Music of the Fallout series
![Clockwise from upper left: 16" transcription disc, 10" 78 rpm shellac record, 12" vinyl LP record, 8-track tape cartridge, compact disc, 10" 78 rpm vinyl record, reel to reel magnetic tape, 7 inch vinyl 45 rpm EP.](http://upload.wikimedia.org/wikipedia/en/5/5c/Music_of_the_Fallout_series_-_Examples_of_music_formats.jpg)
The music soundtrack of the Fallout series is composed of both licensed music from the mid-century's Jazz Age to the Space Age, as well as original scores by Mark Morgan, Matt Gruber, Devin Townsend, Inon Zur, and Ramin Djawadi. The series also features original songs and covers commissioned for the games as diegetic music heard in the world of Fallout.
Much of the licensed music used in the Fallout series includes popular hits recorded in the 1940s and 1950s in accordance with its atompunk retrofuturistic setting influenced by the post-war culture of 1950s United States in a post-apocalyptic version of the 21st, 22nd and 23rd centuries. However, with the introduction of 2010's Fallout: New Vegas, the Fallout series has also featured licensed recordings from each of nine consecutive decades from the 1920s to the 2000s.
Fallout
Original score
Fallout: The Soundtrack | |
---|---|
Soundtrack album by Mark Morgan | |
Released | 30 September 1997 |
Recorded | c. 1997 |
Genre | Video game music |
Length | 56:17 |
The original score for Fallout was composed by Mark Morgan as an ambient album and includes samples and remixes from other works. The score was released on CD by Interplay Productions in 1997. A selection of tracks was released to fans for free on May 10, 2010, as part of the Vault Archives album.[1][2]
No. | Title | Length |
---|---|---|
1. | "Metallic Monks" | 3:27 |
2. | "Desert Wind" | 3:23 |
3. | "A Trader's Life" | 4:06 |
4. | "The Vault of the Future" | 4:04 |
5. | "Industrial Junk" | 3:27 |
6. | "Moribund World" | 3:06 |
7. | "Vats of Goo" | 3:21 |
8. | "City of the Dead" | 3:27 |
9. | "Second Chance" | 4:06 |
10. | "Underground Troubles" | 3:56 |
11. | "City of Lost Angels" | 3:49 |
12. | "Followers' Credo" | 3:01 |
13. | "Radiation Storm" | 4:00 |
14. | "Acolytes of a New God" | 3:20 |
15. | "Flame of the Ancient World" | 3:10 |
16. | "Khans of New California" | 3:19 |
Licensed soundtrack
Fallout features an additional licensed song by the Ink Spots used in the game's introduction and end credits. The song was later reprised in the soundtracks for Fallout 3, Fallout 4, and Fallout 76.
# | Title | Artist | Recording date | Length |
---|---|---|---|---|
01 | "Maybe" | The Ink Spots | 1940 | 2:56 |
Fallout 2
Original score
Fallout 2: The Soundtrack | |
---|---|
Soundtrack album by Mark Morgan | |
Released | September 30, 1998 |
Recorded | c. 1998 |
Genre | Video game music |
Length | 58:20 |
The original score for Fallout 2 was composed by Mark Morgan as an ambient album and includes samples and remixes from other works as well as previous tracks from Fallout. The score was released on CD by Interplay Productions in 1998. A selection of tracks was released to fans for free on May 10, 2010, as part of the Vault Archives album.[1][2]
No. | Title | Length |
---|---|---|
1. | "A Trader's Life" | 4:06 |
2. | "Moribund World" | 3:06 |
3. | "Khans of New California" | 3:19 |
4. | "Desert Wind" | 3:23 |
5. | "Vats of Goo" | 3:21 |
6. | "City of Lost Angels" | 3:49 |
7. | "Industrial Junk" | 3:27 |
8. | "Underground Troubles" | 3:56 |
9. | "City of the Dead" | 3:27 |
10. | "Follower's Credo" | 3:01 |
11. | "Beyond the Canyon" | 3:17 |
12. | "Dream Town" | 3:19 |
13. | "Biggest Little City in the World" | 3:18 |
14. | "My Chrysalis Highwayman" | 1:10 |
15. | "Many Contrasts" | 3:58 |
16. | "All-Clear Signal" | 3:20 |
17. | "California Revisited" | 1:35 |
18. | "Gold Slouch" | 3:28 |
Licensed soundtrack
Fallout 2 features an additional licensed song by Louis Armstrong used in the game's introduction and end credits. The game also references more modern songs such as a poster prop, also found in the first game, featuring a cropped picture of Maynard James Keenan taken from the liner notes of the rock band Tool's debut 1993 album Undertow. Various non-player characters may quote lyrics from Elton John's 1972 song "Rocket Man", Tina Turner's 1985 song "We Don't Need Another Hero (Thunderdome)" (a reference to the film Mad Max Beyond Thunderdome which heavily inspired the Fallout series), or Sugar Ray's 1997 song "Fly".
# | Title | Artist | Recording date | Length |
---|---|---|---|---|
01 | "A Kiss to Build a Dream On" | Louis Armstrong | 1951 | 3:03 |
Additional Fallout entries
Fallout Tactics: Brotherhood of Steel
The 2001 game Fallout Tactics: Brotherhood of Steel features 20 ambient tracks composed by Inon Zur. An official download was released by GOG.com upon purchasing the game. It is the only Fallout title to not feature a licensed 1950s-inspired track.
Fallout: Brotherhood of Steel
The 2004 game Fallout: Brotherhood of Steel features a number of 1950s-inspired background tracks by Matt Gruber (credited for "Additional Ambient Music") as well as more heavy metal inspired background tracks by Devin Townsend (credited for "Ambient and Battle Music"). The main menu theme, "A Nuclear Blast", was composed by Craig Stuart Garfinkle with sung lyrics as a pastiche of a 1950s nuclear-themed novelty song. An official score album has not been released.
In addition, the game features licensed tracks from modern day heavy metal bands mostly used as non-diegetic battle music.
# | Title | Artist | Recording date | Length |
---|---|---|---|---|
01 | "Temple from the Within" | Killswitch Engage | 2000 | 4:07 |
02 | "The Heretic Anthem" | Slipknot | 2001 | 4:19 |
03 | "People = Shit" | Slipknot | 2001 | 3:35 |
04 | "Slave the Way" | Skinlab | 2002 | 3:15 |
05 | "My Last Serenade" | Killswitch Engage | 2002 | 4:13 |
06 | "Perpetual Black Second" | Meshuggah | 2002 | 4:39 |
07 | "Straws Pulled at Random" | Meshuggah | 2002 | 5:10 |
08 | "Beneath the Surface" | Skinlab | 2003[nb 1] | 3:09 |
09 | "The Dehumanizing Process" | Chimaira | 2003 | 4:10 |
10 | "Pure Hatred" | Chimaira | 2003 | 4:18 |
11 | "Stigmurder" | Chimaira | 2003 | 4:38 |
12 | "Stay With Me (Unlikely)" | Celldweller | 2003 | 3:41 |
13 | "The Last Firstborn" | Celldweller | 2003 | 7:41 |
14 | "Hate" | Society 1[nb 2] | 2003 | 2:50 |
15 | "All You Want" | Society 1 | 2003 | 2:56 |
16 | "Circle" | Cult of Luna | 2003 | 8:10 |
17 | "Losing All" | Skinlab | 2004 | 4:04 |
Van Buren
Game development on the Van Buren project was cancelled in 2003 prior to release. In 2007, a short video of a tech demo created by Black Isle Studios in 2003 was hosted by No Mutants Allowed.[5] The video features a cover of the 1931 song "Dream a Little Dream of Me" recorded by The Beautiful South in 1995.
A download of the tech demo included several ambient tracks from the 2001 compilation album Funeral Songs.[6][7]
# | Title | Artist | Recording date | Length |
---|---|---|---|---|
01 | "Dream a Little Dream of Me" | The Beautiful South | 1995 | 3:30 |
02 | "The Procession of Souls" | Shinjuku Thief | 2001 | 3:35 |
03 | "Night Cortage" | Chaos as Shelter | 2001 | 5:45 |
04 | "A Funeral Dirge for B.R." | Nasopharyngeal | 2001 | 4:56 |
Fallout Online
Fallout Online is a cancelled massively multiplayer online game. Also known as Project V13, game development on the title was cancelled by 2012. In 2010, a teaser trailer was released on the now-defunct Fallout Online website featuring a song by Ma Rainey, "Slave to the Blues" recorded in 1925.[8][9]
# | Title | Artist | Recording date | Length |
---|---|---|---|---|
01 | "Slave to the Blues" | Ma Rainey | 1925 | 2:15 |
Fallout Shelter
A spin-off game of the Fallout series, Fallout Shelter was released just ahead of the announcement and release of 2015's Fallout 4. The game uses edited portions of the Fallout 3's Vault 101 PA system instrumental tracks as part of the background incidental music in the rooms and in the user-interface. It also uses a portion of "Pistol Packin' Mama" and the Nuka-World theme song featured in the Fallout 4 soundtrack.
Fallout 3
Original score
Fallout 3 (Original Game Soundtrack) | |
---|---|
Soundtrack album by Inon Zur | |
Released | October 28, 2008 |
Genre | Video game music |
Length | 1:25:49 |
The original score for Fallout 3 was composed by Inon Zur as an orchestral album. The score was officially released on the iTunes digital store.[10]
The Fallout 3 score was also released several times as a vinyl LP. In 2015 coinciding with the release of Fallout 4, a 14-track picture disc version of the Fallout 3 score was released through Hot Topic.[11] It was reissued as a single LP in 2017 through ThinkGeek.[12] In addition, record label Spacelab9 released a complete 29-track box set for the Fallout 3 score.[13] [14][15] In 2019, this was reissued as a 10th Anniversary Ultimate Edition which also included the licensed music LP Galaxy News Radio - Radio Selections from the Fallout 3 Soundtrack.[16][17]
No. | Title | Length |
---|---|---|
1. | "Main Title" | 2:04 |
2. | "New World, New Order" | 1:34 |
3. | "Lockstep" | 1:37 |
4. | "Price of Honor" | 1:40 |
5. | "Fortress" | 1:41 |
6. | "Unwelcome Guest" | 3:38 |
7. | "Ambush" | 3:29 |
8. | "Never Surrender" | 2:03 |
9. | "Metal on Metal" | 3:28 |
10. | "Behemoth" | 2:43 |
11. | "Think Fast, Shoot Faster" | 3:00 |
12. | "Chance to Hit" | 3:00 |
13. | "Forgotten" | 3:34 |
14. | "Clues in the Darkness" | 3:25 |
15. | "No Way Out But Through" | 3:38 |
16. | "Out of Service" | 3:36 |
17. | "The Ferals" | 3:16 |
18. | "Gotta Start Somewhere" | 2:03 |
19. | "Old Lands, New Frontiers" | 3:28 |
20. | "Pieces of the Past" | 3:25 |
21. | "City of Ruin" | 4:04 |
22. | "Wandering the Wastes" | 3:26 |
23. | "Ashes and Sand" | 2:48 |
24. | "What Remains" | 3:32 |
25. | "Place of Refuge" | 2:37 |
26. | "The Smallest Hope" | 2:44 |
27. | "The Caravans" | 3:31 |
28. | "Megaton" | 3:27 |
29. | "A Stranger in Town" | 3:18 |
Licensed soundtrack
Fallout 3 also features a licensed soundtrack largely from the 40s and 50s which is broadcast as diegetic music on the in-game radio stations: Galaxy News Radio, Enclave Radio, and the Vault 101 PA System. According to the game's credits, the radio features songs from Decca (Geffen), Columbia (Brunswick), King (De Luxe), and RCA Victor Records. Several songs were licensed from Soundies Inc. which had digitized songs from transcription discs made available to the public for the first time. The Ink Spots song "Maybe" was reprised from the 1997 release of Fallout.
