Los Prisioneros

Los Prisioneros

Company type	Band
Industry	Music
Founded	1982
Headquarters	San Miguel, Santiago , Chile
Products	Music albums, live performances

Los Prisioneros ("The Prisoners") emerged as a Chilean rock ensemble originating from San Miguel, Santiago, in 1982. Widely regarded as one of Latin America's most seminal bands, they are credited as trailblazers of Rock en español and are notable for their profound socio-political influence within Chile. Their musical style fused elements of new wave, British punk rock, rockabilly, reggae, ska, and later incorporated synthpop. Their provocative lyrics challenged Chile's socio-economic realities and the dictatorship regime, resulting in a media ban between 1985 and 1990; nevertheless, their music circulated extensively through informal channels and homemade recordings.

The group initially formed at San Miguel’s Liceo 6 under the name "Los Vinchukas," featuring Miguel Tapia on drums, Claudio Narea on guitar, and Jorge González handling lead vocals, bass, and songwriting duties. Upon adopting the name Los Prisioneros, they released their first album, La voz de los '80, through the independent label Fusión Producciones. The album gained momentum following a contract with EMI Records in 1985. Throughout the 1980s, their popularity expanded across Latin America, particularly in Chile and Peru.

By 1986’s Pateando piedras and 1987’s La cultura de la basura, González infused synthpop elements inspired by Depeche Mode. Internal tensions culminated during the production of the 1990 album Corazones, leading to Narea’s departure amid personal disputes. He was succeeded by Cecilia Aguayo (keyboards) and Robert Rodríguez (bass). The band ultimately dissolved in 1992.

Following the release of the compilation Antologia, su historia y sus exitos, Los Prisioneros reunited in 2001 for two sold-out concerts at Santiago’s Estadio Nacional Julio Martínez Prádanos, drawing nearly 150,000 fans—the largest concert in Chile at that time. They issued a self-titled reunion album in 2003 but underwent further lineup changes, including the addition of Álvaro Henríquez from Los Tres. Later members Sergio "Coty" Badilla and Gonzalo Yáñez joined for their final studio effort Manzana and subsequent tours across North and South America. Their concluding performance took place in Caracas, Venezuela, on February 18, 2006.

Los Prisioneros pioneered a new musical direction in Chile by moving away from the folk legacy of Víctor Jara and Violeta Parra, spearheading the movement known as Nuevo Pop Chileno (New Chilean Pop). Their influence extended to numerous Chilean groups such as Aparato Raro, Cinema, Upa!, Valija Diplomática, Aterrizaje Forzoso, Electrodomésticos, Banda 69, and Fulano. Classic tracks like "La Voz de los '80," "Muevan las Industrias," and "Tren al Sur" continue to resonate throughout Latin America. Notably, "El baile de los que sobran" became an anthem during the 2019–2022 Chilean protests. In 2023, Rolling Stone recognized Corazones as one of the top 50 Latin-American albums ever produced.

Formation and early years

In 1979, Jorge González (bass and lead vocals), Miguel Tapia (drums and backing vocals), and Claudio Narea (guitar and backing vocals) first connected during their freshman year at Liceo Number 6 in San Miguel, Santiago de Chile. By 1980, Jorge and Claudio collaborated with brothers Rodrigo and Alvaro Beltran to form "The Pseudopillos," a group known for humorous a cappella songs utilizing everyday objects as percussion instruments.

Concurrently, Jorge and Miguel performed Beatles covers under the nickname "Los Vinchukas," referencing insects native to northern Chile—a playful label implying they were "The Chilean Beatles." Eventually, Narea joined this ensemble alongside Alvaro Beltran on guitar while Miguel assumed drumming duties. This four-member lineup debuted live on May 14, 1982 at their high school with moderate reception.

Toward the end of 1982, disputes over equipment led to both Los Vinchukas and Los Pseudopillos disbanding shortly after graduation. Jorge and Miguel continued collaborating; after reconciling with Claudio, they selected a new band name symbolizing their marginalized position under Chile's authoritarian regime. After briefly considering Los Criminales, they settled on Los Prisioneros. Their inaugural performance under this identity occurred on July 1, 1983 at Miguel Leon Prado High School Song Festival featuring Jorge on bass and lead vocals, Claudio on guitar, and Miguel on drums with backing vocals.

