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Para Adorarte - Tony De La Rosa

Para Adorarte

Cut is not slated, as this is a prepared / edited Reel. I assigned the “Ideal Tape #” as “PC-ILP-164”, strictly for cataloguing purposes, by combining the prefix “PC-” (for Protection Copy, as is written on the actual Tape Box spine) to the Release # “ILP-164”, which is also reflected in the handwritten Release # on the Tape Box back, as well as on the typewritten Tape Legend which is affixed to the front of the Tape Box (on “Rio Grande Music Company” stationary). Additionally, for assigning an Ideal Release # for this cut, I combined the aforementioned Tape # (PC-ILP-164), & added “-A”, followed by the number “2”, as this is track 2 from Side A. Handwritten date on the Track Listing page says “5-8-68”, along with the typewritten instruction “1000 Labels each side 33-1/3”.

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Label Ideal
Catalog Number ILP-164-A2
Recording Format Tape
Genre Ranchera
Performer Tony De La Rosa
Performer Listed on Media Tony De La Rosa
Recording Format Tape
Subject unrequited, love, declaration, lament, complaint, abandonment
Track Number 2
Album title Polkas Y Rancheras - Vol. X
Label Ideal
Country USA
Catalog Number ILP-164-A2
Genre Ranchera
Location of Label:
119 S. Sam Houston San Benito, Texas
Staff Notes: Cut is not slated, as this is a prepared / edited Reel. I assigned the “Ideal Tape #” as “PC-ILP-164”, strictly for cataloguing purposes, by combining the prefix “PC-” (for Protection Copy, as is written on the actual Tape Box spine) to the Release # “ILP-164”, which is also reflected in the handwritten Release # on the Tape Box back, as well as on the typewritten Tape Legend which is affixed to the front of the Tape Box (on “Rio Grande Music Company” stationary). Additionally, for assigning an Ideal Release # for this cut, I combined the aforementioned Tape # (PC-ILP-164), & added “-A”, followed by the number “2”, as this is track 2 from Side A. Handwritten date on the Track Listing page says “5-8-68”, along with the typewritten instruction “1000 Labels each side 33-1/3”.
Donated By: Chris Strachwitz

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