Portions of the licensed Fallout 3 soundtrack have been released on official compilation albums. A 5-song sampler CD of the licensed soundtrack and the score was given as a pre-order bonus for Fallout 3 at GameStop retailers.[18][19] The CD was styled as a 45 rpm record from the game's radio station, Galaxy News Radio. In 2019, a 10-song sampler LP Galaxy News Radio - Radio Selections from the Fallout 3 Soundtrack was released by Spacelab9 with Googie-inspired cover art also styled after Galaxy News Radio; it was released as a standalone LP or bundled with the 10th Anniversary Fallout 3 score boxset.[16][20] Three songs were not publicly issued on vinyl before.[nb 3] Due to licensing restrictions, the LP features the later 1947 version of Billie Holiday's "Easy Living" released under Decca Records with the Bob Haggart orchestra instead of the in-game 1937 version of Billie Holiday's "Easy Living" released under Brunswick Records with the Teddy Wilson orchestra.
Galaxy News Radio
# | Title | Artist | Recording date | Length |
---|---|---|---|---|
01 | "Anything Goes" | Cole Porter with Vince Giordano and his Nighthawks | 1934 and 2004[nb 4] | 3:09 |
02 | "Easy Living" | Billie Holiday | 1937 | 3:03 |
03 | "Maybe" | The Ink Spots | 1940[21] | 2:56 |
04 | "I Don't Want to Set the World on Fire" | 1941[22] | 3:07 | |
05 | "Into Each Life Some Rain Must Fall" | The Ink Spots & Ella Fitzgerald | 1944[23] | 3:08 |
06 | "Civilization" | The Andrews Sisters & Danny Kaye | 1947[24] | 3:02 |
07 | "Mighty Mighty Man" | Roy Brown | 1947[25] | 2:34 |
08 | "A Wonderful Guy" | Tex Beneke | 1949[26] | 1:55 |
09 | "Butcher Pete (Part 1)"[nb 5] | Roy Brown | 1949[27] | 2:26 |
10 | "Crazy He Calls Me" | Billie Holiday | 1949 | 3:06 |
11 | "Jazzy Interlude" (Jazz Interlude)[nb 6] | Billy Munn | 1950[nb 7] | 2:50 |
12 | "Swing Doors" | Allan Gray | 1950[nb 8] | 2:59 |
13 | "Happy Times" | Bob Crosby | 1950[nb 9][nb 10] | 2:46 |
14 | "'Way Back Home"[nb 11] | Bob Crosby | 1950[nb 12] | 2:55 |
15 | "Rhythm for You" | Eddy Christiani & Frans Poptie | 1952[nb 13] | 3:00 |
16 | "I'm Tickled Pink" | Jack Shaindlin | 1952[nb 14] | 1:49 |
17 | "Let's Go Sunning" | Jack Shaindlin | 1954[nb 15] | 3:21 |
18 | "Boogie Man" (Treadin' Light)[nb 16] | Sid Phillips | 1960[nb 17] | 2:21 |
19 | "Jolly Days" | Gerhard Trede | s.l.[nb 18] | 1:41 |
20 | "Fox Boogie" | Gerhard Trede | s.l.[nb 19] | 3:16 |
Enclave Radio
The game features an additional radio station that plays fife and drum instrumental arrangements of American patriotic songs, most of which are in the public domain. The specific arrangements were licensed from Sound Ideas which issued the album Time Marches On - Military Marches, Ceremonial, Band Music SI-S1 in 1996[66][67] and under its subsidiary Westar Music as Proud & Spirited - Military/Marches WSR 171 in 2003.[68][69][70]
Selections marked with † are public domain compositions arranged by Rick Rhodes and Danny Pelfrey. Selections marked with ‡ are public domain compositions arranged by Craig Riley (Sound Ideas) or Kelly Richmond (Westar Music). Selections marked with * are original compositions composed by Rick Rhodes and Danny Pelfrey and not derived from a pre-existing public domain patriotic song.
filename | Time Marches On (Sound Ideas, 1996) | Proud & Spirited (Westar Music, 2003) | Length |
---|---|---|---|
mus_enclave_america † | "America the Beautiful" | "America the Beautiful" | 1:08 |
mus_enclave_battlehymn ‡ | "Battle Hymn of the Republic" | "Battle Hymn of the Republic" | 0:30 |
mus_enclave_dixie ‡ | "Dixie" | "Dixie" | 0:47 |
mus_enclave_montezuma ‡ | "Halls of Montezuma (Marine Hymn)" | "Halls of Montezuma" | 0:41 |
mus_enclave_presidential * | "Presidential Entrance"[nb 20] | "March Past" | 1:10 |
mus_enclave_stars † | "Stars and Stripes" | "Stars and Stripes" | 1:20 |
mus_enclave_washington † mus_march_washingtonpost | "Washington Post" | "Washington Post" | 0:56 2:26 |
mus_enclave_yankee ‡ | "Yankee Doodle Dandy" | "Yankee Doodle Dandy" | 1:12 |
Vault 101 PA System
The game also features a radio station which is primarily accessible during the introductory level of the game. Among its announcements, it also plays instrumental jazz songs licensed from Sound Ideas which issued the album Frank's Place SI-N4 in 1995[72][67] and under its subsidiary Westar Music as Jazz - Effortless & Refined WSR 149 in 2003, composed by Jason Nyberg.[73][69][74] The tracks have been retitled and reissued multiple times with different authorship credits between the CD and digital reissues under Sound Ideas and its subsidiaries and licensees.[nb 21] Some songs are more popularly known by their titles from a 2010 digital album, Jazz Band Serenades, retitled and re-authored by the Essential Jazz Masters, though the album was issued after the game's release in 2008.[80]
Portions of the jazz instrumental tracks heard in Vault 101 were also used in the user-interface and background music of the 2015 vault-building simulator Fallout Shelter, a spin-off of the Fallout series. Additional tracks from the same album can be heard in Vault-Tec Radio from 2018's Fallout 76.
filename | Frank's Place (Sound Ideas, 1995) | Jazz - Effortless & Refined (Westar Music, 2003) | Jazz Band Serenades (Hot Ideas, 2010) | Length |
---|---|---|---|---|
mus_vault101_01 | "Basie's Up" | "Making Waves" | "Here Come the Cats!" | 2:36 |
mus_vault101_02 | "Frank's Place" | "Consortium of Cool" | "And All the While I'm Loving You" | 2:56 |
mus_vault101_03 | "Benny" | "Licorice Stick" | "Smoothing the Whole Thing Over" | 2:42 |
mus_vault101_04 | "Be-Bop Shop" | "Music to Burn" | "Jump for Joy" | 2:14 |
mus_vault101_05 | "Hefti" | "Sublime Swing" | "Slow Summer Swing" | 2:38 |
mus_vault101_06 | "Solitary Refinement" | "Meridian" | "Just One of Those Things" | 2:18 |
Original songs and covers
Certain songs may be optionally unlocked by completing an in-game task. Upon completion, a character named Agatha will perform select violin solos on her eponymously named Agatha's Station. According to the credits, the classical music violin performances were recorded for the game by Heather MacArthur.
filename | Composition | Length |
---|---|---|
mus_violin_noodling_01_radio mus_violin_noodling_02_radio mus_violin_noodling_03_radio mus_violin_noodling_04_radio mus_violin_noodling_05_radio mus_violin_noodling_06_radio | musical improvisation | 1:23 1:23 1:22 1:02 1:18 0:43 |
mus_violin_partitano3gigue_bach_radio | Gigue from Johann Sebastian Bach's Partita for Violin No. 3 | 1:52 |
mus_violin_partitano3p_bach_radio | Preludio from Johann Sebastian Bach's Partita for Violin No. 3 | 3:45 |
mus_violin_sonatano2grave_bach_radio | Grave from Johann Sebastian Bach's Sonata No. 2 in A minor | 4:16 |
mus_violin_vc_1stmov_dvorak_radio mus_violin_vc_2ndmov_dvorak_radio | Allegro ma non troppo and Adagio ma non troppo movements from Antonín Dvořák's Violin Concerto in A minor, Op. 53 | 6:24 5:15 |
mus_violin_z_sarasate_radio | Zigeunerweisen by Pablo de Sarasate | 5:15 |
Promotional only
Certain songs were used in promotional material, but were not used in the game itself. The Fallout 3 cinematic trailer presented at E3 2008 on July 15[81] featured the Bob Crosby song "Dear Hearts and Gentle People" which was omitted from the rest of the Bob Crosby songs used in the final game. "Dear Hearts and Gentle People" would later be included with the other Bob Crosby songs in 2015's Fallout 4 and 2018's Fallout 76.
Warner Chappell Production Music provided the opening track for the live-action portion of the trailer, "Picnic Prattle" composed by Cyril Watters.[82][nb 22] The rest of the E3 gameplay demonstration featured instrumental songs from Enclave Radio.[85][86]
Fallout: New Vegas
Original score
Fallout New Vegas: Original Game Soundtrack | |
---|---|
Soundtrack album by Inon Zur (tracks 1-35) & Various | |
Released | October 9, 2010 |
Genre | Video game music |
Length | 2:18:37 |
The original score for Fallout: New Vegas was composed by Inon Zur as an orchestral album. The game also reprises several Mark Morgan score pieces from the Fallout 1 and 2 soundtracks as listed above.[87] The score was officially released on the iTunes digital store.[88]
No. | Title | Music | Length |
---|---|---|---|
1. | "Main Title" | 2:03 | |
2. | "The Doctor is In" | 0:29 | |
3. | "Howdy Partner" | 3:55 | |
4. | "Wasteland Justice" | 2:16 | |
5. | "Mutant Massacre" | 4:11 | |
6. | "No Rest for These Bones" | 4:08 | |
7. | "Industrial De-Evolution" | 4:01 | |
8. | "Not My Vault" | 3:58 | |
9. | "Primm and Proper" | 4:03 | |
10. | "Knock On My Cazador" | 4:10 | |
11. | "Jacobstown Ladder" | 3:58 | |
12. | "CCC Doesn't Work for Free" | 4:02 | |
13. | "Marcus Needs a Favor" | 4:01 | |
14. | "Mountaintop Movement" | 4:05 | |
15. | "Beneath the Streets" | 3:52 | |
16. | "Garden of Evil" | 4:06 | |
17. | "The Courier Walks Softly" | 4:05 | |
18. | "Under the Stars" | 4:03 | |
19. | "TCB in Freeside" | 4:09 | |
20. | "Out of Business" | 3:58 | |
21. | "Subterranean Meltdown" | 4:00 | |
22. | "Rubble of the Forgotten" | 3:55 | |
23. | "The Gangs of Las Vegas" | 1:47 | |
24. | "Junkies in the Trunk" | 4:05 | |
25. | "Boys and Ghouls" | 4:17 | |
26. | "The Two Headed Bear" | 3:58 | |
27. | "Battle for the City" | 2:19 | |
28. | "Rocket to Repconn" | 4:01 | |
29. | "Thorn in my Side" | 4:12 | |
30. | "Blood and the Bull" | 4:21 | |
31. | "Hail Caesar" | 4:22 | |
32. | "Righteous Republic" | 4:04 | |
33. | "The Viper's Sting" | 2:24 | |
34. | "Monsters of the Mojave" | 4:16 | |
35. | "Dam Nation" | 4:05 | |
36. | "Begin Again" | Stephanie Dowling & Justin Bell | 2:10 |
37. | "Home on the Wastes" | Josh Sawyer & Nathaniel Chapman | 2:31 |
38. | "New Vegas Valley" | Josh Sawyer & James Melilli | 1:59 |
39. | "Streets of New Reno" | Josh Sawyer & Nathaniel Chapman | 2:18 |
Note: Tracks 36-39 are not part of the orchestral score composed by Inon Zur and function in the game as diegetic music. Due to licensing restrictions, the album omits an additional song "Cobwebs and Rainbows". They are covered more fully below.
Licensed soundtrack
Fallout: New Vegas also features a licensed soundtrack which is broadcast as diegetic music on the in-game radio stations. The songs cover the gamut from country-western and the 60s Rat Pack-era to more modern music recorded during the 1970s, 1980s, 1990s, and 2000s. According to the game's credits, the radio features songs from Columbia Records, Capitol Records, Decca Records (Geffen), Dominion Entertainment (K-tel),[nb 23] and RCA Victor Records. Several songs were licensed from Soundies Inc. which had digitized songs from transcription discs made available to the public for the first time. The game also features Bing Crosby's "Something's Gotta Give" then-recently digitized in 2009 from previously lost tapes.[90][91] The game also uses a 1979 re-recording of "It's a Sin to Tell a Lie" making it the only Ink Spots song used in the Fallout series that is not the original version released on Decca Records.
