The seed of Ñu was a band called Fresa, active between 1971 and 1974, where Rosendo Mercado Ruiz (guitar) entered in 1972, José Carlos Molina (vocals) in late 1973 and Juan Almarza (bass) and Pedro Cruz (drums) in 1974. In November 1974 the band decided to drop the name (no original member was left) to change it to Ñu. New moniker was proposed by Cruz and finally elected over other options as it was short (which may make them appear with big letters on posters), contained the character Ñ, a vindication of its Spanish trait, and was the name of a rather violent animal (in English, wildebeest or gnu).

Ñu debuted in contest Festival de música moderna, on February 16th, 1975. They won. Gig reviews emphasized the fact their lyrics were sang in Spanish, something weird for a Spanish rock band during Franco's dictatorship. Drummer Cruz left after the contest and the band found Felipe Salinas as replacement. José Luis Álvarez discovered the band there and asked them to record a studio session with Kurt Savoy in April 19th. After the session, Álvarez let the band recording four songs, a private (and unreleased as such) demo tape which he would move to get a record deal. Ariola artistic director liked the recordings and they signed the contract under the name Médium (the band was a bit indecisive about their name).

Shortly after the recording Mercado and Almarza were called for obligatory military recruitment. Molina didn't last much time to reform the band with Jorge Calvo (guitar) and Juan Catalá (bass) as provisional replacements. After the comeback of Mercado and Almarza from military service, the band recovered the same line-up it had in spring 1975, adding a keyboard player as live supporter called José Torres.

In late 1976, the band realised Álvarez had released two tracks off their demo in a single Que nadie escape de la evolución through Ariola, and stating in the credits he partially co-wrote the songs when that was not true. Later, when they visited the label offices to make things clear they told the band they were not signed. Apparently, before the disc entered in the final stage, tlabel responsibles had decided to change again the band name to Ñu.

Collateral effects of that debut disc with a multinational company included a 30-minutes concert and interview for public TV in late 1976 or early 1977 (depending on the sources), the opportunity to open a show for the R&R British band Dr. Feelgood in February 25th, 1977 and to finally sign for an independent company called Beverly Records. In fact, it was a sweet moment besides personal and musical differences between Mercado (a friendly and quiet Rory Gallagher fanatic) and Molina (an easily enraged Jethro Tull admirer).

The band recorded a demo (yet unreleased) with songs like La máquina or Puedes volar más alto (later known as El tablero de ajedrez) which, according to some sources, were to be included in a split LP called Ni lo uno, ni lo otro, sino todo lo contrario. The fact is that ghost Split LP contained songs from Union Pacific, Indiana and Aquelarre, but not a single Ñu song. There are little reliable sources on this issue, because the label went to bankrupt a few days after the LP was released and only a handful of copies were distributed among the members of those bands before the remaining copies were destroyed.

In summer 1977 Salinas left Ñu and the band had to search for another drummer, choosing Enrique Ballesteros. He played a few months and left because of management problems.

What happened in the last month of 1977 meant the definitive breakup between Molina and Mercado. Their last gig together was to be with Coz on New Year’s Eve in Madrid's funfair. After some problems with equipment requirements of Molina, Mercado decided to leave to form one of the most important Spanish hard rock bands of the 80s, Leño (meaning log, the name Molina described his songs) with Chiqui Mariscal (bass) and Ramiro Penas (drums). Some sources (like Mariscal Romero's writings on Historia de una etiqueta double LP (1985)), but also Internet constructed biographies, claim Chiqui Mariscal and (#invalid artist link ID#) were part of Ñu in late '77. Drummer Penas denied it in an interview for The Sentinel Webzine in February, 2004. In fact, it is unknown who was the drummer; and on bassist Juan Almarza, it is unknown if he was still part of the band that day, but anyway he didn't played in Ñu beyond 1977.

After Mercado left the band, Molina felt even more free than before to choose the musicians he wants, to play the songs he wanted to, and, definitively, to rebuild Ñu the way he wanted it. Some chosen musicians were ex-members of Ñu like Calvo, guitar player who had substituted Mercado when he was in the military service, this time as bassist, and Ballesteros (drums), who brought Sini (guitar), whose style was closest to Progressive Rock than Mercado's. The melodic section was finally completed with French musician Jean François André, percussionist in Kurt Savoy’s band who would play the violin for Ñu. When Mariscal Romero created Chapa Discos as a Rock-specialized sublabel of Zafiro in March, 1978, Ñu was one of the first bands to sign with them.

After Romero and Ballesteros convinced Luís Soler, Ñu could enter Audiofilm Studios in Madrid to record Cuentos de ayer y de hoy. The advance single was released on July 3rd and the band began to tour Spain while waiting the LP to be released in October 30th, 1978.

