Learn Spanish With Tito Double P with these 23 Song Recommendations (Full Translations Included!)

This song is a super direct message to a girl who's with the wrong guy. Tito Double P is playing the part of a confident guy who knows this girl wants to be with him, even if her mom disapproves. He's not shy about it at all, driving past her house and quemando llanta [burning rubber] to get her attention. He knows she goes to parties with another man, but he also knows él no te gusta pa' nada [you don't like him at all].

His solution is simple: she should just leave the other guy and run away with him. He makes his case by pointing out that he can give her what the other guy only promises, like a designer bag. He tells her straight up to tell everyone that he's the one who makes her happy at night. The whole song is basically him saying, Bebé, no tengas miedo de escaparte conmigo [Baby, don't be afraid to escape with me]. It's a bold and romantic gesture, all about convincing her to choose the exciting life he offers.

This song is a raw confession about a breakup that has left the singer completely wrecked. He admits his heart hurts from another betrayal, telling his ex, "ya ni me beses" (don't even kiss me anymore). The relationship didn't even last three months, but she's his weakness, his "criptonita" (kryptonite). Even though he says she's nothing special, he also calls her his favorite.

He's dealing with the pain by getting wasted. He describes himself "vaciando unos botes y viendo a la luna" (emptying some cans and looking at the moon). He feels like he lost his mind looking into her eyes and now wants to stay in that madness. He tries to act tough, saying he's a "cabrón" (a badass) and that she'll be the one crying, but he also admits, "me lastimas" (you hurt me). It's a classic song about trying to numb heartbreak with partying.

This song is a perfect soundtrack for when someone is ignoring your calls and you're starting to lose your mind. Tito Double P is completely stuck on someone who won't pick up the phone. He calls and gets sent straight to voicemail: "Le estoy marcando y me manda al buzón" (I'm calling her and it goes to voicemail). He even sees she was online, but she still didn't answer. Her friend's excuse that she's asleep doesn't fool him for a second, because he knows her pattern: "Siempre es la misma cuando anda tomada" (It's always the same when she's been drinking).

He's feeling terrible, or as he puts it, "ando que me lleva la chingada" (I'm feeling like hell). The chorus is just a sad list of everything he misses about her—her kisses, her body, her voice, her love. He can't understand how she could forget everything they had. The feeling gets worse in the second verse when he points out how awful it is to be alone during "el mes del amor" (the month of love). He's so desperate he says he needs her in his bed just to be able to sleep.

This song is a brutally honest story about a breakup that's anything but clean. Tito Double P is trying to move on, but he just can't. He admits, "Quiero olvidarte y, la neta, no puedo" (I want to forget you and, honestly, I can't). So, what does he do? He leans into the chaos, getting drunk, partying, and trying to distract himself with other women, but it's no use. He's still looking at old photos and videos of his ex.

The central image is a pair of tattoos. He still has his, a permanent reminder of her. But she has already covered hers up with a "fuck you"! It's a harsh and specific detail that shows just how over it she is. He knows their futures are totally different now. While he's stuck being a "desmadre" (a mess), he imagines she'll have the family life he couldn't give her, singing, "Tú querías tus hijos, pero no conmigo" (You wanted your kids, but not with me).

This song is a messy, honest look at a relationship on the rocks. The singer is frustrated because his girlfriend has been ignoring him for two days: "Dos días enojada, dos días que no me hablas" (Two days angry, two days you haven't spoken to me). He's out with his friends, drinking and partying to cope, but he's clearly still hung up on her. He tries to act tough, dismissing her anger as "otra de tus payasadas" (another one of your silly games) and complaining that she's always exaggerating.

He blames her for his wild lifestyle, claiming he warned her that on his own he was a mess ("yo era un cagadero"). Now he's surrounded by the things he thought he wanted, like stacks of cash and lots of women, but he admits it's all empty. The most telling line is "Wacha lo que conseguí / Un chingo de culos y ni uno me llena" (Watch what I got / A ton of women and not one fulfills me). It's a classic story of someone getting everything they wanted only to realize it's not what they needed.

This song is a whole rollercoaster of post-breakup feelings. Tito Double P starts off trying to sound tough, telling his ex, "Ya no llames, bebé" (Don't call anymore, baby). He's bragging about finding new, better lovers and warns her to stay away so he doesn't have to treat her "como si fueras nadie" (as if you were nobody). He's all about partying and drinking to forget her, with Dom Pérignon champagne and cherry weed everywhere.

But then, the tough guy act starts to crack. He admits that being with someone else just makes him think of her, remembering intimate moments under the full moon. The most revealing part is when he says, "Por ti el polvo iba a dejar" (For you, I was going to quit the powder), but she left for someone else who she thought would value her more. He's hurt that she didn't see "Todo el amor que yo te daba" (All the love that I gave you), and the song ends on a sad, final note: "Todo lo que empieza también algún día se acaba" (Everything that starts also ends one day).

