Longstanding Chilean band Congreso, Part 3 [1987 En Vivo Vol. 1 + 2, 1989 Para las arqueologos, 1990 Pure aire]

 

Again, from the wikipedia entry:

Sazo's return and the return to democracy (1985-1990)

Jorge Campos joined the group in 1986 and would participate for 20 years

A new album refreshed the band's style, becoming an essential reference point for the new Congreso: Estoy que me muero (1986), returning to a more popular sound, again with lyrics written by Sazo. Furthermore, drummer Sergio "Tilo" González, the band's leader, had recruited two young musicians from Fulano (keyboardist Jaime Vivanco and electric bassist Jorge Campos ), giving the band a third boost. Congreso leaned towards fusion with subtle touches of jazz , always in their own unique way, with songs like "Súbete a la vereda," "La isla del tesoro," and "Calipso intenso, casi azul," among others

The song "Calypso intenso, casi azul" was the emblem of the new stage, and the development and popularity coincided with the 1988 referendum that marked the exit of Augusto Pinochet from La Moneda, and the Chilean transition to democracy. In this context, Congreso edited Para los arqueólogos del futuro (1989), an album with some of the fastest-paced rhythms in the band's history, and in which they sang about racial freedom, they played, ironized and deployed all of their instrumental resources. According to Sazo, the album "touches on the ability to forget in Latin America, which ends with the dead, especially with those of this era." Songs like "En todas las esquinas" or "El trapecista" reached high radial diffusion, especially the former which became one of the iconic themes of the arrival of democracy. The album was the first in the group's history to reach the category of "gold" (for 15,000 copies sold). Congreso retained the formula on the next disc, Aire Puro (1990), but the mass echo was, this time, more moderate. The success of this period include themes that echoed those living with passion the Chilean transition to democracy, like in the song "Aire puro", which allowed them to participate in the legendary concert Desde Chile... un abrazo a la esperanza of Amnesty International in 1990 alongside renowned international artists such as Sinéad O'Connor, Sting, Peter Gabriel, New Kids on the Block, Jackson Browne, Luz Casal, Wynton Marsalis, Rubén Blades, and Inti-Illimani, among others.^[2]

etc.

En Vivo, from 1987, is well recorded and presents some original songs, I believe, but I haven't listened closely enough to be totally sure.

Para los Arqueologos continues nicely in the same progressive folk vein, not quite as insistently original however, consider Un Sueno Perdido:

However with 1990's Pure Aire, they begin to incorporate new age into the ethnic folk mix, and I believe from then on there is more and more in that vein, with a gradual abandonment of the fusion and progressive chamber that to me is so appealing and in fact addictive.  Was the return to 'democracy' a negative influence for them perhaps, who thrived under the former repressive regime?

For example, Musica para tu regreso:

source https://progressreview.blogspot.com/2026/08/longstanding-chilean-band-congreso-part_02113759590.html