To play one of the shows in Galicia in early 1979 the band decided to travel in two different flights. When the afternoon flight was to land it had a slight accident with a ground mound. Nobody was deceased but Calvo, Sini and his wife were injured and taken to hospital. After that, Sini couldn't keep on with the band due to the shock. Three days before a show in Galicia the band found a substitute in Eduardo García Pinilla. Some shows later it was Ballesteros who left and was quickly replaced by Raúl Garrido.

The line-up Molina-Calvo-André-Pinilla-Garrido kept on touring, supported live by Manolo "El Moro" and playing shows around Spain. The band began recording a new album in summer, 1979 at Eurosonic studios. All tracks except for La llegada de los dioses were completely written by Molina. This fact enraged bassist Calvo. He had unsuccessfully tried to include a song of his in both the albums he had recorded and had to see Pinilla had his La llegada de los dioses in when he had just entered the band. This was a matter of discussion until the point Pinilla, Calvo and Garrido left the band after the recording. Only violinist André went on Molina's side.

During September 1979, Chiqui Mariscal joined Ñu. Together with Molina they kept on searching for members to tour; new album was coming out in February next year and the band was half incomplete. In November 1979, Jero Ramiro saw an ad Molina had posted in a musical instrument store and offered him to enter the band as guitarist with his friends Miguel Ángel Collado (keys) and Bernardo Ballester (drums). Molina agreed, and started touring after the album came out on February 11th, 1980.

During 1980 and 1981 the band composed stuff for a supposed new album which was going to be called Mil años hacia adelante en el pasado, playing some of them during that year shows. Songs like Dueño de las sombras, Mil años hacia adelante en el pasado, El mensaje del mago, La dama de la carroza negra (Nessa), Los caballeros de hierro, La revolución and La balilarina remained unrecorded, the recordings delayed time after time by the label, pressumabily due to the problematic character of Molina. During 1981, Molina tried to sign to another label named Discos Belter to release the band's third album, but that year the label incurred losses and all negotiations were broken off. If that wasn't enough to pull Molina's mood down, in March 1981 Ramiro was called to go to the military service. Mariscal also left the band around the same dates, and André, who had been in the band for three years, was initially loaned to a Folk Rock band called Labanda but never returned.

Ramiro and Mariscal's substitutes were Tony Acebes (guitar) and Kike Sanz (bass) from the recently deceased Union Pacific. They both left three months later, around June 1981, and substituted by the ex-member Sini (guitar), recovered from the panic attacks he suffered after the plane accident, and his mate in the Prog. Rock band Don Falismin José Luis Ajenjo "El Horrible" (bass). Sini and Ajenjo remained in the band until early 1982.

While Chapa Discos kept on delaying the recording sessions, that time excusing itself on the appearance of Spanish mass success Heavy Rock bands like Barón Rojo and Obús they had to release, Molina recruited ex-Coz guitarist Tony de Juan and a relatively unknown bass player called Joaquín Vinci and began one new Spanish tour. In late 1982, when drummer Ballester was called to go to military service -and since De Juan and Vinci had left the band too-, Molina had to reform the band again, calling Ramiro and two ‘mercenaries’-Argentinean bassist Marcelo Fuentes and British drummer Bob Thackway- to perform some shows until early 1983. At some point ex-bassist Mariscal returned the band and, during early 1983 Molina's insistency finally achieved some success when the label gave the band an amount of money to record a single. He took the money and recorded their new album, Fuego.

By the time Fuego was released, in July 18th, 1983, Molina substituted Thackway for the Argentinean drummer Alejandro Colantonio "Pesadilla" and began a new tour. In early 1984, Ramiro left the band to form Santa. Mariscal left the band around the same time too, so when the label offered Molina to record a new album in March 1984, he had to quickly rebuild Ñu and compose a whole new album in a very short time.

Molina recruited ex members Pinilla (guitar) and Ajenjo (bass) to complete the line-up that was to record the new album. Together with Collado and Colantonio they all travelled to Ibiza to start the recording sessions in Dave Holland's Mediterráneo Studios. Acorralado por ti was released in June, 1984. After five years in Ñu, Collado left in late '84 to enter Santa. Since Pinilla and Ajenjo left the band too (Pinilla due to an injured leg), that '84/'85 winter Molina had to renew Ñu again.

In February 1985, Enrique Bertrán De Lis entered Ñu after getting kicked of Goliath. Around the same time, the bass player role was initially occupied by Tibu, from the recently deceased Banzai, but he was fired after a few shows; Molina didn't like his attitude on stage and was finally substituted by El Pluma. Survivor Colantonio completed the line-up.

