Marcha del Golazo Solitario [Bonus Track]

1	La Vida 2:52
2	C.J. 3:49
3	Los Condenaditos 5:08
4	Cebolla, El Nadador 4:26
5	Vos Sabes 3:09
6	Piraña, Todos Los Argentinos Somos D.T. 3:04
7	El Baile de La Mar 3:25
8	Roble 3:08
9	La Rosca 4:29
10	La Marcha del Golazo Solitario 5:05
11	Águila 3:22
12	Salvador y Los Cordones Flojos 2:53
13	Necesito una Nariz de Payaso, ¿No Me Prestás La Tuya? 3:08
14	Negra 1:56
15	57 Almas 5:11
16	Alamo 1:25
17	Porque Yo Te Amo Bonus Track 4:27

Barnes & Noble

Can this really be the band that got on so raucously with Deborah Harry, Tom Tom Club, Mick Jones, and Fishbone? Well, yes, and like those famously matured ex-punks, Los Fabulosos Cadillacs have gone legit. Once a mere boistrous ska band, Buenos Aires's biggest rock act declared their goal to create a new, uniquely Argentinean sound with their last album, the sprawling FABULOSOS CALAVERA, and they've made good on the promise. Like the tango, this is music that's fairly perspiring with Latin sensuality, but executed with European élan and a certain cosmopolitan weariness. Staffed with bandoneon, vibraphones, fluglehorns, even an appearance by pianist Pablo Zeigler, a cohort of tango king Astor Piazzolla, LA MARCHA (the title is a complex Spanish pun) marks the transformation of the band into a mobile orchestra. And it's a pit crew worthy of Hal Wilner or Spike Jones on a tropical vacation: Deftly segueing from bossa nova to rumba to orchestral pomp-pop, the Caddies' arrangements are fabulous, indeed. "Los Condenaditos" revisits their worldwide samba hit "Matador" with bluesy slide guitars and moody piano, and the bizarre title track collaboration with Fishbone superimposes Thelonious Monks' "Rhythm-a-ning" with prog-rock tomfoolery worthy of Freddy Mercury. The increasingly infrequent incursions of death metal, ska, and surf music might alienate the Caddies' younger demographic, but it's clear they're cruising for something bigger here. If Jim Jarmusch gets around to filming Borges, he's found the band for his soundtrack. Mark Schwartz

All Music Guide

After the one-two punch of Rey Azucar and Fabulosos Calaveras, it seemed there was no place to go for the Fabulosos Cadillacs but heavier and louder. Instead, the band did a sharp 180-degree turn with the rather peculiar La Marcha del Golazo Solitario. The thrash metal guitars and wild tempo changes have been abandoned for a jazzy, Brazilian feel. "C.J." is a straight bossa nova track, reminiscent of Antonio Carlos Jobim, while "Los Condenaditos" marries samba beats to bluesy slide guitar and a wall of horns. There's even an instrumental Latin-jazz number, "57 Almas," played entirely on piano, upright bass, and congas. Only "Roble," "Pirana," and "Necessito Una Nariz de Payaso, No Me Prestas La Tuya...?" continue in the Latin rock mode from their previous two albums, and these songs are not as aggressive as their previous rock tracks. Lyrically, the band has toned down the quirky humor as well, preferring to write songs that are more reflective and philosophical, although there is still plenty of smart-ass humor to be found in a track like "Necessito..." (the title translates to "I need a clown nose, may I borrow yours...?"). Though Marcha is a frequently enjoyable listen, one can't help but feel that it's a bit of a step back (or at least sideways) after the peaks of their previous two albums, both of which would ultimately serve as better introductions to the Fabulosos Cadillacs. [Sony BMG's 2008 edition included one bonus track.] Victor W. Valdivia