EL ÚNICO
CA7RIEL & Paco Amoroso · PAPOTA
9 AM en la city, ya aterricé
Quiero comer tu culito, que hoy no desayuné
Voy a agarrarte del pelo
Ver tu tatuaje del cuello, ese es tu sello
Vine solo para verte, quiero mi premio
Hace diez horas que estoy en la city
Pero ya voy nueve dándote
Ya cancelaste dos DiDi's, y tus amigas llamándote
So nice, ¿o qué? Te veo después pa' darte again (Dímelo)
[Paco Amoroso]
Viene de camino al lobby del hotel
Olor a tabaco cuando te besé
Y sé que tú no fumas
Llegaste a la una, algo distraída
Igual, te clavé
[Ca7riel]
Yo acá pensando que era el único
Pero algo me dice que ya no, bebé
Yo acá pensando que era el único
Pero algo me dice que ya no, bebé
[Paco Amoroso & Ca7riel]
Lo llamo a Ca7riel y le digo: "Esta loca me tiene jodido"
Y Cato me dice: "También tengo una jugando conmigo"
El culo grande, los ojos bellos
El pelo lacio, tatuaje en el cuello
Las piernas larga', y cuando la beso
Pará, pará, pará, pará, pará
¿Tatuaje en el cuello? (Sí)
¿El pelo negro? (Sí)
¿De silicona? (Si)
¿Se vieron anoche? (Sí, fuck)
We've been fucking the same girl
Tú por la noche, yo por el día, ¿quién lo diría?
[Ca7riel & Paco Amoroso]
Yo acá pensando que era el único
Pero algo me dice que ya no, bebé
Yo acá pensando que era el único
Pero algo me dice que ya no, bebé
Yo acá pensando que era el único
Pero algo me dice que ya no, bebé
Yo acá pensando que era el único
Pero algo me dice que ya no, bebé
Two rivals, one mistaken claim to ‘EL ÚNICO’
The punchline of ‘EL ÚNICO’ is not a simple love-triangle reveal: it is the sudden recognition that two swaggering narrators have been seeing the same woman, each assuming he is the only one. The song turns that discovery into comic embarrassment, with the duo’s voices shifting from boastful detail to incredulous interrogation and a shared realization. Its Spanish slang and explicit sexual humour are deliberately blunt, but the structure is precise: one voice lays out the situation, the other supplies a parallel account, and the refrain keeps repeating the now-ridiculous claim of exclusivity. The joke depends on performance as much as plot, especially the back-and-forth that makes the reveal feel like overheard banter.
The track sits within *PAPOTA*, the irreverent project CA7RIEL and Paco Amoroso made after the attention surrounding their Tiny Desk performance. The album’s wider concept turns sudden fame and the music business into material for satire, pairing brash musical shifts with a self-aware public image. ‘EL ÚNICO’ is less directly about industry pressure than some of the project’s other material, but its inflated male confidence collapsing under new information fits the EP’s taste for puncturing personas. The duo’s blend of urban Latin pop, rock and jazz-inflected musicianship gives the song a polished, theatrical frame for a deliberately crude premise.
Reception should be stated at the right level. Rolling Stone en Español described *PAPOTA* as an acidic, creative response to the pressure of success and reported its Latin Grammy win for Best Alternative Album. That recognition belongs to the project, not to an individual song award. The entry does not have a substantiated standalone chart peak or track-specific critical review in the sources used here, so the album’s acclaim should not be presented as a measured reception statistic for this cut. The song’s own strength is its compact comic construction: it stages the self-image of being ‘the only one’ and then dismantles it in a conversational twist.