Why stop at 2005? Because after Los Prisioneros (2003) and Manzana (2004), the band entered a legal and creative twilight. Jorge González left in 2006, leading to years of lawsuits and the infamous "Tercer Nombre" project. The 1984-2005 period covers the canonical discography: the dictatorship-era anthems, the commercial peak, the solo years buried under the "Los Prisioneros" name, and the final reunion. This is the heart of the legacy.
1984 – La Voz de los '80
Raw, lo-fi, and furious. Recorded on a shoestring budget, this debut features the anthem "El Baile de los Que Sobran." In 320 kbps, the gritty texture of the original recording gains a surprising punch—the bass synth cuts through, and the teenage frustration remains timeless.
1986 – Pateando Piedras
The leap in production is palpable. From "Por Qué No Se Van" to "Muevan las Industrias," the band's hatred for apathy and yuppie culture sharpens. At this bitrate, the layered synth arpeggios and Tapia’s drum machine programming become a clinic in minimalistic power. los prisioneros discografia 19842005 320 kbps upd
1990 – Corazones
The masterpiece. After the return to democracy, González traded anger for melancholy. "Tren al Sur" and "Estrechez de Corazón" are perfect pop. In 320 kbps, the acoustic guitars and emotional vocals breathe—each strum feels like a farewell letter to the '80s.
The 2000s Reunion & Later Works (2003–2005)
After a bitter breakup and solo projects, the band reformed without Narea. Los Prisioneros (2003) and Manzana (2004) experimented with electronica and hip-hop. While purists debate these albums, tracks like "Invisible" show a band refusing to become a nostalgia jukebox. The 2005 live album captures their last stand. Why stop at 2005
Label: EMI The official "reunion" album where González brought back Claudio Narea and Miguel Tapia. A return to guitar-driven rock. Critically mixed, but sonically huge.
Key Tracks:
Los Prisionéros were initially a band of humble means. Their early recordings (specifically La Voz de los '80) were lo-fi, recorded on limited equipment.
Downloading this discography is like downloading a blueprint for Latin American pop-rock. Jorge González wrote lyrics that were painfully specific to life under Pinochet's dictatorship, yet somehow universal enough to be covered by bands across the hemisphere decades later. The 1984-2005 period covers the canonical discography :