That same year Jorge enrolled at the University of Chile School of Arts where he met emerging artists such as Igor Rodríguez along with future collaborators Robert Rodríguez and Carlos Fonseca. Jorge and Fonseca soon left university; Jorge began working at Fonseca’s family-owned record store Discos Fusión while Fonseca focused on scouting talent. Jorge later invited Carlos Fonseca to assume management responsibilities for the band.

Claudio Narea entered Universidad de Santiago de Chile (USACH) to study engineering but also withdrew from his studies. Fonseca hosted a radio program on Radio Beethoven where he planned a special segment showcasing upcoming Chilean musicians. After hearing Los Prisioneros’ recordings and witnessing their live act, he persuaded his father to invest in them. Jorge introduced both Narea and Tapia to Fonseca; despite suggestions to replace Claudio due to technical proficiency concerns, Jorge and Miguel insisted that the trio was complete as it stood.

Carlos took on managerial duties, organizing their initial demos in late 1983 which he promoted through his radio show Fusión Contemporánea. He also arranged live performances around Santiago and published an article about the group under a pseudonym in Dinners Club World magazine.

1984–1985: La Voz De Los '80

Their debut album, La voz de los '80 ("The Voice of the '80s"), was launched on 13 December 1984 through the "Fusion" label, owned by the Fonseca Family. Initially, Chilean radio stations gave it minimal airtime, favoring Argentine artists instead. Despite this, the album eventually became a symbol within Chile's music industry. Their primary exposure came from "Radio Galaxia," Sábado Gigante, and "Canal 11." During a performance at the "Sexta Teleton," the military-controlled Televisión Nacional de Chile censored their first single, reflecting governmental apprehension about their influence. In August 1985, they secured a contract with EMI, which reissued the album nationwide by October, achieving sales between 100,000 and 105,000 copies and ranking among Chile's top-selling records. The track "Sexo" emerged as the most broadcast song on Chilean radio. EMI continued distributing their albums until 2001.

1986: Commercial breakthrough and Pateando Piedras

On 15 September 1986, their sophomore album, Pateando piedras, was released under EMI. Standout songs included "¿Por qué no se van?", "Muevan las industrias," and especially "El Baile de los que sobran," which became an iconic Latin American rock anthem.

Within ten days, the album sold 5,000 copies—a record for an emerging Chilean band—and reached platinum certification in just over two months. In November 1986, they performed before an audience of 11,000 at Estadio Chile and were celebrated by fans as "The hope in Viña." Nevertheless, they were omitted from the official roster of the 1987 Viña del Mar International Song Festival, where other renowned groups like Soda Stereo and GIT appeared. The band openly criticized Soda Stereo during interviews.

Also in November 1986, they participated in Montevideo's international Rock Festival alongside Soda Stereo, Fito Paez, GIT, and Sumo but struggled to gain traction in Uruguay. Their March 1987 shows in Argentina received mixed responses; media coverage focused more on inquiries about Pinochet than their music. Conversely, they enjoyed notable success in Peru—where "El baile de los que sobran" dominated charts for six weeks—as well as in Bolivia, Ecuador, and Colombia.

Their most significant concert occurred on 19 September 1987 at Lima’s Plaza de toros de Acho bullring in Peru.

1987–1988: La Cultura de la Basura Album and Advocacy for The "NO" Campaign

Recording for their third album, La cultura de la basura (Culture of Garbage), began in October 1987. Although Jorge González had promised a collaborative songwriting process, he ended up composing most tracks himself; Narea and Tapia contributed four songs together. Tensions surfaced during production; producer Caco Lyon departed due to González’s lack of engagement, leaving his inexperienced assistant Antonio Gildemeister to oversee mixing—resulting in a rough final sound. Released on 3 December, the album sold 70,000 copies—double platinum—but was considered less successful than its predecessor and viewed by critics as both a commercial and artistic setback. González recognized it as a low point for the group; other members attributed this to his lax attitude.

Fonseca favored "Lo Estamos Pasando Muy Bien," while finding Narea’s compositions repetitive. He added "We are Sudamerican rockers" to the Chile-only edition of the album—a track now regarded by some as among their best work. A disagreement arose between González and Fonseca over the lead single choice: González advocated for "Que No Destrocen Tu Vida," addressing parental control issues; Fonseca preferred "Maldito Sudaca," which tackled Spanish racism toward South Americans. Ultimately, "Que No Destrocen Tu Vida" was released as the single despite "Maldito Sudaca" gaining greater popularity across Chile and Latin America.