Note: The in-game radio stations Radio New Vegas(♠), Mojave Music Radio(♦), and Black Mountain Radio(♣) have separate setlists and host commentary, but also share certain songs as so noted.
# | Station(s) | Title | Artist | Recording date | Length |
---|---|---|---|---|---|
01 | ♠ | "Jingle Jangle Jingle" | Kay Kyser | 1942[92][93][nb 24] | 3:18 |
02 | ♦♣ | "Stars of the Midnight Range" | Johnny Bond | 1944[94] | 2:58 |
03 | ♦♣ | "It's a Sin" | Eddy Arnold | 1946 | 2:30 |
04 | ♠ | "Mad About the Boy" | Helen Forrest | 1950[95] | 2:08 |
05 | ♠ | "Why Don't You Do Right?" | Peggy Lee | 1950[nb 25] | 3:20 |
06 | ♠♦♣ | "Johnny Guitar" | Peggy Lee | 1954 | 3:00 |
07 | ♠ | "Something's Gotta Give" | Bing Crosby | 1955[98][99] | 1:59 |
08 | ♠ | "Love Me As Though There Were No Tomorrow" | Nat King Cole | 1956[nb 26] | 2:34 |
09 | ♦♣ | "Lazy Day Blues" (Big Note Blues) | Bert Weedon | 1958[nb 27] | 2:48 |
10 | ♠♦♣ | "Big Iron" | Marty Robbins | 1959 | 3:59 |
11 | ♠ | "Ain't That a Kick in the Head?" | Dean Martin | 1960 | 2:23 |
12 | ♠ | "Blue Moon" | Frank Sinatra | 1960 | 2:51 |
13 | ♦♣ | "Happy Times" (China Doll)[nb 28] | Bert Weedon | 1961[nb 29] | 1:58 |
14 | ♦♣ | "Roundhouse Rock" (Rockin' at the Roundhouse) | Bert Weedon | 1970[nb 30] | 2:49 |
15 | ♠♦♣ | "It's a Sin to Tell a Lie" | The Ink Spots | 1978[nb 31] | 2:21 |
16 | ♠♦♣ | "Heartaches by the Number" | Guy Mitchell | 1980[nb 32] | 2:34 |
17 | ♦♣ | "Goin' Under" | Wayne Perry & Tommy Smith | 1997[nb 33] | 2:58 |
18 | ♦♣ | "In the Shadow of the Valley" | Lost Weekend Western Swing Band | 1998[nb 34] | 3:04 |
19 | ♦♣ | "Let's Ride into the Sunset Together" | Lost Weekend Western Swing Band | 1998[nb 35] | 3:01 |
20 | ♦♣ | "Lone Star" | Lost Weekend Western Swing Band | 1998[nb 36] | 2:27 |
21 | ♦♣ | "(You Let the Blues Move In) Now I'm Movin' Out" | Billy Roues, Steven Roues, Gary Solomon | 1998[nb 37] | 2:52 |
22 | ♦♣ | "I'm So Blue" | Katie Thompson & Martyn Laight | 2000[nb 38] | 3:37 |
23 | ♠ | "Where Have You Been All My Life?" | John Cacavas & Hal David | 2003[nb 39] | 2:57 |
24 | ♠ | "Sit and Dream" | Laurie Stras | 2009[nb 40] | 1:30 |
25 | ♠ | "American Swing" | Gerhard Trede | s.l.[nb 41] | 1:35 |
26 | ♠ | "Hallo Mister X" | Gerhard Trede | s.l.[nb 42] | 2:10 |
27 | ♠ | "Manhattan" | Gerhard Trede | s.l.[nb 43] | 1:22 |
28 | ♠ | "Slow Bounce" | Gerhard Trede | s.l.[nb 44] | 2:05 |
29 | ♠ | "Strahlende Trompete" | Gerhard Trede | s.l.[nb 45] | 3:07 |
30 | ♠ | "Von Spanien Nach Südamerika" | Gerhard Trede | s.l.[nb 46] | 1:46 |
N.B.:The end credits for the game also list "Hangover Heart" by Hank Thompson licensed from Soundies Inc.; the track was removed from the final version of the game.
Mysterious Broadcast
The game also features an additional radio station tied to the 2011 downloadable content Old World Blues. It features an original song "Begin Again" performed by the character Vera Keyes (see below for further details), as well as Peggy Lee's "Why Don't You Do Right?", Gerhard Trede's "Slow Bounce" and "Manhattan" reprised from the main game's radio station as well as several jazz instrumental tracks previously heard in the main game's casino lobbies.
# | Title | Artist | Recording date | Length |
---|---|---|---|---|
1 | "Begin Again" | Stephanie Dowling (as Vera Keyes) & Justin Bell | 2011 | 2:11 |
2 | "Why Don't You Do Right?" | Peggy Lee | 1950 | 3:20 |
3 | "Joe Cool" (Stars and Teardrops) | Nino Nardini | 1965[nb 47] | 2:26 |
4 | "Blues For You" (Cafard) | Gabriel Parès (Philippe Parès)[nb 48] | 1966[nb 49] | 2:26 |
5 | "Jazz Blues" (Modern Jazz (Blues)) | Gerhard Trede | 1968[nb 50] | 4:59 |
6 | "Slow Sax" | Christof Déjean | 1999[nb 51] | 2:40 |
7 | "Jazz Club Blues" | Harry Bluestone | s.l.[nb 52] | 3:40 |
8 | "Sleepy Town Blues" | Harry Lubin | s.l.[nb 53] | 2:40 |
9 | "Manhattan" | Gerhard Trede | s.l. | 1:22 |
10 | "Slow Bounce" | Gerhard Trede | s.l. | 2:05 |
Additional licensed tracks
Additional classical music songs may play on completion of certain in-game quests or in the casino lobbies including Johann Sebastian Bach's Concerto for Two Violins - Largo ma non tanto, Léo Delibes' Flower Duet, Felix Mendelssohn's "Spring Song", Wolfgang Amadeus Mozart's Piano Concerto No. 21 - Andante, Antonio Vivaldi's Concerto No. 10 - 1 and 3 Allegro, The Four Seasons - "Winter"- Largo, and Richard Wagner's "Ride of the Valkyries".
Original songs and covers
Certain songs may be optionally unlocked by completing an in-game task. The player may recruit the singer characters Bruce Isaac and The Lonesome Drifter to perform at one of the casinos. The Lonesome Drifter sings music based on traditional folk songs with lyrics modified to have in-universe references. Bruce Isaac sings a cover of the 1993 song "Cobwebs and Rainbows" by Dick Walter with lyrics modified to have in-universe references. It is notably the first original cover of a pre-existing modern song used in the Fallout series. The singing voice for all of the original song covers and the modified song lyrics were provided by developer Josh Sawyer with instrumental accompaniment by other game developers, except for "Cobwebs and Rainbows" which uses a pre-existing instrumental written by composer Dick Walter.[143]
The 2010 downloadable content Dead Money features two musician characters, Dean Domino and Vera Keyes. Dean Domino can perform the song "Saw Her Yesterday", a retitled and unedited clip of Bing Crosby's "Something's Gotta Give", previously featured on the main game's radio station. Additional song titles are mentioned, but are unplayable. Vera Keyes sings an original composition, "Begin Again", which serves as the "theme song" of the downloadable content. The song was produced by various members of the Obsidian developer staff: Vera Keyes is voiced by art intern Stephanie Dowling (née Stephanie DeBrule, original credit) with music by Justin Bell, sound designer. Chris Avellone, creative lead, and Mikey Dowling, audio producer, wrote the lyrics.
The song "Begin Again" was featured again on the Mysterious Broadcast radio tied to the 2011 downloadable content Old World Blues. The Bethesda blog released an official download in 2011 followed by official sheet music for the song in 2012.[144][145][146]
Four of the five original song recordings, with the exception of "Cobwebs and Rainbows", were provided on the official iTunes digital release of the Fallout: New Vegas score.[88]
Title | Base composition | In-game character | Performer | Length |
---|---|---|---|---|
"Begin Again" | original composition | Vera Keyes | Stephanie Dowling & Justin Bell | 2:11 |
"Home on the Wastes" | "Home on the Range" (traditional) | The Lonesome Drifter | Josh Sawyer & Nathaniel Chapman | 2:32 |
"New Vegas Valley" | "Red River Valley" (traditional) | The Lonesome Drifter | Josh Sawyer & James Melilli | 2:00 |
"Streets of New Reno" | "Streets of Laredo" (traditional) | The Lonesome Drifter | Josh Sawyer & Nathaniel Chapman | 2:19 |
"Cobwebs and Rainbows" (Green Clouds and Dust Whirls)[nb 54] | "Cobwebs and Rainbows" (1993)[nb 55] | Bruce Isaac | Josh Sawyer & Dick Walter | 2:51 |
Promotional only
Certain songs were used in promotional material, but were not used in the game itself. The 1950 song "Orange Colored Sky" by Nat King Cole was featured in a television commercial promoting Fallout: New Vegas in 2010.[149] The song was not included in the final game, but would be featured in 2015's Fallout 4 and 2018's Fallout 76 as well as 2024's Fallout TV series.