In March 1985, Ñu broke with Zafiro. That year Ñu kept on playing live regularly, sometimes Molina playing keys for the first time (when he was not playing flute) and experimenting with new folk edges, like flamenco. In summer, Ñu live line-up was completed with the addition of Tony "El Mago" as keyboardist. In autumn that year drummer Colantonio had to leave the band to return to Argentina. His replacement was ex-member Ballesteros. Later that year Molina announced in an interview for Heavy Rock magazine they were preparing to release a live album with lots of former members as guest musicians. The double LP was recorded during two gigs in Canciller Hall in Madrid in February 7th and 8th, 1986 and released two months later through Barrabás, specially founded by rock journalist Mariano García and Antonio Rodríguez to release it. By the time No hay ningún loco was released, El Mago had just left the band and José Barta played keyboards during the promotion tour. At some point during 1986 or early 1987, Enrique Valiño was added to the line-up as violinist.

The label was kept alive to put out the next Ñu studio album. El mensaje del mago was recorded in March, 1987 by the full band (except made for Barta, who was only a live member) and released two months later. Bertrán left the band in summer, 1987. Arias played a few shows until Pinilla came as permanent replacement. Collado returned the band around the same time, after the demise of Santa and the band toured as a 6-piece until early 1988. In March that year the band recorded htheir sixth full-length album at well reputed Red Led studios in Madrid. It was baptized as Vamos al lío!!. Drums and bass were synthetized in studio so, after the recording sessions, the label only wanted to pay the musicians who recorded instead of paying the full band. As a result, Pinilla, Collado and Valiño left the band and the label, at the last moment, shoddily erased their names from the folder.

Molina quickly asked Ramiro to join Ñu again and he accepted. Line-up was complete with Barta as live member for big venues. That line-up remained stable and touring until May, 1989, when Rodríguez decided to leave the band and centring in his own, parallel Progressive Rock band Isthar. Rodríguez replacement was Niko del Hierro.

In late 1989, Molina signed a new contract with Avispa Records although Ñu had a pending disc with Barrabás. The album was recorded at M-20 studios in Madrid during March and April, 1990. Line-up was Molina-Ramiro-Del Hierro and drums were synthetized (again) at studio. When the album was finished Mariano García claimed Barrabás's right to release it. That issue got Barrabás and Avispa into a legal fight for its respective rights which delay the release until October that year (through Avispa).

During those six months in between sessions and release date, there were no venues. Introduction show was planned for November, 1990 in Madrid but was to be delayed until April 12th, 1991 due to Barrabás’ owner influence on rock halls in Madrid. From that date on, the band toured Spain a few months with Medina Azahara. Bassist Del Hierro left the band to enter in Barón Rojo. Mariscal finished the tour and, eventually, the band was put on hold after the last venue in early November, 1991.

In early '92 Molina received an offer from Basa to play in his radio show. He said OK if he could bring a 16 track to record the show. Then Basa talked with Antonio Rodríguez from Canciller hall [and owner of Barrabás] and they got interested in releasing a live album from that concert, so instead of playing in his first option they did in Canciller. Molina rebuilt Ñu up from his solo project José Carlos Molina y los Robagallinas with Luis García (drums), Javier Rocaberti (bass), Carlos Kakutani (guitar) and José Miguel Lorenzo (keys).

The album was recorded during a single show, in April 24th, 1992 and was finally released in November, 1992, being the one which completed the contract requirements of Barrabás. The band regularly played live during 1992 and 1993, but Peruvian guitarist Kakutani had to be substituted in several shows, due to some problems with his residence permit, by Gaby H. Soulé and José Antonio Casal, but still remaining as a full right member.

Ñu signed with Hard Vinyl Records after Basa influenced director Miguel Zamora and a new studio album came out in June, 1994 called La Danza de las mil tierras. Keyboardist Lorenzo didn't record the album, so he was considered kind of live member only by 1994. In late 1994, after the tour, García, Kakutani and Lorenzo left the band and, concurrently, Ñu broke relations with Hard Vinyl because the label didn't get satisfied with the sound of the new album.

In 1995 Ñu was twenty years since its first live show. To commemorate its birthday, Ñu released a double CD compilation through Producciones Ar entitled Veinte años y un día (1975-1995) where Molina rerecorded the best of his catalogue with a new line-up. New Ñu was complete with survivor Rocaberti (bass), guitar player Casal (who finished the 1994 tour), Ballester (who had been Ñu drummer between 1979 and 1982) and Valiño (violin player during 1987/88). The album was recorded during January and February, 1995 and released in April. This line-up, plus Barta on keys toured Spain until mid-Summer, 1995. In autumn that year, Ñu line-up had suffered another twist to finish the tour. Together with Molina, Casal and Barta, new musicians included Álvaro Tenorio (bass), Willie Sagone (drums) and Vesko Kountchev (viola). '95 was also the year it came out the book Ñu: 20 años de resistencia by Pedro Giner.

