Congreso roots are in 1964, the year they started working in Quilpué (today part of Greater Valparaíso) on the core of the three Gonzalez brothers: Patricio, Sergio and Fernando, alongside bassist Fernando Hurtado.
They formed a school rock band was called The Stereos, then The Shadows and finally, Los Masters.
During this period devoted themselves to instrumental covers of rock songs in English.
Parallel to Los Jaivas, began towards 1969 to experiment with indigenous ethnic instruments.
With the addition of bassist and singer Francisco Sazo, from the beat band Los Sicodélicos, the band had a new training.
Since then called Congreso.
The origins of Congreso is a mixture of these two groups, influenced like many of his generation, for the pop rock of The Beatles.
However, the new Latinamericanist winds geared the quintet toward a new style of rock bands as outlined by Los Jaivas in Viña del Mar and Los Blops in Santiago.
That touches of folk rock songs describes early 1969 works, mainly with flutes, andean aerophones and charango, as well as pop rhythms as in the fundamental song "Vamos andando mi amigo", which is a version of the hippie youth on this side of the world in the era of Woodstock.

In 1971 they released El Congreso, their first album, which included a theme based on the poem by Pablo Neruda "Maestranzas de noche" and other classics, according to a formula that was presented at the Festival of the Nueva Canción Chilena that year (at the Teatro Municipal de Santiago ).
The Gonzalez brothers resolved then enter to study at the Institute of Music of the Universidad Católica, which ensnared their group work, but without disrupting their live performances.

The 1973 Chilean coup d'état cut soon the process of recording their second album, Terra Incognita, only released two years later and with a limited diffusion, given the cultural space closure.
The band did not lower his arms, and became one of the few groups who continued to work in Chile during the early years of the dictatorship.
Fusion music and almost cryptic lyrics were their codes to survive the rigorous state surveillance: "Four black Horsemen  / fly by / raising night / fog and fear" say in "Cueca of the apocalypse" (snippet of the song "Arcoiris de hollín"), included in the album Congreso in 1977, also sometimes referred to as "brown disk" and in a clear reference to the Military junta.
Two years later they recorded La Misa de los Andes, which was not widely distributed and preceded the first group break up when three members, Fernando Hurtado, Renato Vivaldi and vocalist and lyricist Francisco Sazo, is leaving the group.
The latter traveling to Belgium for a PhD in philosophy .
Congreso roots are in 1964, the year they started working in Quilpué (today part of Greater Valparaíso) on the core of the three Gonzalez brothers: Patricio, Sergio and Fernando, alongside bassist Fernando Hurtado. They formed a school rock band was called The Stereos, then The Shadows and finally, Los Masters. During this period devoted themselves to instrumental covers of rock songs in English. Parallel to Los Jaivas, began towards 1969 to experiment with indigenous ethnic instruments. With the addition of bassist and singer Francisco Sazo, from the beat band Los Sicodélicos, the band had a new training. Since then called Congreso. The origins of Congreso is a mixture of these two groups, influenced like many of his generation, for the pop rock of The Beatles. However, the new Latinamericanist winds geared the quintet toward a new style of rock bands as outlined by Los Jaivas in Viña del Mar and Los Blops in Santiago. That touches of folk rock songs describes early 1969 works, mainly with flutes, andean aerophones and charango, as well as pop rhythms as in the fundamental song "Vamos andando mi amigo", which is a version of the hippie youth on this side of the world in the era of Woodstock.
In 1971 they released El Congreso, their first album, which included a theme based on the poem by Pablo Neruda "Maestranzas de noche" and other classics, according to a formula that was presented at the Festival of the Nueva Canción Chilena that year (at the Teatro Municipal de Santiago ). The Gonzalez brothers resolved then enter to study at the Institute of Music of the Universidad Católica, which ensnared their group work, but without disrupting their live performances.
The 1973 Chilean coup d'état cut soon the process of recording their second album, Terra Incognita, only released two years later and with a limited diffusion, given the cultural space closure. The band did not lower his arms, and became one of the few groups who continued to work in Chile during the early years of the dictatorship. Fusion music and almost cryptic lyrics were their codes to survive the rigorous state surveillance: "Four black Horsemen  / fly by / raising night / fog and fear" say in "Cueca of the apocalypse" (snippet of the song "Arcoiris de hollín"), included in the album Congreso in 1977, also sometimes referred to as "brown disk" and in a clear reference to the Military junta. Two years later they recorded La Misa de los Andes, which was not widely distributed and preceded the first group break up when three members, Fernando Hurtado, Renato Vivaldi and vocalist and lyricist Francisco Sazo, is leaving the group. The latter traveling to Belgium for a PhD in philosophy .
Congreso