Jorge González, Claudio Narea and Miguel Tapia met in March 1979, at Liceo No. 6 for men in the San Miguel commune. This high school was not only representative for being the place where they met, as González explained during a visit to his establishment in 1987, it was also instrumental in the creation of the band's first album. In 1982, when they were in their last year of high school, they learned to play the guitar, it was at that time that González began to write the first songs that would be part of the debut album. After taking the Academic Aptitude Test (PAA), in March 1983, González entered the Faculty of Arts at the
University of Chile to study a degree in music. Among his colleagues were those who would later form part of the new Chilean pop scene: Igor Rodríguez (future Aparato Raro), Robert Rodríguez (future Banda 69) and Carlos Fonseca, with the last two he quickly established a friendship; Fonseca first became friends with González and Igor, because their musical tastes were similar and different from the rest. Fonseca, born in Peru in 1961, arrived in Chile at the age of four but moved with his family to Argentina ten years later, and would return to Chile in another ten years. Regarding his first impression upon returning, he recalled: «I found myself in a country where there was nothing and the relationship of the people with music was very light». According to the NaciónRock.com website, culture, bohemia, and youth had been annihilated by the
shock policies implemented by
military fascism. Fonseca entered the Catholic University to study commercial engineering, at the same time he opened the Fusión record store. The following year, with the approval of his father, Mario Fonseca, he dropped out of college to switch to music. At that time he dedicated himself completely to Fusion, and after taking the PAA, he entered the Faculty of Arts. González immediately stood out as a sharp and brilliant student. He teased the music reading teacher and her classmates laughed; In those circumstances, Fonseca began to speak to him. According to the unauthorized biographer of Los Prisioneros, Freddy Stock, one afternoon while they were waiting for Juan Amenábar, their audition teacher, Fonseca approached González to see what he was writing, concentrating on his notebook, and read the first scribbles of "Latinoamérica es un pueblo al sur de Estados Unidos". Later, when she recalled the moment, she said that she had found him "originally talented." At the end of the class, González went to another piano taught by a teacher named Georgina González, but instead of practicing what she requested, he composed half of the repertoire that would make up the first album: "Latinoamérica es un pueblo al sur de Estados Unidos", "Eve-Evelyn", "No necesitamos banderas", «La voz de los '80» and other songs that did not remain. Later she made the arrangements for the guitar and drums. César Quezada, a classmate at the Faculty, pointed out that González's first compositions were very simple in C and A minor, "and, precisely, those are the first scales that begin to be seen in the first semester of a career like this." Quezada also said that he was amazed to see that there was a
semitone between the white notes on the piano, and under that logic he created "Eve-Evelyn". «In other words, he hardly knew anything, she assimilated it and composed. He converted it to his music». González explained that when he made songs like "Eve-Evelyn", he had a certain concern for the semitones and for a type of harmony that put "as a nervous medium". According to González's biographer, Manuel Maira, he composed "La voz de los '80" as a ballad, but little by little his pulse quickened, until it became a "disco hit"; He recorded the first demo using two boom boxes, together with Tapia, to whom he told that "the drums had to save bass drums and rolls to speed up his game." Then he created the solo and the lyrics. Narea changed the strum later, which was flat, and González was fine with it. On July 1, González, Narea and Tapia debuted under the name Los Prisioneros, at the Miguel León Prado School Song Festival, where they also premiered their new repertoire with the songs that González wrote in recent weeks, motivated by his experiences at the university, together with old songs from his previous groups: Los Pseudopillos and Los Vinchukas. When Fonseca met the rest of the group, he pointed out to González and Tapia that Narea had to be changed, seeing that he was not very neat on the guitar, however, they refused to replace him, since all three of them formed Los Prisioneros. == Recording ==