Together with Gilles Marie, Rodolfo Lindl and Fernando Saavedra, they appeared in bars, universities and local events to sing songs by Elvis Presley, Chuck Berry and Gene Vincent.

[1] Lindl returned from Austria, where he came to work with the Salzburg Symphony Orchestra, and in March 1987, Álvaro, Titae and Pancho committed to a more professional job under the name Los Tres, shortly before a concert at the Lord Cochrane gymnasium.

[2] However, Roberto Lindl joined the Youth Symphony Orchestra for a time as a double bass player, and Álvaro Henríquez strengthened ties with theatrical circles and one of his first commissions was to musicalize the work Y Warhol (1988).

The price received by Chilean rock was very low and in addition to that, the first self-titled album by Los Tres published at the Le Trianon restaurant on September 4, 1991, took a long time to be taken into account by the national media.

The band traveled to Miami and recorded their participation with the collaboration of Cuti Aste and guitarist Antonio Restucci, combining in it a repertoire of greatest hits along with a new song Traje desastre and three tribute titles to the Chilean singer-songwriter Roberto Parra, who died a few months prior to that event.

For the band, the Chilean cueca became a major genre, which they sought to address according to a more modern approach, hence the tradition of eighteenth-century parties that the group inaugurated in 1996 under the name La Yein Fonda, and that for For the first time, it brought together cuequeros, cumbiancheros and rockers on the same stage.

The efforts they invested in reproducing their success in the Mexican market gradually wore down their internal relationships, since their music was not the universal pop of La Ley, and their type of rock demanded more explanations than the group was willing to do.