Fallout 4
Original score
Fallout 4: Original Game Soundtrack | |
---|---|
Soundtrack album by Inon Zur | |
Released | November 6, 2015 |
Genre | Video game music |
Length | 3:37:44 |
The original score for Fallout 4 was composed by Inon Zur as an orchestral album. The score was officially released on the iTunes digital store.[150]
The Fallout 4 score was also released several times as a vinyl LP. In 2016, a 8-track picture disc version of the Fallout 4 score was released through GameStop and ThinkGeek.[151][152] In addition, record label Spacelab9 released a complete 65-track box set for the Fallout 4 score.[153][154]
An additional digital EP was officially released on iTunes in 2015 featuring the original covers sung by Lynda Carter in the game, covered more fully below.[155]
No. | Title | Length |
---|---|---|
1. | "Fallout 4 Main Theme" | 3:02 |
2. | "The Commonwealth" | 4:10 |
3. | "Of Green and Grey" | 4:46 |
4. | "Portal to the Past" | 3:37 |
5. | "Standoff" | 2:12 |
6. | "Combat Ready" | 2:02 |
7. | "Deeper and Darker" | 3:45 |
8. | "Wandering - The Blasted Forest, Pt. 1" | 1:29 |
9. | "Brightness Calling" | 4:58 |
10. | "Of the People, for the People" | 5:01 |
11. | "Hope Remains" | 4:19 |
12. | "Wandering - The Blasted Forest, Pt. 2" | 1:58 |
13. | "Predator and Prey" | 2:06 |
14. | "War in the Wastes" | 3:09 |
15. | "Time to Die" | 2:13 |
16. | "Uninvited" | 4:19 |
17. | "Wandering - The City, Pt. 1" | 2:55 |
18. | "Rebuild, Renew" | 6:11 |
19. | "Concrete Mysteries" | 4:23 |
20. | "Tread Carefully" | 4:37 |
21. | "The Infiltrator" | 2:23 |
22. | "No Quarter" | 2:54 |
23. | "Wandering - The City, Pt. 2" | 2:28 |
24. | "The Vigilant" | 3:36 |
25. | "The Warlord" | 1:43 |
26. | "Red Brick, Broken" | 4:22 |
27. | "Lonely Walls" | 4:16 |
28. | "Wandering - The City, Pt. 3" | 3:51 |
29. | "Regrouped, Reloaded" | 2:06 |
30. | "V.A.T.S. or Die" | 2:19 |
31. | "Wandering - The Foothills, Pt. 1" | 3:52 |
32. | "Darkness Falls" | 4:20 |
33. | "War of Wills" | 3:20 |
34. | "Wandering - The Foothills, Pt. 2" | 2:21 |
35. | "Only One Survives" | 2:06 |
36. | "A Critical Chance" | 1:57 |
37. | "Dust & Danger" | 3:21 |
38. | "Liberty Lives" | 3:18 |
39. | "Lost Boston" | 3:58 |
40. | "Wandering - The Foothills, Pt. 3" | 2:27 |
41. | "Honor & Steel" | 4:15 |
42. | "We Are Unstoppable" | 2:05 |
43. | "Dominant Species" | 2:01 |
44. | "Explore and Discover" | 4:28 |
45. | "Wandering - The Glowing Sea, Pt. 1" | 3:28 |
46. | "The Stars My Solace" | 4:16 |
47. | "Imagine Utopia" | 2:52 |
48. | "Lone Wandering" | 4:23 |
49. | "Wandering - The Glowing Sea, Pt. 2" | 2:05 |
50. | "The Last Mariner" | 5:24 |
51. | "Echoes of the Dead" | 2:07 |
52. | "Enough is Enough" | 2:17 |
53. | "Wandering - The Coast, Pt. 1" | 1:54 |
54. | "Humanity's Hope" | 3:05 |
55. | "Endless Ocean, Endless Dreams" | 5:33 |
56. | "No Voices, No Cries" | 2:12 |
57. | "Wandering - The Coast, Pt. 2" | 3:56 |
58. | "Covert Action" | 3:33 |
59. | "Rise and Prevail" | 2:14 |
60. | "No More Sails" | 4:19 |
61. | "Wandering - The Coast, Pt.3" | 3:33 |
62. | "In This Together" | 4:46 |
63. | "Still Standing" | 4:02 |
64. | "Science & Secrecy" | 3:57 |
65. | "Fallout 4 Main Theme ('Spinner Mix')" | 2:49 |
Licensed soundtrack
Fallout 4 also features a licensed soundtrack which is broadcast as diegetic music on the in-game radio stations. According to the game's credits, the radio features songs from Decca (Geffen), Columbia (Brunswick), King (De Luxe), Capitol, Dot, Sun, Laurie and RCA Victor Records. Comparing the credits from the previous games, several songs previously licensed from Soundies Inc., which had digitized songs from transcription discs to make them available to the public for the first time, are now licensed from The Orchard following the dissolution of Soundies Inc.[156]
The licensed soundtrack reprises nearly all the songs featured on Fallout 3's main radio station with the exception of the songs credited to APM Music. It additionally features the songs "Dear Hearts and Gentle People" and "Orange Colored Sky", previously only used in promotional material for previous Fallout games. Part 2 of "Butcher Pete" was also newly added along with the pre-existing Part 1. A number of atomic and nuclear themed novelty songs were added to the soundtrack when audio director Mark Lampert was shown and become interested in "a pocket of music that [he] hadn't heard before" and as a 1950s commentary of "there's almost a naiveté to the lyrics in these songs – as if these were children playing with something [atomic weapons] they didn't understand."[157]
Lynda Carter also provides original songs for the character Magnolia which can be optionally unlocked and added to the game's main radio station, Diamond City Radio. In total in addition to 5 songs from Magnolia, 25 songs are new to the Fallout series radio with 12 songs being reprised.
Diamond City Radio
Note: Tracks which have been reprised from 2008's Fallout 3 are marked with ▲. Please refer to the Fallout 3 section for their annotations. Tracks which were previously used only in promotional material are marked with ⁋.
# | Title | Artist | Recording date | Length |
---|---|---|---|---|
01 | "Anything Goes"▲ | Cole Porter with Vince Giordano and his Nighthawks | 1934 and 2004 | 3:09 |
02 | "Easy Living"▲ | Billie Holiday | 1937 | 3:03 |
03 | "Undecided" | Ella Fitzgerald | 1939 | 3:13 |
04 | "Keep A-Knockin'" | Louis Jordan | 1939 | 2:29 |
05 | "Maybe"▲ | The Ink Spots | 1940 | 2:56 |
06 | "I Don't Want to Set the World on Fire"▲ | The Ink Spots | 1941 | 3:07 |
07 | "Pistol Packin' Mama" | The Andrews Sisters & Bing Crosby | 1943[158] | 3:19 |
08 | "Into Each Life Some Rain Must Fall"▲ | The Ink Spots & Ella Fitzgerald | 1944 | 3:08 |
09 | "Ac-Cent-Tchu-Ate the Positive" | Bing Crosby (solo version) | 1945[nb 56] | 1:08 |
10 | "Personality" | Johnny Mercer & The Pied Pipers | 1946 | 2:49 |
11 | "One More Tomorrow" | Frankie Carle & Marjorie Hughes | 1946[nb 57] | 3:18 |
12 | "Good Rocking Tonight" | Roy Brown | 1947[162] | 3:01 |
13 | "Mighty Mighty Man"▲ | Roy Brown | 1947 | 2:34 |
14 | "Civilization"▲ | The Andrews Sisters & Danny Kaye | 1947 | 3:02 |
15 | "It's All Over but the Crying" | The Ink Spots | 1947[163] | 2:49 |
16 | "Worry Worry Worry" | The Three Suns | 1948[nb 58] | 2:30 |
17 | "Grandma Plays the Numbers" | Wynonie Harris | 1948[166] | 2:39 |
18 | "A Wonderful Guy"▲ | Tex Beneke | 1949 | 1:55 |
19 | "Butcher Pete (Part 1)"▲ | Roy Brown | 1949 | 2:26 |
20 | "Butcher Pete (Part 2)" | Roy Brown | 1949[nb 59] | 2:40 |
21 | "Crazy He Calls Me"▲ | Billie Holiday | 1949 | 3:06 |
22 | "Orange Colored Sky"⁋ | Nat King Cole | 1950[nb 60] | 2:45 |
23 | "He's a Demon, He's a Devil, He's a Doll" | Betty Hutton | 1950[nb 61] | 3:14 |
24 | "Happy Times"▲ | Bob Crosby | 1950 | 2:46 |
25 | "'Way Back Home"▲ | Bob Crosby | 1950 | 2:55 |
26 | "Dear Hearts and Gentle People"⁋ | Bob Crosby | 1950[nb 62] | 2:15 |
27 | "Sixty Minute Man" | Billy Ward and his Dominoes | 1950[170] | 2:31 |
28 | "It's a Man" | Betty Hutton | 1951[nb 63] | 3:09 |
29 | "Rocket 69" | Todd Rhodes & Connie Allen | 1951[172] | 2:49 |
30 | "Uranium Fever" | Elton Britt | 1955[nb 64] | 2:19 |
31 | "Whole Lotta Shakin' Goin' On" | Big Maybelle | 1955 | 2:44 |
32 | "Atom Bomb Baby"[nb 65] | The Five Stars[nb 66] | 1957[nb 67] | 2:18 |
33 | "Right Behind You Baby" | Ray Smith | 1958 | 2:27 |
34 | "Uranium Rock" | Warren Smith | 1958[nb 68] | 2:05 |
35 | "Crawl Out Through the Fallout" | Sheldon Allman | 1960[nb 69] | 2:20 |
36 | "The Wanderer" | Dion DiMucci | 1961 | 2:51 |
37 | "The End of the World" | Skeeter Davis | 1962 | 2:33 |
N.B.: Five additional songs by the character Magnolia can be optionally unlocked and added to the radio by performing an in-game task. They are covered more fully below.
Radio Freedom
The Radio Freedom station features a total of 11 songs played on the fiddle or violin in the style of United States colonial era music. The titles and the performer(s) are not known.
Settlement Recruitment Beacon
The player can build an optional radio station antenna which broadcasts the same music used in Enclave Radio in Fallout 3.
Classical Radio
The Classical Radio station features around 30 instrumental pieces of classical music by various composers.
Original songs and covers
Fallout 4 (Original Game Soundtrack) - EP | |
---|---|
Soundtrack album by Lynda Carter, John Jarvis, Kerry Marx | |
Released | November 6, 2015 |
Genre | Video game music |
Length | 15:10 |
Certain songs may be optionally unlocked by completing an in-game task. Upon completion the character Magnolia can have her songs added to the Diamond City Radio setlist. Actress and singer Lynda Carter provided the voice for Magnolia in addition to writing the songs along with songwriter John Barlow Jarvis and guitarist Kerry Marx. Session players from Nashville included director/drummer Paul Leim and horn player "Blue Lou" Marini.[157] The 5 songs were officially released as a digital EP on the iTunes digital store.[155]
No. | Title | Length |
---|---|---|
1. | "I'm the One You're Looking for" | 3:25 |
2. | "Baby It's Just You" | 2:33 |
3. | "Good Neighbor" | 3:35 |
4. | "Man Enough" | 3:23 |
5. | "Train Train" | 2:14 |
Raider Radio
The game also features an additional radio station tied to the 2016 downloadable content Nuka-World. It features original songs performed by the character RedEye who also hosts the radio station. Musician Andrew W.K. wrote and performed the songs in addition to voicing the character. He described working on character as, "When I pictured RedEye, I kind of imagined myself being more filthy and ravaged than ever - like I would be after not sleeping for two months and drinking nothing but radioactive cola. That's actually pretty close to how I actually felt during the voiceover recording sessions for the game. I was drinking super intense custom energy drinks and I hadn't slept in days. I think it worked great as a method for getting into character - I was totally fried and sizzling!"[182]
# | Title | Length |
---|---|---|
01 | "One Last Score" | 1:37 |
02 | "Baby, Quite Raidin' My Heart" | 2:00 |
03 | "Gimme What You Got" | 2:20 |
04 | "The Legend of Atlas (Part 1)" | 2:12 |
05 | "The Legend of Atlas (Part 2)" | 3:36 |
06 | "The Legend of RedEye" | 2:35 |
07 | "The Legend of RedEye's Name" | 2:33 |
The Nuka World downloadable content also features the titular theme song and jingle which plays over the theme park's loudspeaker systems on repeat. It was produced by COPILOT Music and Sound and officially released as a digital single on the iTunes digital store.[183][184]
No. | Title | Length |
---|---|---|
1. | "Nuka-World Theme Song (From Fallout 4: Nuka World)" | 1:21 |
Promotional only
Certain songs were used in promotional material, but were not used in the game itself. During E3 2016, the promotional trailer for the downloadable content the Contraptions Workshop featured Raymond Scott's "Powerhouse" instrumental.[185][186]
The promotional trailer for the virtual reality version of Fallout 4 (Fallout 4 VR) shown at E3 2017 featured "Mr. Sandman".[187][188] The song would later be used in 2018's Fallout 76.
Fallout 76
Original score
Fallout 76 (Original Game Score) | |
---|---|
Soundtrack album by Inon Zur | |
Released | December 16, 2018 |
Genre | Video game music |
Length | 2:52:50 |
The original score for Fallout 76 was composed by Inon Zur as an orchestral album. The score was officially released on the Apple Music digital store.[189]
Portions of Fallout 76 score were also released as a vinyl record and CD. In 2018, French retailer Micromania offered a pre-order bonus 10-track LP featuring 5 songs from the Fallout 76 score and 5 songs from the Fallout 4 score.[190][191] A 5-track sampler CD was also offered at various game retailers.