This song is a wild ride through a very fresh breakup. The singer kicks things off by telling his mom how fast things can change, saying, "Cómo cambian las cosas de un día pa' otro" (How things change from one day to the next). He was looking at their old photos, thinking his phone was broken because she wasn't calling, but the truth was much worse: "tú andabas con otro" (you were with someone else). He admits that the guy who used to be a womanizer is now a mess, just getting drunk and acting crazy.

What's great about this song is how he flips between being heartbroken and trying to act tough. One minute he's wondering what would have happened if he hadn't caught her, admitting he was a "viejo mandilón" (the old whipped guy). The next minute, his pride kicks in and he's insulting the new guy, saying "No creo que te lo haga mejor que yo" (I don't think he does it for you better than me). He talks about trying to party his way through the pain with other girls, but even in the club, he still feels alone. It's a classic story of a guy trying to put on a brave face after getting his heart completely stomped on.

This song is all about a messy breakup where the singer, Tito Double P, is completely torn. He starts by remembering how he changed for his ex, telling her, "Mis noches ya no son de putero" (My nights are no longer spent in whorehouses). He knows they were opposites: she wanted an elegant guy, and he was "todo un vago que vive a lo gangster" (a total bum who lives like a gangster). Still, he insists he was loyal and spoiled her with expensive gifts like Birkin bags.

Now that it's over, he's trying to forget her, but it's not working. He says he'll get over her with "Una buena vieja y un champán" (A good woman and some champagne), but in the very next line admits, "Pero a ni una la quiero" (But I don't want any of them). He's left with an empty vase that's "sólo que sin las flores" (just without the flowers), a perfect image of his life without her. He knows she's with someone else, but he tries to get back at her with a pretty harsh threat: "Después de las doce, paso por tu amiga" (After twelve, I'll go pick up your friend). In the end, though, all the tough talk falls away and he reveals what he really wants: "No quiero más amores, sólo que me perdones" (I don't want more loves, just for you to forgive me).

This song is all about a super messy, on-again, off-again relationship. Tito Double P lays out the whole toxic cycle, starting with the line, "Ni pa' que nos decimos adiós / Si mañana seguro me llamas pa' volverlo a hacer" (Why even say goodbye / If tomorrow you'll surely call me to do it again). He knows it's a bad situation and even says, "me siento pendejo" (I feel like an idiot), but he can't seem to break free. The relationship swings from high to low, which he describes perfectly as "lunes de desprecio y viernes de placer" (Mondays of contempt and Fridays of pleasure).

He tries to move on, admitting to "Un tequila y un culo pagado pensando en usted" (A tequila and a paid ass thinking of you), but he's still obsessed with her. The situation gets worse when he checks her phone and confirms she's with someone else. Still, he holds onto hope, looking at their old private photos and "aferrado pensando que hay un nosotros" (clinging to the thought that there's an 'us'). The title phrase, "perdido entre pase y pase" (lost between pass and pass), suggests he's caught in a self-destructive loop, fueled by this chaotic connection and maybe something more.

This song is a wild ride through a guy's head at night. One minute he's totally heartbroken, thinking about his ex under the full moon. He misses her kisses and remembers their intimate moments, pleading with her, "Pero hay amor, no digas que no" (But my love, don't say no). He even asks her to tell little white lies if she has to, just so he can pretend she still loves him, promising her jewels and roses.

But then, the mood flips completely. He sings, "5-7 me la navego" (I cruise around with my 5-7), a reference to a type of pistol, showing off his tough, "bélico" side. While he's missing his ex, he's also "Fumando un gallo, de otros culos me acuerdo" (Smoking a joint, I remember other girls' asses). He's caught between genuinely missing his "princesa" and getting distracted by a party lifestyle of beaches, tequila, and other women. It's a classic case of wanting what you can't have, while also not being ready to give up the single life.

Tito Double P isn't here to write you a love poem. In "Rosones," he lays out his very direct approach to romance, which is mostly about money and having a good time. He tells a woman that while she might want a normal boyfriend who brings "chocolate y flores" (chocolate and flowers), he's on another level. He offers her "hasta unos rosones" (even some huge roses), a symbol of his extravagant lifestyle.

This lifestyle includes parties with "botellas de cristal" (crystal bottles), private jets, and wearing flashy "Dolce Gabbana" clothes. He brags about his fame, his money, and the fact that a lot of women "conocen mi cama" (know my bed). He's blunt about it, telling his date not to worry because he's not the jealous type. The song is a straightforward celebration of a life filled with luxury, parties, and casual relationships, all set to the sound of corridos.