On 28 March 1988, Los Prisioneros announced a promotional tour covering 40 dates throughout Chile and later extending to other South American countries and Mexico. At this press event, González publicly endorsed voting NO in the upcoming plebiscite opposing General Pinochet’s regime:

"In the upcoming plebiscite we will vote NO (En el plebiscito votaremos que No)"

This political stance led to censorship that limited the tour to only seven uncensored performances.

After the triumph of the "NO" Campaign plebiscite, the band took part in a human rights concert in Mendoza, Argentina alongside Sting, Peter Gabriel, Tracy Chapman, and others—performing Bob Marley’s "Get Up, Stand Up" before an audience of 10,000 to 18,000 Chileans and Argentinians. Although Chilean attendees responded enthusiastically, tensions with Argentine spectators created an uneasy atmosphere.

Subsequently, they toured Colombia—where their impact was substantial—and Venezuela before arriving in Mexico. Between September 1988 and April 1989, they conducted three tours in Colombia; their track "Pa pa pa" topped Bogotá charts and helped open Colombian markets to Spanish rock according to EMI marketing manager Mario Ruiz. However, after canceling their Venezuelan tour dates, exposure in Mexico remained limited with airplay mostly confined to non-commercial stations. Shortly after arriving there, Claudio contracted hepatitis and returned to Chile for treatment, forcing a halt to promotional activities in Mexico.

1989–1990: Narea's exit, Corazones and disbandment

In June 1989, Jorge González and Carlos Fonseca recorded the fourth studio album, Corazones, in Los Angeles with Gustavo Santaolalla as producer—marking the first occasion Jorge did not produce the album himself. Although Narea and Tapia anticipated contributing songs as they had previously, only three of their compositions were created, none of which made it onto the final release. Fonseca attributed this to Jorge holding legal rights as the band’s sole composer and complications with Tapia’s visa. The album introduced a fresh electronic sound heavily influenced by keyboards, highlighting divergent musical paths: Jorge gravitated toward synthpop, while Narea leaned more toward rock and blues. Additionally, personal conflicts intensified after Claudio discovered love letters from Jorge to his spouse, prompting Claudio to leave in January 1990.

Corazones explored themes such as romanticism, social class disparities, and male chauvinism. Claudio believed many tracks reflected Jorge’s inner struggles. Upon the album’s release in May 1990, Claudio explained his departure was due to the band becoming a mere facade dominated exclusively by Jorge, resulting in a loss of its original spirit.

Following Chile’s return to democracy in 1990, Los Prisioneros’ discography was remastered and reissued. Keyboardist Cecilia Aguayo joined despite lacking prior experience, committing herself fully to the role. Corazones achieved triple platinum certification in Chile with sales reaching 180,000 copies and found audiences in Argentina and the United States, securing a distribution agreement with Capitol Records for the U.S. market.

On 24 October 1990, Jorge and Miguel announced the official end of Los Prisioneros and released Los Prisioneros: Grandes Éxitos, which sold over 120,000 copies domestically and 54,000 internationally. Their farewell tour concluded at Santiago’s National Stadium amid public demands for Narea’s return, eliciting a strong emotional response from Jorge González. The band’s final performance occurred in Valparaíso in 1992.

Throughout the 1990s, their music spread widely across South and Central America and reached listeners in the United States, Canada, and Europe. Notably, on 1 October 1993, MTV Latin America launched featuring Los Prisioneros’ video "We Are Sudamerican Rockers," highlighting their enduring impact within Latin American rock scenes.

Ni Por La Razón, Ni Por La Fuerza, Trio Los Dioses, and El Caset Pirata

In 1996, Los Prisioneros returned by assembling unreleased material, covers, and rarities from previous projects such as Los Pseudopillos and Los Vinchukas. This compilation achieved sales of 100,000 double albums. Subsequently, 40 selected tracks were issued as a double CD titled Ni Por La Razón, Ni Por La Fuerza (Neither by reason nor by force). The album cover depicted the band members’ faces superimposed on images of Chilean national heroes. Promotion included airplay of "Las sierras Eléctricas," a song originally written for Corazones. A new version released in 2001 coincided with the band’s reunion for two concerts at the National Stadium. The album saw multiple reissues over time, including a vinyl edition in 2012.