Two additional singles of the covers of "Take Me Home, Country Roads" and "Ring of Fire" by Spank were also officially released on Apple Music, covered more fully below.[192][193]
No. | Title | Length |
---|---|---|
1. | "Main Theme" | 2:40 |
2. | "Reclamation Day" | 3:34 |
3. | "You Must Rebuild" | 4:17 |
4. | "Invisible Ghosts" | 4:29 |
5. | "Find Me There" | 4:40 |
6. | "The Mole Miners" | 2:28 |
7. | "Contact!" | 1:18 |
8. | "You Can't Hide Forever" | 2:25 |
9. | "Wandering Appalachia, Pt. I" | 7:45 |
10. | "Burn Away the Mist" | 3:37 |
11. | "The Wind and the Reeds" | 4:20 |
12. | "The Savage Divide" | 4:10 |
13. | "Blackwater" | 2:12 |
14. | "Pest Control" | 1:11 |
15. | "Facing Myths" | 1:49 |
16. | "Wandering Appalachia, Pt. II" | 10:18 |
17. | "Gather Around the C.A.M.P. Fire" | 4:20 |
18. | "The Grafton Damned" | 4:34 |
19. | "Out There in Appalachia" | 4:03 |
20. | "The Power Plant" | 2:32 |
21. | "We Are One..." | 1:14 |
22. | "This Is Your Death" | 1:43 |
23. | "Wandering Appalachia, Pt. III" | 10:30 |
24. | "Lit Only by the Stars" | 4:13 |
25. | "Moonrise" | 4:27 |
26. | "The Excavator" | 4:21 |
27. | "Catacombers" | 2:25 |
28. | "We Hold the Line Here" | 2:14 |
29. | "Wandering Appalachia, Pt. IV" | 11:21 |
30. | "Nightfall in the Mire" | 3:57 |
31. | "A Light Up Ahead" | 4:39 |
32. | "Crags and Cliffs" | 4:04 |
33. | "Landscape Lament" | 4:18 |
34. | "Hesitation Is Discouraged" | 2:20 |
35. | "Wandering in Appalachia, Pt. V" | 9:03 |
36. | "Ash Heap Lullaby" | 4:23 |
37. | "Three Minutes" | 2:52 |
38. | "Scorched Earth" | 2:13 |
39. | "Wandering in Appalachia, Pt. VI" | 11:07 |
40. | "Our Way of Life Will Endure" | 4:28 |
Another score installment was added with the early 2020 downloadable content Wastelanders. The score was officially released on the Apple Music digital store.[194]
Fallout 76: Wastelanders (Original Game Score) | |
---|---|
Soundtrack album by Inon Zur | |
Released | April 7, 2020 |
Genre | Video game music |
Length | 1:06:54 |
No. | Title | Length |
---|---|---|
1. | "Wastelanders Main Theme" | 2:20 |
2. | "Wayward Souls" | 3:42 |
3. | "Strength in Numbers" | 4:27 |
4. | "Foundation" | 4:25 |
5. | "Wandering Appalachia: Part 7" | 5:27 |
6. | "Stay Clear of the Space Station" | 4:20 |
7. | "Appalachia Has Changed" | 4:14 |
8. | "What Kind of Future" | 3:58 |
9. | "Stick Together" | 4:27 |
10. | "The Crater" | 4:26 |
11. | "Whisper a Story" | 4:20 |
12. | "All That Glitters" | 4:25 |
13. | "Wandering Appalachia: Part 8" | 6:20 |
14. | "Follow Me" | 4:15 |
15. | "Appalachian Retrospective" | 5:48 |
An additional score installment was added for the late 2020 downloadable content Steel Dawn. The score was officially released on the Apple Music digital store.[195]
Fallout 76: Steel Dawn (Original Game Score) | |
---|---|
Soundtrack album by Inon Zur | |
Released | February 4, 2021 |
Genre | Video game music |
Length | 1:00:12 |
No. | Title | Length |
---|---|---|
1. | "Steel Dawn Main Theme" | 2:27 |
2. | "Homecoming" | 3:52 |
3. | "Descent" | 3:37 |
4. | "Dawn Patrol" | 3:50 |
5. | "Into the Unknown" | 4:21 |
6. | "Darkness into Light" | 3:51 |
7. | "Atlas" | 3:43 |
8. | "In Our Midst" | 3:16 |
9. | "Wildwood" | 3:52 |
10. | "Lying in Wait" | 3:16 |
11. | "A New Dawn" | 3:38 |
12. | "Valor" | 3:44 |
13. | "Respite" | 3:47 |
14. | "Uncertain Rest" | 3:50 |
15. | "Mission" | 3:40 |
16. | "Something Lurking" | 2:12 |
17. | "M.I.A." | 3:16 |
Licensed soundtrack
Fallout 76 also features a licensed soundtrack which is broadcast as diegetic music on the in-game radio stations. Many songs are themed towards the game's setting in Appalachia with country and bluegrass songs as well as songs relating to the coal mining industry. According to the game's credits, the radio features songs from Decca (Geffen), Columbia, King (De Luxe), Capitol, Dot, MGM, Cadence, and RCA Victor Records. Comparing the credits from the previous games, only "Dear Hearts and Gentle People" was licensed from Soundies Inc., which had prior to going defunct had digitized songs from transcription discs to make them available to the public for the first time, and is co-credited in the credits with The Orchard. An additional song, "Headin' Down the Wrong Highway" was taken from the same 2000 album of Johnny Bond songs also used for Fallout: New Vegas.[196] The song is credited as licensed from Bloodshot Records which had formerly partnered with Soundies Inc. to preserve music from transcription discs.[197][198]
In addition to the customary songs from the 40s and 50s, the game features many more songs from the 1930s as well as including songs from the 1960s. For the main station, Appalachia Radio, 36 songs are new to the Fallout series. 11 songs were reprised from previous games (6 originally from the radio of Fallout 3, 5 from the radio of Fallout 4). Two additional covers of "Take Me Home, Country Roads" and "Ring of Fire" were added to the radio in subsequent updates, covered more fully below.
Appalachia Radio
Note: Tracks which were originally reprised from 2008's Fallout 3 are marked with ▲. Tracks which have been newly reprised from 2015's Fallout 4 are marked with a ■. Please refer to the Fallout 3 and Fallout 4 sections for their respective annotations. Tracks which were previously used only in promotional material are marked with ⁋.
# | Title | Artist | Recording date | Length |
---|---|---|---|---|
01 | "It's Nobody's Fault but Mine" | Blind Willie Johnson | 1927 | 3:11 |
02 | "Happy Days Are Here Again" | Ben Selvin | 1930[199] | 3:18 |
03 | "Doin' the Uptown Lowdown" | Isham Jones | 1933[200] | 2:40 |
04 | "I Can't Dance (I Got Ants in My Pants)" | Chick Webb | 1934[201] | 3:00 |
05 | "Anything Goes"▲ | Cole Porter with Vince Giordano and his Nighthawks | 1934 and 2004 | 3:09 |
06 | "Just a Fair Weather Friend" | Henry King (musician) | 1934[202] | 3:06 |
07 | "Keep A-Knockin'"[nb 70] | Milton Brown | 1936[nb 71] | 2:37 |
08 | "When I Get Low I Get High" | Ella Fitzgerald & Chick Webb | 1936[203] | 2:27 |
09 | "Steel Guitar Rag" | Bob Wills | 1936[nb 72] | 2:33 |
10 | "Midnite in Madhouse"[nb 73] | Chick Webb | 1937[205] | 2:37 |
11 | "Ol' Man Mose" | Eddy Duchin | 1938[206] | 2:26 |
12 | "Jumpin' at the Woodside" | Count Basie | 1938[207] | 3:12 |
13 | "Maybe"▲ | The Ink Spots | 1940 | 2:56 |
14 | "We Three (My Echo, My Shadow and Me)" | The Ink Spots | 1940[21] | 3:21 |
15 | "In a Shanty in Old Shanty Town" | Johnny Long | 1940[nb 74] | 3:10 |
16 | "Walking the Floor Over You" | Ernest Tubb | 1941 | 2:06 |
17 | "I Don't Want to Set the World on Fire"▲ | The Ink Spots | 1941 | 3:07 |
18 | "Juke Box Saturday Night"[nb 75] | Glenn Miller | 1942 | 3:11 |
19 | "Mr. Five by Five" | Ella Mae Morse & Freddie Slack | 1942 | 3:00 |
20 | "Ain't Misbehavin'" | Fats Waller | 1943[nb 76] | 3:58 |
21 | "Pistol Packin' Mama"■ | The Andrews Sisters & Bing Crosby | 1943 | 3:19 |
22 | "Headin' Down the Wrong Highway" | Johnny Bond | 1944[94] | 1:38 |
23 | "Straighten Up and Fly Right" | The Andrews Sisters | 1944[159] | 2:27 |
24 | "Don't Fence Me In" | Bing Crosby & The Andrews Sisters | 1949[159] | 3:06 |
25 | "Opus No. 1" | Tommy Dorsey[nb 77] | 1944 | 3:00 |
26 | "Salt Pork, West Virginia" | Louis Jordan | 1945 | 3:02 |
27 | "Pig Foot Pete" | Ella Mae Morse & Freddie Slack[nb 78] | 1946[nb 79] | 2:53 |
28 | "Civilization"▲ | The Andrews Sisters & Danny Kaye | 1947 | 3:02 |
29 | "Bubbles in My Beer" | Bob Wills | 1947[215] | 2:17 |
30 | "Answer to Drivin' Nails in My Coffin"[nb 80] | Jerry Irby | 1948[nb 81] | 2:51 |
31 | "It's All Over but the Crying"■ | The Ink Spots | 1947 | 2:49 |
32 | "Two Left Hands" | Freddie Slack | 1948[nb 82] | 3:01 |
33 | "I Didn't Know the Gun Was Loaded" | Patsy Montana | 1949[nb 83] | 2:44 |
34 | "A Good Man is Hard to Find" | Cass Daley | 1949[nb 84] | 2:35 |
35 | "Butcher Pete (Part 1)"▲[nb 85] | Roy Brown | 1949 | 2:26 |
36 | "Crazy He Calls Me"▲ | Billie Holiday | 1949 | 3:06 |
37 | "Orange Colored Sky"■ | Nat King Cole | 1950 | 2:45 |
38 | "Dear Hearts and Gentle People"■ | Bob Crosby | 1950 | 2:15 |
39 | "Mr. Sandman"⁋ | The Chordettes | 1954 | 2:22 |
40 | "Uranium" | The Commodores[nb 86] | 1955[nb 87] | 2:15 |
41 | "Dark as a Dungeon" | Tennessee Ernie Ford | 1955 | 2:48 |
42 | "Sixteen Tons" | Tennessee Ernie Ford | 1955 | 2:50 |
43 | "Atom Bomb Baby"■ | The Five Stars | 1957 | 2:18 |
44 | "Ghost Riders in the Sky" | Sons of the Pioneers | 1959[nb 88] | 2:24 |
45 | "Shenandoah" | Tennessee Ernie Ford | 1961[nb 89] | 3:06 |
46 | "Praise the Lord and Pass the Ammunition" | Former Kay Kyser Orchestra[nb 90] | 1961[nb 91] | 2:35 |
47 | "Wouldn't It Be Nice" | The Beach Boys | 1966 | 2:33 |
N.B.: The two covers of "Take Me Home, Country Roads" and "Ring of Fire" by doo-wop group Spank were added to Appalachia Radio in subsequent updates. They are covered more fully below. Five songs were present in the early public beta test of the game: Bing Crosby's "Swinging on a Star", Sons of the Pioneers' "Tumbling Tumbleweeds", Cab Calloway's "Jumpin' Jive", Jerry Irby's "Great Long Pistol", and Emmett Miller's "That's the Good Old Sunny South". The reason for their removal and the exact versions previously used are not known as this time.[nb 92]
Classical Radio
Similar to Fallout 4, Classical Radio station in Fallout 76 features around 60 instrumental pieces of classical music by various composers.
Vault-Tec Radio
The game also features a radio station which is primarily accessible during the introductory level of the game. It plays many of the same jazz instrumental tracks heard in Fallout 3's Vault 101 PA System with the exception of the track called Be-Bop Shop/Music to Burn/Jump for Joy. Two of the tracks are alternative mixes of the Fallout 3 versions present on the original 1995 Sound Ideas album composed by Jason Nyberg,[nb 93] but emphasize different instruments. It also features three additional tracks from the same album: A Night in Topeka/Sweet Cicely/You've Stolen My Heart, Someday/Straight and Narrow, and Dinner for Two/Wallflower/Last Dance of the Night. Several of the alternative mixes were re-released as a digital album using the Westar titles and reattributed to the Dinner Music Ensemble for the 2015 album Date Night.[229]
filename | Frank's Place (Sound Ideas, 1995) | Jazz - Effortless & Refined (Westar Music, 2003) | Jazz Band Serenades (Hot Ideas, 2010) | Length |
---|---|---|---|---|
mus_vault76muzak_a | "Benny" | "Licorice Stick" | "Smoothing the Whole Thing Over" | 2:42 |
mus_vault76muzak_b | "Hefti" | "Sublime Swing" | "Slow Summer Swing" | 2:38 |
mus_vault76muzak_c (alt. mix) [nb 94] | "Basie's Up" | "Making Waves" | "Here Come the Cats!" | 2:36 |
mus_vault76muzak_d (alt. mix) [nb 95] | "Frank's Place" | "Consortium of Cool" | "And All the While I'm Loving You" | 2:56 |
mus_vault76muzak_e (alt. mix) [nb 96] | "A Night in Topeka" | "Sweet Cicely" | "You've Stolen My Heart" | 2:49 |
mus_vault76muzak_f | "Someday" | "Straight and Narrow" | n/a | 2:44 |
mus_vault76muzak_g | "Solitary Refinement" | "Meridian" | "Just One of Those Things" | 2:18 |
mus_vault76muzak_h (alt. mix) [nb 97] | "Dinner for Two" | "Wallflower" | "Last Dance of the Night" | 3:10 |
Additional licensed tracks
In 2019, APM Music released a statement revealing it had provided "100+ cues licensed for Fallout 76".[230] APM Music also released an official digital album in 2018 featuring 39 tracks licensed for the game.[231] Several tracks serve as background music for the game's item store, the Atomic Shop, with seasonal Halloween and Christmas song variants. Others play during gameplay such as on the game's jukeboxes, gramophones, and specific quests including "Jazz Potatoes" from the Wasted on Nukashine quest and "One More Pils" for a quest based on Fastnacht.
