneta sin control de su sentir" (a puppet with no control over its feelings) and "un pasajero con destino a ser feliz" (a passenger on a journey to be happy). He even tries drowning his sorrows, singing "Le he contado mi tristeza / A un par de copas de ron" (I told my sadness to a couple glasses of rum), but admits alcohol only helps a little bit compared to her love. Throughout the track, he repeatedly calls her "mami" (a common Dominican term of endearment for a woman, like "babe" or "honey"). It is a smooth, wonderfully over-the-top bachata confession about being completely helpless in love.

Prince Royce brings pure bachata energy to a classic romantic trap: falling completely for someone who looks harmless but runs the whole show. In "Carita De Inocente" (Innocent Little Face), he admits he is head over heels—or as he puts it, "tu amor me tiene enfermo" (your love has me sick). Even though she pretends to be sweet ("Aunque te vendas como ángel" / Even if you sell yourself as an angel), he knows her real game. She uses Caribbean slang tricks "pa' aficiar"—from asfixiar, meaning to smother or get someone completely hooked and obsessed. Once she knows he loves her, she takes full advantage, but he is definitely not complaining because "hace tiempo yo no duermo solo" (it's been a while since I slept alone).

He calls her "una diabla bien vestida" (a well-dressed devil) and the "cafeína de mi corazón" (caffeine of my heart), perfectly describing that addictive rush of dating someone wild. She gets whatever she demands, drives him crazy on the dance floor ("bailando boca a boca" / dancing mouth to mouth), and he loves that she is "media loca y diferente" (half crazy and different). It is an honest, fun confession about losing all your power to someone whose angelic look hides a dangerously charming streak.

Zit je klaar voor een flinke dosis romantisch drama op een soepele bachata-beat? In Recházame brengt Prince Royce, met zijn Dominicaans-Amerikaanse roots, een wel heel direct verzoek aan zijn geheime vlam. De titel betekent letterlijk 'Wijs me af', en dat is precies wat hij smeekt: "Ay, recházame / Es que no puedo aceptar tu amor" (O, wijs me af / Het is dat ik je liefde niet kan accepteren). De situatie zit muurvast en is heerlijk theatraal. Ze hebben het fantastisch samen en zij tovert een lach op zijn gezicht, maar er is één reusachtig probleem: ze zijn allebei al bezet.

In plaats van stiekem door te gaan, trekt Royce aan de handrem. Hij zingt heel nuchter en eerlijk: "Es que yo tengo mi mujer / Y tú tienes tu novio" (Het punt is dat ik mijn vrouw heb / En jij hebt je vriendje). Hij wil niet vreemdgaan ("Yo no, no quiero ser infiel"), al geeft hij meteen toe dat de verleiding hem bijna kapotmaakt ("Me matará la tentación"). Zijn oplossing is even pijnlijk als simpel: zij moet hem dumpen en vergeten ("Ay, olvídame"), voordat er echt gewonden vallen. Een klassiek verboden-liefde-verhaal vol passie, perfect om Spaanse zinnen over keuzes en relaties te leren!

Prince Royce is trapped in a classic romantic loop here, and he knows it. In "Otra Vez", he opens up by admitting he has walked in circles right back to where he started: "Tanto caminar y aquí estoy de nuevo / En el mismo lugar donde no quiero" (So much walking and here I am again / In the same place where I don't want to be). He switches from Spanish to English with an exasperated "Here I go again", treating his love life like a bad sequel where only the actors change ("Otro personaje, el mismo cuento" / Another character, the same story). He even calls himself a "masoquista" (masochist) for running straight back into danger when he still feels the sting of "otra daga clavada de nuevo en mi pecho" (another dagger stuck again in my chest).

Even with all that melodrama, the bachata rhythm keeps it moving because he refuses to give up on romance. He bluntly admits that no matter how many times he ends up crying or getting lost, he will gladly jump right back into the fire ("Otra vez moriré / Volveré a caer / En los brazos del amor" [Once again I will die / I will fall again / Into the arms of love]). He throws in his signature ad-libs like "No inventen" (Don't make things up / Stop playing around) and "Que no me llegan" (They can't touch me / They're not on my level), keeping that smooth swagger alive even while confessing he is totally helpless against love.

In "Me EnRD," American-Dominican bachata star Prince Royce tells a story about a vacation fling that accidentally turned serious. He flies in planning to be a player and break hearts—"Listo para romper corazones" [Ready to break hearts]—while hanging out on the malecón (the seafront boardwalk). He drops his location, grabs a cold Presidente (the classic Dominican beer brand), and starts talking to someone new. Neither person wanted anything serious, but after too many drinks, dancing, and kissing by the water, his whole plan backfires. He wakes up wrapped around this person, totally smitten and ready to write love songs instead.

The genius of the track sits right inside the title's clever wordplay. Royce sings "Y me enredé en RD" [And I got tangled up in the Dominican Republic]. In Spanish, RD stands for República Dominicana, and when you say it out loud, "en RD" sounds almost identical to the word "enredé" (which means I got tangled up or caught up). So the phrase pulls double duty: it says he got tangled up in a romance, while literally being stuck in the D.R. It is a smooth, funny look at how a single night out can completely wreck your best intentions to stay single.