MR INTERNACIONAL celebrates the jet-setting, larger-than-life lifestyle that Tito Double P now enjoys after rising to fame. Over a driving Regional Mexican beat, the singer looks back on simpler days when he actually drove his own car; today he relaxes at 180 km/h without even touching the wheel. Surrounded by designer clothes, Moon Rocks, luxury cruises, and friends who party from Spain to Los Cabos, he paints a vivid picture of a world filled with champagne showers, jetskis, and lobster lunches on the coast.

Beneath the glitter, Tito throws a playful jab at critics and freeloaders who tell him how to spend his cash. “Mr. Internacional” pushes back with confidence: he does what he wants, wherever he lands, and hears only “yes, sir” from those around him. The song is an anthem of self-made success, global adventure, and unapologetic enjoyment of the finer things in life.

“Tú Sí” is a cheeky love confession wrapped in Regional Mexican swagger. Tito Double P teams up with Armenta to play the role of the so-called problem boyfriend: he is broke, a bit of a troublemaker, and definitely not the type your friends would approve of. Yet, that is exactly what makes the romance so electrifying. The song paints late-night scenes of cheap beer, weed, and whispered promises, contrasting luxury stereotypes (Dom Pérignon) with the couple’s down-to-earth vibe (caguamas). Tito laughs at the rumors, boasting that if her friends knew what really happens in her bed, they would want him too. His confidence is playful, never apologizing for who he is.

Beneath the bravado lies a genuine devotion. He calls her “princesa,” likens their duo to Barbie and Ken, and vows protection even while flexing his street credibility (“Superón para mi protección”). The chorus “tú sí” is a simple yet powerful green light: you are the one, and the choice is yours. In short, the track celebrates a rebellious, imperfect love where passion outweighs status, and two misfits find bliss in each other’s chaos.

Ever had a breakup where you're the one who's actually doing just fine? That's the powerful energy behind Tito Double P's "TE VAS." The song kicks off with the singer at a bar, ordering more tequila and wondering if it will help him forget someone. But don't be mistaken, this isn't a sad song. He quickly makes it clear he has no regrets ("Y no me arrepiento"). In fact, he's having a "paranormal" or incredibly good time now that he's single.

While he admits he once gave his heart sincerely ("Te di mi corazón y fue sincero"), he now tells his ex their time is up. He sings directly to them: "Y te vas, te vas / Qué lástima me das, pero pasó tu tiempo" (You're leaving, you're leaving / I feel sorry for you, but your time has passed). He's so determined to move on that he won't even look back. If his ex claims to miss him, he dismisses it as lies, showing he's completely in control and moving forward.

Tito Double P kicks off this track by painting a very specific scene. He's got his cap on sideways and his eyes are low, or "ojos tumbados," and he's rolling with his crew. When they lower the car windows, a cloud of smoke smelling like "pura flor" (pure flower) billows out. It's a party, and it's been going for a while. So long, in fact, that his girlfriend keeps calling, wanting him to come home. His response is brutally direct: he tells her to consider him lost because he's with her friend, and adds, "lo mueve mucho mejor" (she moves it much better).

The whole song is built around this idea of a "loquerón," a state of wild craziness. The chorus is a message to his absent girlfriend: "No te tengo aquí, a mi lado, pero me la paso chingón" (I don't have you here by my side, but I'm having a great time). He makes it very clear this isn't about heartbreak. He's been partying for four days straight, and as he says, "no es por amor el loquerón" (the craziness isn't because of love). It's purely about the party, the flashy Rolex, and the wild lifestyle.

Hop into La Troka and buckle up. Tito Double P and Eslabon Armado paint a cinematic scene where a confident guy revs his pickup, cranks a corridón, and invites his crush for a thrill-filled ride. The lyrics mix flirtation and bravado: he calls her mija, asks her to pass the «bolsa», and teases that people think she is crazy— but he admits he is the real wild one. With friends on standby and a house conveniently empty, the night promises spontaneity, mischief, and undeniable chemistry.

Beneath the playful swagger, the song captures the pulse of modern regional Mexican music. The truck becomes a symbol of freedom, youthful rebellion, and intimacy on wheels. Every line emphasizes mutual desire, from replaying steamy memories “in that seat” to turning up their signature song that drives her “loca.” It is a bold, catchy ode to late-night adventures, reminding learners that language can ride shotgun with rhythm, attitude, and a whole lot of heart.

In "MUCHAS GRACIAS ;*", Tito Double P tells a story of rising from humble beginnings to a life of extreme wealth and danger. The lyrics paint a picture of a character who started small, driving a modest Jetta, and has now upgraded to a high-performance GT500. This journey wasn't easy; he remembers it was a slow climb, but now he's at the top, and "the bosses are happy."