Original songs and covers
Two original covers of the songs "Ring of Fire" and "Take Me Home, Country Roads" were recorded by New York-based doo wop group Spank, produced by COPILOT Music and Sound, and arranged by Ravi Krishnaswami. "Country Roads" was introduced in the debut trailer for Fallout 76 in 2018 while "Ring of Fire" was introduced in the trailer for the 2019 downloadable content Nuclear Winter.[232][233] The cover of the 1971 song "Country Roads" is the second original cover of a pre-existing modern song used in the Fallout series, the first being the cover of the 1993 song "Cobwebs and Rainbows" from Fallout: New Vegas.
In a 2019 interview, Spank group member Scout Ford noted that getting the opportunity to record the songs was a happy coincidence from performing at a child's birthday party to the parents putting them in contact with the Fallout 76 producers. Specifically, they wanted a certain musical tone and "We did it according to what the client wanted, but we were able to layer the harmonies with our own sound".[234]
Initially used in the promotional trailers for the game, both songs were added to the in-game radio and officially released on the Apple Music digital store.[192][193] In 2018, Bethesda announced all proceeds from the digital sales of "Country Roads" were being donated to Habitat for Humanity, assuring a minimum US$100,000 donation.[235][236] The cover of "Take Me Home, Country Roads" also saw a physical release as a vinyl 45 record given as a promotional item with the December 2018 issue of Stack magazine from Australian retailer JB Hi-Fi.[237]
No. | Title | Length |
---|---|---|
1. | "Take Me Home, Country Roads" | 3:01 |
2. | "Ring of Fire" | 3:00 |
Promotional only
Certain songs were used in promotional material, but were not used in the game itself. During E3 2018, a shorter variation of the "Let's Work With Others" trailer for Fallout 76 featured Ray Smith's song "Right Behind You Baby", previously used in Fallout 4, but not in Fallout 76.[238] The promotional trailer for the early 2020 downloadable content Wastelanders featured Eddie Cochran's "C'mon Everybody".[239] The 2020 Summer Update trailer for The Legendary Run season featured the song "The More I Get, The More I Want" by the contemporary Swedish-Danish band, The Kokomo Kings.[240]
The trailer for the late 2020 downloadable content Steel Dawn featured the Outlaws' cover of the song "(Ghost) Riders in the Sky: A Cowboy Legend" taken from their 1980 album Ghost Riders.[241] Fallout 76 had previously featured the 1959 Sons of the Pioneers version of the song. The 2020 Year in Review trailer featured the rockabilly song "Keep on Rollin" by Terry Devine-King.[242]
Fallout (TV Show)
Fallout (Original Amazon Series Soundtrack) | |
---|---|
Soundtrack album by | |
Released | April 8, 2024 |
Recorded | 2023–2024 |
Length | 72:45 |
Label | Amazon Content Services |
Producer | Ramin Djawadi |
The soundtrack for Fallout (American TV series) was composed by Ramin Djawadi. The soundtrack was released on April 8, 2024 through Amazon Content Services 2 days before the series' release.
No. | Title | Length |
---|---|---|
1. | "Brotherhood of Steel (Full Version)" | 6:27 |
2. | "The Ghoul" | 5:41 |
3. | "Ice Cream and Apple Pie" | 3:10 |
4. | "Vault 33" | 4:54 |
5. | "Artifact" | 3:22 |
6. | "Shady Sands" | 3:27 |
7. | "Feo Fuerte y Formal" | 2:05 |
8. | "Rebuild Together" | 0:35 |
9. | "Surface Dweller Tradition" | 4:43 |
10. | "Golden Rule" | 2:22 |
11. | "Are You Compromised?" | 3:14 |
12. | "I Hate It Up Here" | 1:50 |
13. | "Bringing Order to the Wasteland" | 3:16 |
14. | "Management" | 1:55 |
15. | "Vault-Tec" | 3:08 |
16. | "Think About the Future" | 3:21 |
17. | "All the Answers" | 8:26 |
18. | "Run for the Hills" | 2:40 |
19. | "War Never Changes" | 2:25 |
20. | "Do the Right Thing" | 2:22 |
21. | "T-60" | 3:22 |
Total length: | 72:45 |
Licensed soundtrack
The Fallout TV Show also includes licensed tracks similar to the in-game radio stations. Many of the tracks are new to the series and have not appeared in any Fallout media previously.
# | Title | Artist | Recording date | Length |
---|---|---|---|---|
01 | "Orange Colored Sky" | Nat King Cole | 1950 | 2:45 |
02 | "Journey Into Melody" | Sam Fonteyn | N/A | 3:09 |
03 | "Don't Let the Stars Get in Your Eyes" | Perry Como | 1952 | 2:44 |
04 | "Who Do You Suppose" | Connie Conway | 1956 | 2:21 |
05 | "Some Enchanted Evening" | The Castells | 1963 | 2:34 |
06 | "Start It Slow" | Mari Jones with Johnny Moore's Three Blazers | 1951-1954 | N/A |
07 | "Keep That Coffee Hot" | Scatman Crothers | 1955 | 2:40 |
08 | "A Nervous Kiss" | Carl Coccomo | 1952 | 2:44 |
09 | "So Doggone Lonesome" | Johnny Cash | 1955 | 2:35 |
10 | "All Over Again" | Johnny Cash | 1958 | 2:35 |
11 | "Brighter Side" | Connie Conway | 1956 | 2:38 |
12 | "Mariachi De Amigos" | Donald Quan and Rick Lazar | N/A | 2:40 |
13 | "Crawl Out Through The Fallout" | Sheldon Allman | 1960 | 2:20 |
14 | "Into Each Life Some Rain Must Fall" | The Ink Spots with Ella Fitzgerald | 1944 | 3:08 |
15 | "Don't Fence Me In" | Bing Crosby & The Andrews Sisters | 1944 | 3:06 |
16 | "It's A Man" | Betty Hutton | 1951 | 2:25 |
17 | "I Don't Want To Set The World On Fire" | The Ink Spots | 1941 | 3:07 |
18 | "Maybe" | The Ink Spots | 1940 | 2:56 |
19 | "We'll Meet Again" | The Ink Spots | 1941 | 3:11 |
20 | "Tweedle Dee" | LaVern Baker | 1954 | 2:55 |
21 | "In The Mood" | Glenn Miller and His Orchestra | 1939 | 3:40 |
22 | "Act Naturally" | Buck Owens | 1963 | 2:19 |
23 | "Let's Go Sunning" | Jack Shaindlin | 1954 | 3:21 |
24 | "Just Fine" | Michael Brown and Company | 1962 | 2:45 |
25 | "What To Do" | Buddy Holly | 1961 | 1:51 |
26 | "It Ain't The Meat (It's The Motion)" | The Swallows | 1951 | 2:36 |
27 | "I Can Dream, Can't I?" | The Andrews Sisters | 1949 | 2:36 |
28 | "Henry" | The Jet Tones | 1959 | 2:08 |
29 | "Robin In The Pine" | Bonnie Guitar | 1952 | 2:21 |
30 | "The Battle Hymn Of The Republic" | William Steffe and Julia Ward Howe | 1996 | 1:28 |
31 | "National Pride" | Cedric King Palmer | N/A | 2:55 |
32 | "Ladyfingers" | Herb Alpert and The Tijuana Brass | 1965 | 2:44 |
33 | "What A Diff'rence A Day Makes" | Dinah Washington | 1959 | 2:31 |
34 | "It's Just A Matter Of Time" | Brook Benton | 1959 | 2:28 |
35 | "Texas And Beyond" | John Scott | N/A | 0:45 |
36 | "Improvisation on Tchaikovsky's ‘Pathetique’ (Andante)" | Django Reinhardt | N/A | 3:44 |
37 | "Dardanella" | Alvino Rey and His Orchestra | 1946 | 3:22 |
38 | "Theme from A Summer Place" | Percy Faith | 1959 | 2:25 |
39 | "Lonely Hours" | Gene Armstrong and His Texas Nite Hawks | 1954 | 3:03 |
40 | "Summer In Love" | I Marc 4 | 1976 | 3:11 |
41 | "Give Me The Simple Life" | June Christy | 1957 | 2:18 |
42 | "Skitter Skatter" | The Metrotones | 1957 | 2:15 |
43 | "I'm Tickled Pink" | Jack Shaindlin | 1952 | 1:49 |
44 | "Sixteen Tons" | Merle Travis | 1947 | 2:50 |
45 | "Only You" | The Platters | 1955 | 2:36 |
46 | "Bossa Angela" | Roland Kovač and His Orchestra | 1972 | 2:35 |
47 | "Minutemen Radio" | Heather MacArthur | N/A | N/A |
48 | "Così fan tutte" | Hamburg Symphony Orchestra | N/A | N/A |
49 | "Yeah Yeah Baby" | Cool Papa Jarvis | 1958 | 2:33 |
50 | "You're Everything" | The Danleers | 1958 | 2:14 |
51 | "From The First Hello To The Last Goodbye" | Jane Morgan | 1956 | 2:15 |
52 | "Oktoberfest" | Douglas A. Wood | N/A | 1:00 |
53 | "I Don't Want to See Tomorrow" | Nat King Cole | 1964 | 2:36 |
54 | "We Three (My Echo, My Shadow and Me)" | The Ink Spots | 1940 | 3:21 |
Critical reception and analysis
The soundtrack of the Fallout series has also attracted commentary and analysis in the popular press and in academic ludomusicological study particularly of the licensed music presented as diegetic music within the game world.