In 1998, Jorge González and Miguel Tapia joined forces with Venezuelan musician Argenis Brito to form the trio "Los Dioses," touring Chile and Peru under the banner "Lo Mejor de Los Prisioneros," performing classic hits. However, limited commercial success combined with González’s unpredictable behavior led to his exit in March 1999. Brito and Tapia continued as the duo "Humanitarian Reason." In 2000, Jorge paused promotion of his solo work to enter drug rehabilitation treatment in Cuba.

October 2000 saw Carlos Fonseca release Tributo a Los Prisioneros via Warner Music—a tribute album featuring eighteen Chilean bands with vocal contributions from Jorge González. Participating groups included Glup!, Javiera y Los Imposibles, Lucybell, Los Tetas, and La Ley. Shortly after this tribute project, González produced El Caset Pirata, a live compilation showcasing hits from 1986 to 1991. Preceded by the single "No necesitamos banderas," the album sold approximately 20,000 copies. On 31 August 2011, it was reissued alongside remastered editions of La cultura de la basura, Pateando piedras, and La voz de los '80.

2003: Reunion of the original members

In 2003, Los Prisioneros unveiled their first album since Claudio Narea's exit in 1990, titled Los Prisioneros. This release showcased a fresh musical approach, combining rock elements in the initial half with electronic and acoustic folk influences in the latter, while maintaining the band's hallmark politically charged lyrics. Two music videos were created for the tracks "San Miguel" and "Ultra-Derecha," supported by a promotional tour.

That same year, the group appeared at Chile's prestigious Viña Del Mar Festival. The live broadcast became notable due to Jorge González altering lyrics to deliver pointed political critiques targeting George W. Bush and the conflicts in Iraq and Afghanistan. Jorge’s forthright political commentary heightened internal friction within the band, especially with Claudio.

By September, Claudio Narea was removed from the lineup. Although specific reasons were withheld from the public, media speculation and occasional disputes with Claudio continued until their eventual split in 2006. During a press briefing announcing Claudio’s departure and Álvaro Henríquez’s arrival as his successor, the band declined to elaborate on the circumstances. Growing weary of repeated inquiries, Jorge abruptly ended the session by overturning microphones and departing alongside Miguel and Henríquez.

New lineup and debut cover album

Los Prisioneros produced a live studio album of cover songs entitled En Las Raras Tocatas Nuevas De La Rock & Pop, featuring guest musician Álvaro Henríquez from Los Tres. This collection contains only two original Los Prisioneros compositions; the remainder are interpretations of works by artists such as The Rokes ("Es La Lluvia Que Cae"), The Beatles ("Birthday"), Gilbert O'Sullivan ("Alone Again (Naturally)"), Virus, along with pieces from the children's show 31 Minutos. Additionally, it includes reworked versions of "Concepción" and "En el cementerio." Issued in limited numbers, this album has since become a sought-after collector’s item.

Reunion, tours, anthology release, and subsequent hiatus (2001–2003)

On 5 September 2001, Los Prisioneros’ original trio officially reunited by releasing a new rendition of "Las sierras eléctricas," recorded after a 12-year hiatus. This track was initially recorded prior to Narea’s 1989 album Corazones but was posthumously included on Ni por la razón, Ni Por La fuerza (Neither by Reason Nor by Force). That year, EMI issued a double compilation titled Antología, Su Historia Y Sus Éxitos (Anthology: Their History and Hits), although contractual complications and overlapping content led to omitting their last album. EMI also incorporated the original version of "Las sierras eléctricas," despite not owning its rights.

Later in 2001, González, Tapia, and Narea reunited for two highly acclaimed concerts at Santiago’s National Stadium on 30 November and early December. These performances set a record by becoming the first band to fill the stadium twice—a feat later surpassed in 2007 by Soda Stereo during their "Me verás volver" tour with over 126,000 tickets sold.

In 2002, they released a live album and DVD capturing these concerts and embarked on successful tours throughout Chile and Latin America. Controversy arose when Jorge González made remarks criticizing Chilean anti-Peruvian sentiment during a concert in Peru and sarcastically commented on corporate sponsorships involved in that year’s Teleton charity event.