There were no new albums in 1996, and less venues than the year before. First half of that year line-up included Molina (vocals & flute), Tenorio (bass), Kountchev (viola), De Juan (guitar) and Jota Marsán (drums), without keys. That year Molina centred his efforts on composing a new album, which would be entitled Réquiem. In January 24th, 1997 Ñu came back to scene supporting Barricada at Canciller hall with Ballester on drums and Kakutani substituting De Juan for a single show. That year Ñu signed A la Caza de Ñu Producciones, owned by Alfonso J. B. Sánchez, which was Ñu fan club reconverted into a label. Immediately, Molina planned a new album of acoustic versions of his back catalogue, mostly recorded without any drum tracks, which would be released with the duplicate band name José Carlos Molina - Ñu. It is disputed if the drummer back then was Ballester or Ballesteros, but evidences tend to lean on Bernardo Ballester.

While finishing the recordings of La taberna encantada Ñu suffered a radical line-up change in August, 1997. José Carlos Molina Jr. temporally substituted Ballester until Jesús Sánchez permanently took on drums. Other new members included Pedro Vela (guitar), Miguel Lozano (bass) and Juan Miguel Rodríguez (keyboards). La taberna... sessions were finished with some contributions from new members before October, 1997. That month Jorge Calvo Rodrigálvarez entered Ñu to begin an acoustic tour to introduce the album, which was released a month after. During that tour Ñu played both acoustic and electric shows, with different roles for each member. Electric shows featured Molina (vocals, flute), Vela (guitar), Lozano (bass), Sánchez (drums), Rodríguez (keys) and Kountchev (viola) while acoustic shows had Molina (vocals, flute), Vela (acoustic guitar), Lozano (acoustic guitar), Sánchez (drums), Rodríguez (acoustic bass), Kountchev (viola) and Calvo (keys). A live show with this last line-up was recorded on March 6th, 1998.

Lozano left the band in May, 1998. Rodríguez took the bass for electric shows too, and Calvo became also keyboardist and flutist in electric shows. That month was also last one to feature Kountchev in a regular basis. The band kept on touring regularly during the second half of 1998 and 1999.

Sánchez left Ñu in September, 1999 and was provisionally substituted by Molina Jr. to prepare a new studio album called Cuatro Gatos. Meanwhile, in December that year, A la Caza de Ñu Producciones released 1998 live recording La noche del juglar in a limited amount of 1000 copies before releasing Cuatro Gatos in March, 2000. After an acoustic promo show in March 15th, the album is officially introduced in April 7th, 2000 with guest García on drums.

Joaquín Arellano "El Niño" became Ñu drummer in June, 2000. The band had very little activity until 2001. In May 5th, 2001 the band played in Viña Rock Festival, starting a series of regular gigs which abruptly ended in August, 2001 with Vela, Rodríguez and Arellano leaving the band to form Cuatro Gatos.

Molina had to renovate the band to accomplish Ñu programmed venues between September and December, 2001. Chosen musicians were ex member Kakutani (guitar), Gorka Alegre (bass) and Bumper (drums). Meanwhile, Molina finished recording and producing Réquiem, which was a continuous job since late 1996. As Ñu had definitively left A la Caza de Ñu Producciones in autumn 2000, Réquiem was released under PIES Compañía Discográfica in February 1st, 2002. Stylistically, Réquiem is the darkest and most metallic effort Ñu ever released.

A new tour began a week after the new album came out with new guitar player Juan Freire. Possibly the most disappointing thing for fans of Ñu is the fact not a single song from Réquiem wasn't played live back then, and it has never been. By December, 2002 it was announced Freire was leaving Ñu and would be substituted by Javier Kierchebén, guitar player of Cobbra, but that never happened and Freire was still part of Ñu when Pies offered the band to record a new album in early 2003. New album Títeres came out in June 20th, 2003, focused on Hard Rock/R&R sound which was very far from the one of Réquiem.

Freire and Calvo played their last show in August 16th, 2003. Freire was substituted by Arias in autumn that year and the band stayed as a 4-piece (Molina played keys at shows) they toured between late 2004 and summer 2005 and fully 2006. Keyboardist Calvo came back into the band in August 2006 and stayed when Ñu recorded his first official DVD on November 3rd, 2006 (released in November, 20007). Calvo left again in April, 2007 and the band remained as a 4-piece until 2008.

