[1] He concentrated on Spanish music, buying radio hours on stations in such towns as McAllen, Texas, and Reynosa, Mexico.

[1] When his main station, XWAW, ceased operations as a border blaster, Ramirez came to realize there was a sizable audience for the music he was promoting.

[3] Ramirez found this necessary as major labels such as RCA Victor, who had previously released numerous recording catering to the Chicano audience, left the genre as a result of World War II shellac rationing and did not resume recording regional music, concentrating instead on larger Hispanic markets in major metropolitan areas such as Mexico City.

[1] Falcon concentrated artists from the local area, including from both sides of the United States-Mexican border, and many of them were undocumented migrants who moved back and forth across.

[2] After signing Los Alegres de Terán, Ramirez recognized conjunto as a powerful cultural development, and actively sought to find other artists in that genre.

[4] Ramirez returned to Afro-Cuban music in 1952 when Orquesta Falcon was formed, a unit which eventually toured Cuba.

[1][12] This syndicated program aired from 1964 to 1981 on 214 stations within the United States including the major Chicago and Los Angeles markets, and was also available in much of Latin America.

[13] The operation grew to include offices and facilities in Austin, Chicago, Denver, Los Angeles, and San Antonio.

[15] Recently returned from military duty, Arnaldo Jr. listened to the tape of the unreleased song "Lo Mucho Que Te Quiero" and decided to release it.

[15] However, the record was released nationally on the White Whale label as Falcon's distribution did not reach English-speaking audiences.

[18] Ramirez named his company Falcon because he liked the action, aggression, appearance, speed and strength represented by that genus of bird.

[19] Falcon's studio location was an optimal spot to record rural norteño music, which appealed to both the working class Hispanic population, as well as to more affluent members of the ethnicity who were seeking nostalgia.

This album was noted for fusing traditional polka-rancheras with jazz phrasing and improvisation, an important innovation within the la Onda movement.