The song contrasts this lavish lifestyle, which includes international travel to places like Buenos Aires and Athens, with the dark realities that fund it. The narrator admits to being a "bandido" (bandit) and acknowledges his violent reputation. He speaks directly to a love interest, asking her to look past what people say and see his feelings. The lyrics are filled with imagery of a fast-paced, high-stakes world, from driving over 200 on the freeway to using satellite radios for communication, all driven by an intense desire for money.

Get ready for a wild Saturday night with Tito Double P in "PANA RABBIT"! This song paints a picture of a fast-paced, rebellious lifestyle filled with parties and luxury. The lyrics describe riding a Kawasaki motorcycle, being surrounded by women who want to have fun, and smoking marihuana. The narrator flaunts his wealth with rose gold jewelry and a Cuban link chain, showing off a life of excess.

But this isn't a love song. The singer is very direct about the nature of his relationships, stating, "I don't give a f*** what your name is / It's only to f***." He sets clear rules, like "After six, we are nothing," highlighting a purely physical and temporary connection. He even calls himself a "delinquent" and mentions carrying a gun for protection, adding a layer of danger and thrill to this carefree, party-hard anthem.

This song is a super direct and intense declaration of love... or maybe just obsession! Tito Double P starts by telling a woman, "Soy de usted, hasta que me muera" (I'm yours, until I die), but he immediately follows it up with compliments about her body, saying she's so attractive she could be on YouTube. He promises he's all hers and asks her not to get jealous, but the whole vibe is less about sweet romance and more about a powerful, all-consuming attraction.

The chorus really drives this home, calling her "linda" (beautiful) but also his "perdición" (downfall or ruin) and his "droga" (drug). It's like he knows this attraction is so strong it's almost dangerous for him. Neton Vega's verse adds a layer of confidence and swagger, talking about cruising around, smoking, and having the money and connections to provide a good time. He makes it clear that other women want him, but he's completely fixated on this one person, telling her to leave her current guy because he knows she wants to be with him instead.

PRIMO drops you straight into a neon-lit Mexican night where swagger, adrenaline, and danger ride side by side. Tito Double P and Natanael Cano spin a corrido tumbado narrative that starts with pure party vibes: flashy entrances, top-shelf bottles, and the pursuit of the most stunning girl in the club. The cousins (“primo”) are living large, flaunting style with a couple of “Lady Gaga” drinks in hand, convinced the night will be all glitter and celebration.

The mood flips in a heartbeat. A scuffle sparks, gunshots crack, and the once-glamorous scene turns chaotic. Sirens, fear, and missing friends replace the music’s thump as the narrator scrambles to safety, wounded yet defiantly standing tall. Beneath the hard-edged bravado, the song hints at the thin line between thrill and tragedy in the fast life. PRIMO is both a boastful anthem and a cautionary tale, capturing the rush of living on the edge in Mexico’s modern urban corridos movement.

In "GUERITA Y MORENA," Tito Double P tells the story of a man caught between two very different women. He calls them the "güerita" (the fair-skinned one) and the "morena" (the dark-skinned one). The singer describes himself as "weak" because he can't choose between them, even though he knows it might lead to trouble.

The song is a playful comparison of the two women's contrasting styles and personalities. For example:

• One is private and doesn't post on social media, while the other has his picture as her phone wallpaper.
• One is single, and the other is married.
• He promises one the world ("le prometí el cielo"), while his relationship with the other is more physical. In the end, he doesn't seem too worried about his dilemma. He embraces his actions, declaring, "porque soy cabrón, porque así soy yo"—which means, "because I'm a badass, because that's how I am."

"A la larga te acostumbras" is a corrido tumbado about a man who won't take no for an answer. He shows up at night with a truck full of roses, brings a serenade, and warns he'll sleep in her garden before he gives up on her.

The hook is the whole argument: don't make a fuss, don't ask questions, because in the long run you get used to it. He frames his persistence as fate rather than pressure, and leans on that line every time she pushes back.

The second verse turns from romance to bravado, describing a night that stretches into morning and a quick detour to fire off some rounds after dropping her home, the kind of tough-guy flourish that's a genre staple.

In "LA FAMA," Tito Double P delivers a raw and honest message to a former lover. He recalls meeting her when he was at his lowest, feeling "solo, triste y perdido" (lonely, sad, and lost). Now that she's gone, he's left with sleepless nights and the pain of seeing her with someone else, admitting he was once "adicto a tus labios" (addicted to your lips).

Despite his heartbreak, the singer leans into the very lifestyle she warned him about. He surrounds himself with other women and fully embraces his love for "el dinero y lo que trae la fama" (money and what fame brings). He even admits that her criticisms of him were true, calling himself a "perro, patán, egoísta" (dog, jerk, selfish). Yet, underneath all the bravado, he confesses a conflicting truth: "te juro te amé de a de veras" (I swear I truly loved you), revealing a story of lost love complicated by fame and personal flaws.