Zin in een flinke dosis hartzeer op een dansbaar bachataritme? In El Amor Que Perdimos blikt de Dominicaans-Amerikaanse zanger Prince Royce terug op een verbroken relatie vol bedrog en tegenstrijdigheden. Hij droomt over de verloren liefde, maar weet drommels goed waarom het misging: Tú me decías que me amabas / Pero en mi espalda tú me engañabas ('Je zei dat je van me hield / Maar achter mijn rug bedroog je me'). De Spaanse uitdrukking en mi espalda betekent letterlijk 'op mijn rug', wat net zoals in het Nederlands neerkomt op stiekem handelen achter iemands rug om. De zanger herinnert zich vooral de verwarrende signalen: haar lippen zeiden wel liefdevolle dingen, maar haar ogen wezen hem tegelijkertijd af (Tus labios me decían te amo / Y tus ojos me rechazaban).

Het refrein windt er geen doekjes om: hij hield zielsveel van haar, maar nu wil hij haar absoluut niet meer zien (Yo te amé, te adoré / No te quiero ver). Hun routine bestond jarenlang uit de ene nacht liefhebben en de volgende nacht ruziemaken. Toch brengt het nummer een verrassende wending. Ondanks alle leugens is Royce haar dankbaar voor één ding: hun kind, door hem poëtisch omschreven als Ese fruto de tu vientre que yo más amo ('Die vrucht van je schoot waar ik het meest van hou'). Een pijnlijk eerlijk bachatalied waarin liefde, bitterheid en vaderliefde dwars door elkaar lopen.

If you have ever snuck out past curfew, Prince Royce knows your story. In this bachata hit, the Bronx-born Dominican singer plays the ultimate forbidden lover. The problem starts at the front door: "Tus padres no me aceptan en casa" ("Your parents don't accept me in their house"). Instead of backing off, he doubles down. He decides to bypass the front door completely and climb straight through the bedroom window ("por tu ventana yo entraré" ["through your window I will enter"]). The hook hinges on the phrase "Te robaré esta noche" ("I will steal you tonight"). In romance songs, robar (to steal or rob) often means whisking someone away for a secret tryst rather than committing an actual crime. He does not care who is hunting for him or who calls him crazy ("No importa el peligro, yo te quiero ver" ["Danger doesn't matter, I want to see you"]).

Things get shamelessly bold toward the end. Royce drops the gentle daydreaming ("Tú eres quién a mí me hace soñar" ["You are the one who makes me dream"]) and jumps straight to bedroom promises. He sings, "Te comeré de la cabeza a los pies" ("I will eat you from head to toe"), which is a delightfully blunt Spanish way to promise total devotion. It is cheeky, dramatic, and pure Romeo-at-the-balcony energy set to a dance beat.

In Deja Vu bundelen de Dominicaans-Amerikaanse bachata-ster Prince Royce en Shakira hun krachten voor een nummer over een giftige liefdescirkel waar ze maar niet uit lijken te ontsnappen. Royce zingt meteen heel herkenbaar: "Tú me abriste las heridas que ya daba por curadas con limón, tequila y sal" (Je opende de wonden weer die ik dacht te hebben genezen met citroen, tequila en zout). Die combinatie van drank en liefdesverdriet voelt als een vicieuze cirkel, een "historia repetida" (herhaald verhaal) die voelt als een déjà vu zonder einde. Beiden komen uiteindelijk tot hetzelfde besluit: liever alleen blijven dan weer verstrikt raken in diezelfde val vol "locura, hipocresía total" (gekte, totale hypocrisie).

Wat dit duet zo sterk maakt, is het cynisme over romantiek. In plaats van te vechten voor de liefde, vraagt Shakira zich spottend af: "¿Quién puede hablar del amor y defenderlo? Que levante la mano por favor" (Wie kan er nou over de liefde praten en haar verdedigen? Steek je hand op, alsjeblieft). Ze vraagt zich zelfs af wie er borg kan betalen ("pagar la fianza") om de pijn uit haar hart te krijgen, alsof het verdriet een gevangene is die vrijgekocht moet worden. Eén ding weet ze in ieder geval zeker: "Esa no voy a ser yo" (Dat ga ik niet zijn). Een heerlijke bachata om luidkeels mee te zingen als je even helemaal klaar bent met het daten!

Zit je vast in de friendzone of ben je hopeloos verliefd op iemand die onbereikbaar lijkt? Dan begrijpt Prince Royce je volkomen in deze zwoele bachata. Hij opent meteen lekker dramatisch: van haar houden is ingewikkeld, naar haar kijken is verboden ("mirar como te miro está prohibido") en haar aanraken voelt zelfs als een misdrijf ("un delito"). Toch wil hij hemel en aarde bewegen om haar aandacht te trekken. Hij stelt voor de zon uit te zetten om haar ochtend te laten beginnen, de maan voor haar voeten te leggen en grapt zelfs over talen leren: "Falar en portugués, aprender a hablar francés" (Portugees praten, Frans leren spreken). Let op het speelse woordje falar; dat is Portugees voor praten, midden in een Spaanse zin!