Ambient score
French author Rémi Lopez complimented Mark Morgan's ambient score for 1997's Fallout as a "sensory experience...one moment desolate, the next wild." The tracks varied from droning, dark ambient ("Radiation Storm", "Underground Troubles") to tribal percussion ("Moribund World", "City of Lost Angels") to contrast the choice between "the remains of a dead civilization and a return to primal brutality." However, Lopez noted that Morgan was accused of plagiarism due to similarities of his tracks with ambient musician Aphex Twin due to having been given a reference music CD containing Aphex Twin's work by video game producer Tim Cain though Cain "deliberately omitt[ed] the names of the artists".[243][nb 98]
Likewise for 1998's Fallout 2, Lopez noted that the game expanded the pre-existing soundtrack from the predecessor by adding a dozen more tracks with Morgan adding electric guitar in "My Chrysalis Highwayman" and electronic sounds in "All-Clear Signal".[244] As an Easter egg to fans of the series, Lopez noted that Obsidian and Bethesda licensed the ambient tracks from the first two Fallout games in 2010's Fallout: New Vegas "as if in homage to Mark Morgan's previous work."[245]
Inon Zur's orchestral score for 2008's Fallout 3 was nominated for a BAFTA Games Award for Best Original Score at the 2009 5th British Academy Games Awards as well as nominated for Best Original Score at the 2008 Spike Video Game Awards.[246] Similarly, Inon Zur's score for 2015's Fallout 4 was nominated for a BAFTA Games Award for Best Music at the 2016 12th British Academy Games Awards as well as nominated for Best Score/Soundtrack at The Game Awards 2015.[247]
Author William Cheng noted Inon Zur's score for 2008's Fallout 3 as an "unintrusive, sparsely textured soundtrack" garnering "much acclaim".[248]
Fallout 76 was nominated for a Tin Pan Alley Award for Best Music in a Game at the New York Game Awards.[249]
Licensed music as diegetic music
Ivănescu noted that while 1997's Fallout and 1998's Fallout 2 only featured "one appropriated song each",[nb 99] the two songs, the Ink Spots' "Maybe" and Louis Armstrong's "A Kiss to Build a Dream On" start playing before any gameplay imagery begins and are "the first introduction to the world depicted in the games." This connection of imagery and music has continued into the later rebooted entries in the Fallout series where the music and "popular culture of the past" is repurposed into postmodern works while also bringing to mind literary modernist traditions including the 1981 short story "The Gernsback Continuum" and the 1922 poem "The Waste Land". In both, the reader is invited to explore the future while documenting vignettes of the past.[250]
In the chapter "A Tune at the End of the World" in his 2014 book, Cheng recognized that despite the critically acclaimed score by Inon Zur for 2008's Fallout 3, much of the attention of player and critics was directed towards the music from the three diegetic radio stations of the game: Enclave Radio, Galaxy News Radio, and Agatha's Station.[nb 100][248] Cheng describes the player character growing up in an underground vault throughout childhood until a sudden incident forces the player to leave and escape into the nuclear wasteland on the surface such that "the first time in your life, it seems, you're alone"[252] He notes the dual nature of music being a warm companion or an unfeeling entity in Fallout 3. The player is notified by their "Pip-Boy" device seconds later of the availability of a new radio broadcast signal offering "noisy relief from the silence and solitude of the Capital Wasteland. Music and voices from the radio bestow a sense of imagined community by promising that somewhere, someone else is listening to the same thing." However, the "promise" turns to illusion as the player realizes every station runs on a loop featuring music from a distant past and most NPC's "never acknowledge (much less sing along to) these canned broadcasts."[253] The charismatic chats by President Eden on Enclave Radio are merely the work of an artificial "self-aware supercomputer".[71] Galaxy News Radio has "spirited monologues sound spontaneous and plausibly live, but since the player is able to hear Three Dog on the radio while watching him mill around the station (not performing on air), it can be inferred that his speeches are recorded."[254] Agatha's Station features violin improvisation with the eponymous character looking "to be the only person creating new music in this artistically bankrupt world." A request for a "live performance" is "a real treat", "a rare simulation of live musicality in the game" at first. Author William Gibbons in his 2018 book wrote that Agatha's live music "embodies art's tenacity even in the most adverse of circumstances" giving proof that civilization, humanity, and hope survives in the wasteland compared to the "'dead' records we hear on other radio stations".[255] However, repeat performances reveal herself to be an automaton where "the motions of her fingers and bow don't line up with the music" and "like any NPC, inevitably loses her magic luster, baring the gears that turn like clockwork beneath her painted skin."[256] Gibbons concurs that her "liveness" requires a "suspension of disbelief on our part."[255] Like the wasteland itself, the radio provides hints of life, but also emptiness.
In 2010's Fallout: New Vegas, Ivănescu comments that Mojave Music Radio and Radio New Vegas are not "as integrated in the narrative" as in Fallout 3.[nb 101] She notes that of the two, only Radio New Vegas features a host, Mr. New Vegas, a combination of the suave news delivery of Three Dog and the artificial intelligence of President Eden from the previous game. Mojave Music Radio has no talking DJ described by Ivănescu as "reflecting the more rural myth of the Wild West, often centered around natural, rather than man-made beauty, and the freedom of an uninhabited landscape."[257]
Ivănescu notes that the radio stations of 2015's Fallout 4 continue to maintain the "picture of an everlasting America or at least an everlasting American Dream" of previous games in Diamond City Radio, Classical Radio, and Radio Freedom.[258] Gibbons contrasts the classical music of Agatha's Station in 2008's Fallout 3 with Fallout 4's Classical Radio. While available at the beginning of the game (as opposed to the quest required to access Agatha's Station), Gibbons notes that further gameplay reveals is "a tool of The Institute, an 'enlightened' and scientifically advanced organization" who views most other people living in the wasteland as "savages". Here it, it both converges and diverges from the intent in Fallout 3; they are both "a 'civilizing' force", but Agatha's music is a "benevolent influence" while The Institute is a "patriarchal and arguably nefarious" influence.[259] Ivănescu regards Radio Freedom as the most novel, playing instrumental violin songs that imply "[honesty], hope and a carefree existence" in-line with the colonial America-esque Minutemen faction that run the station.[nb 102] Ivănescu also compliments the use of the five original songs performed by actress Lynda Carter as the character Magnolia. The songs serve double duty in terms of intra-diegetic gameplay where the descriptive lyrics both "allude to places and events in the gameworld" and also "feature sultry, firtatious tones" as an indicator that the character can engage in a romantic relationship with the player.[260]
Cheng explored two examples of the diegetic music affecting the gameplay experience in 2008's Fallout 3 both within the game and to the player at the game's controls, or diegesis. The first centers on a quest regarding the option of blowing up the city of Megaton with a nuclear bomb. The author noted his first repeated playthroughs of the game in 2010 and 2011 involved disarming the bomb instead, being given a modest reward by the residents of the city, and igniting the wrath of the city's antagonist.[261] A subsequent playthrough in 2012 explored the other option meeting the city's antagonizers, characters named Mr. Burke and Alistair Tenpenny. At this time, Cheng notes he was using a video game recording software to capture the gameplay as he planned to show the footage at future presentations regarding his paper.[262] He comments on how the physical action of the player pressing a button on a controller is directly reflected with pressing the remote detonator in the game to a point where this "mimetic link" was "almost too close for comfort." The brilliant light of the mushroom cloud, the silence of the delayed sonic reaction suddenly combined with the music of Enclave Radio playing "The Stars and Stripes Forever" where the "piece invokes the American nation in all its cultural and military pride." However standing before the "Big Red Button", Cheng noted it drew his attention to "Mr. Tenpenny's embodiment of the Enclave's radical authority and extremist ideologies." Following the utter destruction of the distant city, Enclave Radio played "America the Beautiful" which made it "made it all the more tasteless" as if "rubbing the noses of the departed in Mr. Tenpenny's triumph."[263] Cheng stated that this was the first time he turn the radio off, "mostly out of tedium, maybe partly out of shame." Reviewing the recorded footage, Cheng remarked how he had pressed the button almost in sync with the closing of the march whether as a coincidence or "preemptively obliged to put on a show for the eventual lecture audiences". Whether theatrical or not, Cheng also notes it was the obedient thing to do where he had hesitated to press the button, but was compelled by the march as well as the gameplay. He wondered if he had been more or less likely to continue with the act if the radio was playing classical music or if it was turned off.[264] Cheng cites other examples of "blame displacement" in historical situations in addition to quotes from other players posted in online forums about this ethical dilemma taken from a moral standpoint vs. a pragmatic standpoint even as a simulated scenario.[265] In a footnote, Cheng gives an anecdote of presenting the Megaton gameplay at the Harvard Department of Music in 2011. After asking for volunteers from the assembled professors and graduate students to push the "Big Red Button", half the people in the room hesitantly raised their hands. The volunteer picked at random to set off the fictional bomb said she felt "strangely guilty" in front of her peers and professors "even though the people [the Megaton residents] weren't real!"[266]
Cheng's second example featured a lighter gameplay instance. Though access to Enclave Radio and Galaxy New Radio was readily available at the beginning of the game, Cheng notes he had to complete a specific quest of retrieving and giving a violin to gain access to the private radio signal about Agatha's Station "about eight hours into the game." Once again, he was using a video game recording software to create clips of the station's contents for future presentations. After exiting Agatha's house, he noted that Prelude of Bach's Violin Partita No. 2 was playing on the newly acquired radio signal as he climbed a nearby hill intending to complete other tasks in the game. However, the author stopped on the hill as the station played Bach, violin improvisations, and Dvořák as the surrounding sky grew brighter. "It eventually dawned on me that I was witnessing sunrise." Cheng realized that while listening to the radio he was "not playing the game in a conventional sense", leaving the game controls untouched for a half-hour. In contrast to the music at Megaton, Cheng remarked that the music here had served as a method of disobedience to ignore the gameplay where he had "subtly transgressed against the game itself, dismissing its call to arms one track at a time." He later noted that he was possibly influenced again by the recording software, this time acting as "if I were at a live recital of classical music in the real world." His recording would be watched by others and he would play the part of the "conscientious listener" and "on my best behavior."[267] Cheng's chapter also includes tables for Enclave Radio, Galaxy News Radio, and Agatha's Station, listing composers, performers, and recording/composition dates as well as note transcriptions of Agatha's violin improvisations.[nb 103][268]
Content, control, and limited availability of music
Regarding the musical content of the radio stations in Fallout 3, Cheng loosely summarizes them as "the 1940s (GNR), 1890s (the Enclave's Sousa), or 1720s (Agatha's Bach).[269] Galaxy News Radio features songs from the Great American Songbook tackling "first-world (that is, preapocalyptic) problems" written and sung by people "who could hardly have imagined what it would be like one day to live in a world truly on fire." However the prevalence of "American songs, marches, and anthems on GNR and Enclave Radio" can lead to the impression that "hyperviolence in the wasteland is somehow endemic to everyday American society" or what is now the future remnants of American society.[270] Agatha's station is a prominent exception to the litany of American-written compositions.[nb 104] The classical music of Johann Sebastian Bach, Antonín Dvořák, and Pablo de Sarasate are "ghettoized (relegated to the margins of the airwaves)" and is entirely dependent on the player retrieving a Stradivarius violin to give to Agatha. Cheng notes that this private signal can only be detected on the player's Pip-Boy and not on any other available radio set. This so-called pirate underground radio station of music praised in the present-day "for its alleged universal appeal—provides a fittingly ironic reflection of the wasteland's cultural upheavals."[271]
Cheng notes there are "conspicuous double entendres when heard in the game's postapocalyptic setting" and details lines and lyrics from "I Don't Want to Set the World on Fire", "Civilization", and "Butcher Pete" in 2008's Fallout 3.[272] Though Ivănescu notes several songs later included in 2015's Fallout 4 ranged from "ambivalent feelings towards nuclear power" to genuine "tension, propaganda and fear associated with [the Cold War]". Songs like "Atom Bomb Baby", "Uranium Fever", and "Uranium Rock" were regarded as whimsical "novelty songs" at the time, but also are loaded with the period's "pervasive anxieties".[273]
Regarding Galaxy News Radio, Ivănescu notes that "Civilization" functions as a commentary on "xenophobia and racism" as well as a "critique of a civilisation" as a product of the Atomic Age. Other songs like "'Way Back Home", "I'm Tickled Pink", "Happy Times", and "Let's Go Sunning" present optimism and "present America through rose tinted glasses, drawing a picture of the American Dream, the American way of life and all-American values." "A Wonderful Guy" in addition carries implications of an anti-racist message, brought through the musical vehicle of the originating 1949 play South Pacific.[274]