Alegre left the band in May, 2008. His substitute was Ramón Álvarez. Austrian Peter Mayr entered the band as keyboardist in August, 2008. Arias left the band in July, 2010 to focus in his other projects. His replacement, Víctor de Andrés, was announced in August that year and was in the band until April, 2011. That month, Ñu released through Santo Grial Records a new studio album entitled Viejos himnos para nuevos guerreros, mostly recorded when Arias was still in the band. De Andrés' replacement was Nacho de Carlos.

Three dates in Austria between November 15th and 17th, 2012 were played. Those were the first shows Ñu ever played out of the Iberian Peninsula.

Nacho de Carlos left the band in early 2014 and his place was taken by Luis Romero in March, 2014.

Compilation Appearances:
- "Algunos Músicos Fueron Nosotros" on Rockopilacion Vol. 1 Lp 1979 (Chapa Discos)
- "Profecía" on Rockopilacion Vol. 2 Lp 1979 (Chapa Discos)
- "El Flautista" on Rockopilacion Vol. 3 Lp 1980 (Chapa Discos)
- "Algunos Músicos Fueron Nosotros" on Dos Años del Sonido Chapa (Doble Album Antológico) Lp 1980 (Chapa Discos)
- "Velocidad" on Historia de una Etiqueta 1975-1985 Lp 1985 (Chapa Discos)
- "Más, Quiero Más" on Cocktail de Rock Lp 1985 (Musart)
- "Ella" on Grandes Baladas Heavy Lp 1986 (Zafiro)
- "La Galeria" on Grandes Baladas Heavy Vol. 2 Lp 1986 (Zafiro)
- "La Galeria" on Baladas Heavy - Grandes Éxitos Tape 1987 (Zafiro)
- "El Hombre de Fuego" on Grandes del Heavy Tape 1988 (Serdisco)
- "El Hombre de Fuego" on Lo Mejor del Heavy CD/Lp 1990 (Zafiro)
- "La Estrella" on Baladas Heavy Tape 1991 (Pak)
- "La Galeria" on Baladas Heavy Tape 1991 (Abanico/Zafiro)
- "Ella" on Clásicos del Heavy - Versiones Originales Tape 1992 (Abanico/Zafiro)
- "Algunos Músicos Fueron Nosotros" on Chapa Discos - Así Empezó Todo (Los Principios del Rock Español) CD 1994 (Zafiro)
- "No Hay Ningun Loco" on Puro y Duro 2xCD 1998 (Polymedia)
- "Destierro" on Resistencia 2xCD 1998 (AZ Records)
- "Vivir en Deshonra" on Ave Cesar (La Monarquia) CD 1999 (self released)
- "Cuatro Gatos" on Los 100 de Tipo Vol. 2 CD 2000 (Desobediencia)
- "Conjuros" on Rock de Leyenda CD 2000 (Pak)
- "Cuentos de Ayer y de Hoy" on Ave Cesar (La Subasta) CD 2001 (self released)
- "El Renegado" on Viña Rock 2001 CD 2001 (Maldito Records)
- "Mazmorra" on Viña Rock 2002 2xCD 2002 (Maldito Records)
- "Algunos Músicos Fueron Nosotros" on ! Viva el Rollo ! Toda la Bronca de los 70 2xCD 2003 (Dro East West)
- "Volando en Sociedad" on Noches de Rock en Español - Los 80 CD 2004 (Naimara Producciones)
- "Que Nadie Escape de la Evolución" on Noches de Rock en Español - Los 80 Vol. 2 CD 2004 (Naimara Producciones)
- "Velocidad" on Lo Mejor del Pop & Rock Hispano (1957-1989) 4xCD 2004 (Factoría Autor)
- "Titeres" on Pies Records Presenta CD 2004 (PIES Compañía Discográfica)
- "Algunos Músicos Fueron Nosotros" on Las 101 Mejores Canciones del Rock en Español 5xCD (DRO)
- "De Fiesta" on Rock de Pata Negra CD 2006 (Divucsa)
- "Mono" on Leyendas del Rock II CD 2007
- "Volando en Sociedad", "Que Nadie Escape de la Evolución" on Rock y Heavy en Español CD 2008 (OK Records)
- "Algunos Músicos Fueron Nosotros" on Rock F.M. - La Casa del Rock CD 2012 (Warner Music Spain)
- "El Tren" on Lemuria Music - 5 Años y Un Día CD 2016 (Lemuria Music)
- "El Flautista" on Chapas - El Disco de Oro CD 2018 (Sony Music)