Ondanks al die grootse plannen en zijn bereidheid om zelfs van religie te veranderen ("hasta mi religión la cambiaría"), blijft de realiteit pijnlijk droog: zij laat helemaal niets van zich horen. De Spaanse uitdrukking "no me das ni las noticias" (je laat niet eens iets van je horen, letterlijk: je geeft me niet eens het nieuws) vat die stilte perfect samen. Uiteindelijk vraagt hij geen wonderen terug. Zijn wens blijft simpel: "Yo sólo quiero darte un beso" (Ik wil je alleen maar een kus geven) en haar ochtenden cadeau doen. Een heerlijk ritmisch nummer vol herkenbare, ietwat overdreven romantiek.

Prince Royce pulls no punches in "No Creo En El Amor". After a painful betrayal, the Dominican-American singer closes the door on romance entirely. The lyrics paint a vivid picture of someone whose heart has been toyed with: the ex-partner is now full of excuses, but the damage is already done. Lines like "Jugaste con mi pobre alma" show how deeply the deception cut, while the relentless chorus "No creo en el amor" hammers home his new rule—love is off-limits.

Instead of pleading or reminiscing, Royce turns heartbreak into a bold declaration of independence. He rejects the clichés of poems and roses, claiming his heart is anesthetized. The upbeat bachata-pop rhythm adds a layer of irony, transforming sorrow into a danceable anthem that many can shout along to. In short, this song is a spirited goodbye to toxic love and a reminder that sometimes the best way to heal is to say, “Take it back… I’m done!”

In diesem Bachata-Klassiker geht es um eine unmögliche Liebe. Prince Royce singt über eine geheime Affäre mit jemandem, den er wirklich mag, aber es gibt ein riesiges Problem: Beide sind bereits in festen Beziehungen. Er bringt es direkt auf den Punkt: „Es que yo tengo mi mujer / Y tú tienes tu novio“ (Ich habe meine Frau / Und du hast deinen Freund). Sie müssen sich verstecken, „Vivimos escondidos“ (Wir leben im Verborgenen), und er weiß, dass es auf lange Sicht nur zu Leid führen wird.

Das Besondere an diesem Song ist, wie er mit der Situation umgeht. Anstatt die Affäre fortzusetzen, bittet er sie, diejenige zu sein, die sie beendet. Er fleht sie an: „Ay, recházame / Es que no puedo aceptar tu amor“ (Oh, weise mich ab / Ich kann deine Liebe nicht annehmen). Er gibt zu, dass er nicht stark genug ist, der Versuchung zu widerstehen, und sieht ihre Ablehnung als einzigen Ausweg. Es ist ein verzweifelter Appell, das Richtige zu tun, auch wenn es beiden das Herz brechen wird.

Picture this: it is two in the morning, and Prince Royce is freezing in an empty room, pouring his misery onto paper. In "Mi Ultima Carta", he takes traditional Dominican bachata and turns it into pure, unfiltered late-night drama. His wife kicked him out—or as he bluntly puts it, "mi esposa me botó" ("my wife threw me out")—and he feels so discarded that he calls himself "un difunto" ("a corpse") tossed away "como un perro sin valor" ("like a worthless dog"). The emotional whiplash here is real. In one breath, he swears "por siempre te amaré" ("I will love you forever"), and in the next, he admits that looking at her face just fuels his growing bitterness.

He calls his broken relationship "esta novela" ("this soap opera"), which is the perfect way to describe writing an ultimate goodbye note while swearing she will regret losing him. The track hinges on the everyday Spanish verb botar (to throw away or dump), showing the messy, contradictory swings between anger, stubborn pride, and genuine pain. By the final lines, the pleading stops cold: "Ya no te quiero" ("I don't love you anymore") and "Ya se acabó" ("It is over now"). He signs off for good, leaving his story on the page so he can finally leave her in the past.

Jemand hat es Prince Royce gesteckt, und genau damit fängt das Lied an: „Y ya me contaron / Que te acomplejas de tu imagen" (Und man hat mir schon erzählt, dass du dich wegen deines Aussehens unsicher fühlst). Seine Antwort ist keine große Geste, sondern eine Liste. Dick oder dünn, geschminkt oder ungeschminkt, hellhäutig oder dunkelhäutig. „Todo eso no me importa a mí" (Das alles ist mir egal).

Der Titel ist das ganze Argument in drei Wörtern. Ein Herz hat kein Gesicht, also kann man es auch nicht an einem Gesicht messen: „Y el corazón / No tiene cara" (Und das Herz hat kein Gesicht). Am besten ist die Zeile, in der er sich selbst nicht ausnimmt. „Aunque tenga cara de bonito me acomplejo yo también" (Auch wenn ich ein hübsches Gesicht habe, werde auch ich unsicher) ist halb Angeberei, halb Geständnis, und genau das hält das Lied davon ab, ein Ratschlag zu werden.