By February 2003, Los Prisioneros swept all awards at the Festival de Viña del Mar. In June, they released their fifth studio album titled Los Prisioneros, which marked a departure from their earlier sound but preserved their social criticism and opposition to neoliberal policies. The album earned gold and platinum certifications with singles such as "Ultra Derecha" and "San Miguel."

A few months later, Claudio Narea departed once again. His dismissal was communicated via the band’s official website:

On 18 August during a meeting with Jorge and Miguel, I was informed without prior discussion that "we no longer want to play with you," with accusations directed at me for attempting to overshadow the band and airing internal matters publicly. Jorge expressed displeasure over an interview I gave in June addressing personal topics unrelated to the group.

Following Claudio’s exit, Tapia and González continued working alongside guest musicians—most notably Álvaro Henríquez from Los Tres and Los Pettinellis—who joined temporarily. They recorded an album comprising covers and reimagined tracks entitled Los Prisioneros En Las Raras Tocatas Nuevas De la Rock & Pop, recorded live at the same radio station.

On 23 October, Los Prisioneros received an MTV Latin America nomination for "Best Central Artist" during its tenth anniversary celebration—their second such honor. For this event, they formed a supergroup named "Los Black Stripes," featuring prominent Latin rock figures including Jorge González. During his performance, González played songs like Aterciopelados’ "Bolero Falaz" while openly criticizing MTV’s shift away from authentic rock towards reality programming spotlighting artists like Ricky Martin and Alejandro Sanz.

Renewed Recognition and the Manzana Era

In 2004, the band introduced a refreshed lineup that included guest musician Gonzalo Yáñez and Sergio "Coti" Badilla, culminating in the release of the album Manzana. Despite Jorge González expressing reservations about the promotional efforts, the album achieved favorable critical acclaim and respectable commercial success. It blended a stronger pop rock style while revisiting elements from their 1980s sound. Although synthesizers were heavily utilized, the record retained a rock essence, featuring more straightforward lyrics compared to earlier works.

The song "Mr. Right" addressed its controversial role in propaganda against Allende and contained references to the Chilean coup of 1973. Music videos were produced for "El Muro," coinciding with tours spanning South and Central America, Mexico, the United States, and Canada. Additional videos for tracks like "Manzana" and "Eres Mi Hogar" emerged during these tours. Although the band privately consented to disband around 2006, they officially remained active for two more years. Late in 2005, Jorge González participated in an extensive interview with journalist Emiliano Aguayo, which led to the publication of the biographical book Maldito Sudaca: conversaciones con Jorge González, providing a comprehensive discographical review of González's career. Their final performance at that time occurred on 18 February 2005 in Caracas, Venezuela, marking the conclusion of a successful two-year international tour. The decision to dissolve was largely due to geographical separation among members—Jorge residing in Mexico while Miguel Tapia and Sergio Badilla stayed in Santiago.

Concluding Performances and Formal Disbandment

In 2005, guest guitarist Gonzalo Yáñez left the group to embark on a solo path. The band continued touring through late 2005 as Jorge González moved to Mexico, D.F.. Following a lackluster tour early in 2006 aimed at fulfilling contractual commitments, they announced their official breakup in March 2006 via their website. Subsequently, Jorge González established Los Updates, whose debut record garnered positive reception across Europe, Japan, and the United States.

Meanwhile, ongoing tensions between Claudio Narea and Miguel Tapia since 2003 kept them apart until their reunion in 2009 for a collaborative project named "Narea and Tapia," which involved live performances and new recordings made available as free downloads on 20 December 2010.

Cultural and Political Impact

During the 1980s, Los Prisioneros emerged as a significant voice for countless young people across Chile and Latin America through their socially conscious songwriting. On 1 July 1983, Gonzalez, Tapia, and Narea officially adopted the name "Los Prisioneros." That year also marked the beginning of widespread protests against Pinochet’s regime, coinciding with the band's rise to prominence. They unintentionally became icons of resistance as they encountered censorship from mainstream outlets including state-owned Televisión Nacional de Chile. Notably, their broadcast was cut during the 1985 Telethon event. According to Narea, the group was perceived as a threat to Pinochet’s authority, while Fonseca highlighted that their debut album La Voz de los '80 ("The Voice of the Eighties") neither directly confronted the dictatorship nor celebrated Salvador Allende.

In his memoir Mi Vida Como Prisionero (My Life as a Prisoner), Claudio Narea reflected on the band’s leftist political leanings:

"I recall when Jorge started discussing socialism... He believed it would bring fairness; no one would suffer hunger, and life would improve for everyone... Politics wasn’t frequently addressed since music was our main focus. We had no political prisoners among our families nor participated in protests. Yet witnessing events like the 'Caso Degollados' (Case of the Slit Throats) led us to despise Pinochet. Jorge has mentioned that lyrics were merely 'filler' in our songs, but he was their author. Our band is remembered by those who endured dictatorship because people had little else but our songs to express themselves. I doubt our fame would be comparable without that military regime; we are inevitably linked to that era."

Jorge González remarked during the 1980s: "Los Prisioneros do not align with any political party... themes appear naturally after creating songs. We articulate what ordinary people feel. Some criticize capitalism—not from Marxist ideology but because money doesn’t purchase what television portrays as happiness... Labeling us anti-establishment is propaganda. Our critique targets the entire system." Carlos Fonseca clarified their initial intent was commercial success rather than political activism: "We didn’t purposely write lyrics about Chile... Over time, people transformed those songs into tools opposing dictatorship. That is why Jorge resents being branded a protest singer."

Musical style and influences

Los Prisioneros categorized their sound primarily as new wave. During their high school years, their musical tastes included bands like the Beatles, Kiss, Queen, and the Bee Gees, yet it was the British punk group the Clash that left the most significant early mark on them. Claudio Narea remembered coming across Sandinista! on cassette and being captivated by its eclectic mix of genres ranging from rock to reggae and jazz. Jorge González has cited this album as his personal favorite. The influence of The Clash is particularly noticeable in works such as La Voz De Los '80s and La Cultura De La Basura, shaping both their songwriting and visual presentation, including the music video for "We are Sudamerican rockers." This inspiration also led them to explore similar acts like the Specials, the Stranglers, Bob Marley, the Cars, Adam and the Ants, and Devo. Although some commentators proposed that the Police inspired them, the band members have refuted this claim. Chilean pop ensemble Bambú recognized No necesitamos banderas as Chile's pioneering reggae album.

By 1985, Jorge and Miguel had incorporated techno elements influenced by bands such as Depeche Mode, Ultravox, New Order, and Heaven 17, while also drawing from new wave groups like the Cure and indie rock bands including the Smiths and Aztec Camera. Jorge González described Los Prisioneros more accurately as a techno-pop outfit rather than a conventional rock band. Lalo Ibeas of Chancho en Piedra commended their courageous transition from guitar-focused music to synthesizer-driven sounds without losing their core essence.

Their musical range encompasses rock, Rock en Español, pop, punk, post-punk, new wave, techno, electronic music, synthpop, and rockabilly, enriched by influences from rock and roll, reggae, jazz, ska, rap, dance, vals, and experimental genres.

Band members

Core members

• Jorge González – lead vocals, bass guitar, guitars, keyboards, melodica (1983–1992, 2001–2006)
• Claudio Narea – guitar, keyboards, vocals (1983–1990, 2001–2003)
• Miguel Tapia – drums, percussion, keyboards, vocals (1983–1992, 2001–2006)

Additional members

• Cecilia Aguayo – keyboards, percussion, backing vocals (1990–1992)
• Robert Rodriguez – bass guitar, guitars, keyboards, backing vocals (1990–1992)
• Álvaro Henríquez – guitars, backing vocals (2003–2004)
• Sergio Badilla – keyboards, guitars (live in 2003; 2004–2006)
• Gonzalo Yañez – guitars, backing vocals (2004–2006)

Timeline

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at :06 /06 /2003 black layer back 
at :19 /08 /2004 black layer back 

</timeline>

Discography

• La voz de los '80 (1984)
• Pateando piedras (1986)
• La cultura de la basura (1987)
• Corazones (1990)
• Los Prisioneros (2003)
• Manzana (2004)

External links

• Official Los Prisioneros fan blog
• Tribute site dedicated to Los Prisioneros in Peru