In 2010's Fallout: New Vegas Ivănescu summarizes the Mojave Music Radio and Radio New Vegas stations as respectively providing the cowboys and the crooners that "invoke both freedom and violence, both unlimited possibilities and corruption and crime."[275] Instead of visions of Middle America and white picket fences, the soundtracks of a post-apocalyptic version of Las Vegas "represent yet another facet of the American Dream: the one associated with explorers, pioneers and making your fortune." The surrounding empty wasteland is represented through the lyrics of "Stars of the Midnight Range" while the glamour of the desert city of New Vegas and its casinos is conveyed through Rat Pack veterans Frank Sinatra's "Blue Moon" and Dean Martin's "Ain't That a Kick in the Head". Along with Nat King Cole's "Love Me As Though There Were No Tomorrow", all three songs evoke love, capitalism, and sexual promiscuity from Sin City though Martin's song also echoes the violence of passion and the literal kick/gunshot in the head suffered by the player character at the beginning of the game.[276] Ivănescu notes that four songs play across all of the main radio stations in Fallout: New Vegas: "Johnny Guitar", "It's a Sin to Tell a Lie", "Heartaches by the Number", and "Big Iron". All four "present warnings and moral judgement" singing about people who "find their comeuppance" in the country, film noir, and femme fatale genres. "Big Iron" features an explicit example of tracking down a criminal while "Why Don't You Do Right?" serves as a reflection of the player's action on the game world.[258] "Johnny Guitar" rounds off the setlist, bridging the gap between the two worlds invoking the "glamour of a casino as much as a saloon" from its title western and Peggy Lee's sultry voice.[277] Lopez noted that the same themes extended to the present day with more modern country and jazz songs "dated from 1990 to 2000" including "Let's Ride into the Sunset Together", "Lone Star", "Slow Sax", and "Sit and Dream". With modern musicians tackling age-old themes in a contemporary fashion, the "illusion was seamless" among the older songs on the Fallout: New Vegas soundtrack.[278]
Cheng also notes that similar games have featured diegetic licensed music before such as the BioShock series and the Grand Theft Auto series, in Fallout 3 the player wields exceptional control "over the very existence of radio music in the wasteland." Aside from the prosaic action of merely turning the radio on and off, killing President Eden will shut off the patriotic music of Enclave Radio, failing to repair a relay dish causes Galaxy News Radio's swing music to remain weak and static-filled, and refusing to retrieve a violin for Agatha will never activate her radio signal of classical music.[253] Ivănescu singles out Agatha's violin as serving a rare triple duty not as mere nostalgia, but also of historical significance (it is the Stradivarius once owned by Amédée Soil in 1714), as personal significance (as Agatha's possession), and as musical significance (to create living music).[279] Ivănescu summarizes that these scant remnants of "[cultural] currency becomes literal currency" including in the form of lost music like the games' iconic, ersatz bottlecap currency to buy and sell the American Dream in its new, altered forms.[280] The player "determines what music survives and what passes into extinction."[253]
Setting aside the player agency regarding personal control over the airwaves' content, Cheng offers diegetic and non-diegetic explanations for the seemingly limited setlists of the radio stations in Fallout 3. Players may ask why "there's no trace of music composed (at the very least) between 1950 and 2077" and whether it flourished or failed to be preserved.[nb 105] For the diegetic explanations for "the wasteland's dearth of new music", Cheng says Agatha pre-records her music "because it would be too tiring for her to play live day and night" and also says of Three Dog of Galaxy News Radio that he "hasn't managed to scavenge more than a few music records in playable condition."[nb 106] Gibbons also says that the Fallout games "[suggest] that the atomic blasts destroyed all post-vinyl recording technology, but that tortured logic seems both unconvincing and unnecessary."[nb 107][283] Cheng segues into the non-diegetic explanations as "[excuses] like these permitted the game's creators to circumvent questions about what directions music would take in the years leading up to 2277." There is a lack of new music in the Capital Wasteland (aside from Agatha's) both because it is "unimaginable for the gameworld's traumatized inhabitants" and also unimaginable to the present player "what music hundreds of years from now will sound like". Ostensibly, the primary reason for the song selection from decades ago is "reduced licensing costs" though using songs by "more recent artists (say, Golijov or Gaga) [a modern classical music composer and a modern pop singer] would have had greater difficulty establishing the vague sense of pastness" while this "hodgepodge of pre-1950s tunes could sound sufficiently old" by modern players of the game.[269]
In a 2019 video essay for Polygon, Brian David Gilbert criticized that the songs in Fallout were old and lacked new music, citing the songs "Anything Goes" (1930s), "I Don't Want to Set the World on Fire"/"Jingle Jangle Jingle" (1940s), and "Big Iron"/"Johnny Guitar" (1950s).[nb 108] He also criticized the 185 years from 2102 to 2287 in Fallout, saying only two people, Magnolia and Red Eye, were still recording new music.[nb 109][284]
As a coda to the seemingly limited selection of music, Ivănescu remarks how the aura of Elvis Presley's "semiotic ghost" survives in 2010's Fallout: New Vegas, but not his name nor his music. A former Elvis impersonation school serves as the headquarters of a gang called "The Kings". With only the word "School" remaining visible on the building's façade, the gang members suppose it as a religious institution dedicated to the worship of this unnamed figure and strive to uphold and imitate the lost traditions, albeit in an entirely misinformed manner. Ivănescu recognizes it as an overall "comment on fandom" where ghosts can linger, legacy is forgotten, and a pseudo-religion can emerge with even with few known details of its origin. The limited or non-existent nature of the music of Elvis has helped to create an alternate "ahistorical world" where "all that remains is a shadow" of the original context.[285] Meanwhile, Lopez notes the non-diegetic explanation that "Bethesda fought hard to secure the rights to his [Elvis Presley's] music", but the licensing costs for "a single song from the King" did not outweigh the benefits of "a wide variety of tracks".[286]
Co-opted or false nostalgia, repurposing, and revived interest of music
Andra Ivănescu, in the opening chapter of her 2019 book, clarifies the difference between using the terms pre-existing vs. borrowed vs. appropriated music in video games. Though the terms may appear interchangeable, they provide different connotations. "Pre-existing music" is imprecise and "does not suggest anything about how the music is used" aside from it having existed before. "Borrowed music" suggests an "innocuous" relationship between the old and new uses though remains unchanged and not a transformative use. "Appropriated music" is the most "charged" term evoking cultural appropriation where "dominant cultures take and use elements of minority cultures for profit and without context". However, Ivănescu recommends using the term "appropriated" over the more neutral term "borrowed" as the latter addresses transformative uses and "deliberate artistic recontextualisation". Namely "appropriated music" more readily conveys usage with "whole or with little modification", it remains "recognisable", and "recontextualised". Borrowed music can be easily returned, but appropriated music "begs for a reason, a motivation, an explanation" despite the negative connotations as well as connecting to the historical use of "deliberate artistic appropriation" and "the entire spectrum of its sociocultural significance in mind."[287]
Cheng notes that "most players are not likely to know the exact date (or even decade) of particular pieces" or perhaps have a hazy, "obscure, daresay conflated, past—remembrance without precise referent." Ivănescu brings up that it is temping to categorize the radio stations of Fallout 3 "as simply the heroes (GNR) and the villains (Enclave Radio)", but their musical content and broadcast propaganda speaks to their "more profound similarity" regarding "paramusical echoes of racism". Three Dog of Galaxy News Radio gives speeches against "bigots" and "ghouls", humans who have been drastically mutated through radiation. Enclave Radio serves as propaganda to accomplish their goal to remove irradiated "impure" humans from the wasteland.[288] Aside from providing access through reminiscences with friends and relatives who did live during that period of music, Cheng brings up that many of the songs are "double-edged" with most players unaware of the context or history. Galaxy News Radio may be remembered from "old-timey films, television parodies, theme parties, and grandparents' dusty records" and "cheery, sassy nonchalance", but also for the "brutal wartime climates out of which this repertoire emerged." Enclave Radio brings up the "legacies of American pomp and pride" and "American nationalism", but also the "shadows of imperialism and xenophobia." Agatha's Station and her classical music performance is associated with "antiquity...with roots reaching back centuries", but also "freighted with potential connotations of elitism, exoticism." Overall, even the transmission through the medium of radio has the potential to bring up "endless debates about consumerism, commercialism, and propaganda." Though Cheng says exactly "[how] much any player recognizes or cares about these possibilities for critique remains a different question."[269] Ivănescu quotes from author Svetlana Boym's critique of nostalgia where as "[survivors] of the twentieth century, we are all nostalgic for a time when we were not nostalgic" where the mythical future of Fallout is constructed out of the equally mythical past.[289] Cheng draws parallels to the player at the controls with the game's NPCs where the "tunes ostensibly evoke no more than a blurry sense of a distant past."[253]
However, Cheng also brings up how the music has brought back a revived interest to a new generation. Players "upon completing their adventure...encounter big band tunes, American hymns, or Baroque preludes in everyday life (at concerts, on YouTube, in coffee shops) are liable to yearn for the game itself".[269] Cheng also gives examples of quotes taken from internet forums of players turning on the radio to "beat the wasteland's lonely, perilous ambience", demonstrate "swagger and sass", or simply revel in the random chance of music pairings with the action of gameplay images with players "mashing together cheerful songs and terrible conflict" to become "subversive Kubrickian visionaries". Ivănescu compares the "cheery sounds" of "Jingle Jangle Jingle" and the player committing "unspeakable atrocities" in Fallout: New Vegas to the use of "Stuck in the Middle with You" in the torture scene from Quentin Tarantino's 1992 film Reservoir Dogs.[290] Cheng focuses on a quote from a player's post on a forum that there is "'nothing wrong' with listening to soothing oldies while simulating gruesome actions [a long distance sniper shot]".[291] Cheng notes that such a comment under normal circumstances would be absolutely horrific, bringing to mind the actions of Nazi doctor Josef Mengele who would whistle snippets of classical music by Mozart, Wagner, Verdi, Puccini, and Johann Strauss, "making music while selecting victims for the gas chambers".[292] He cites Joseph Moreno regarding Mengele's actions on the question :"How could genuine musical sentiment and mass murder comfortably coexist?"[282] Cheng notes that "[compared] to whistling Nazis and musical torture, a video game's combinations of violent simulations and cheerful music present lower stakes" as video games are "supposed to be make-believe, unfolding in virtual spaces demarcated as such." Likewise, Ivănescu notes that such kinds of juxtapositions largely occur through happenstance and random chance from the radio as opposed to deliberate intent.[290] Cheng also raises the question how long before the "juxtapositions of upbeat music and violent scenes" would come to seem "clichéd, banal, and predictable" whether by moviegoers or by players of video games like the Fallout, BioShock and the Grand Theft Auto franchises.[293]
In 2017, singer Dion DiMucci filed a lawsuit against video game publisher ZeniMax Media for the use of "The Wanderer" in the 2015 television commercials for Fallout 4. The lawsuit alleged the commercials "were objectionable because they featured repeated homicides in a dark, dystopian landscape, where violence is glorified as sport" as well as being "repugnant and morally indefensible". DiMucci invoked a clause that he was not given an opportunity to reject the ads and was seeking "in excess of $1 million" in damages for the association of his song with "immoral images".[294][295][296] In a subsequent editorial by Justin Woo, he noted that the descriptions of "repeated homicides" and the character "hunting for victims to slaughter" alleged in the lawsuit did not appear to match the official trailer which shows no images of murder or manslaughter against human beings. He notes there are other unofficial, but popular videos with "2.8 million views[nb 110] [using] footage from original Zenimax / Bethesda-created commercials. It has a body count so high that I'm not even going to bother enumerating it" and hypothesizes "that someone, either DiMucci or a person acting on his behalf, went to Google up 'Wanderer' and 'Fallout' and found Valenzuela's video, thinking it was an official release from Zenimax".[297] Arbitration was compelled in 2018 in Dion DiMucci v. ZeniMax Media Inc.[298][299] As of 2021 no further information about the lawsuit has come to light, but the original embedded video link to the trailer in the articles was made private and unviewable.[nb 111]
Notes
- ^ First appearance in the 2003 compilation album Identity 8 by Century Media Records. Later released on the 2004 album Nerve Damage.
- ^ Two additional bands from Earache Records are partially credited in the end credits without mentioning their song titles. The Society 1 and Cult of Luna songs "Hate", All You Want", and "Circle" were supplemented via gaming journalist sites.[3][4]
- ^ "Way Back Home" and "A Wonderful Guy" were previously issued on non-commercially released 16-inch diameter transcription discs. "Anything Goes" was a CD-exclusive track featuring an overdubbing by Vince Giordano and his Nighthawks over Cole Porter's vocals made for the 2004 album It's De Lovely - The Authentic Cole Porter Collection.
- ^ Cole Porter contributed his vocals and solo piano for "Anything Goes" during a Victor recording session on November 27, 1934, issued in the US on Victor 24825 with monophonic sound. 70 years later on May 4, 2004 Vince Giordano and his Nighthawks overdubbed Cole Porter's vocals with a full orchestra in stereophonic sound using contemporary 1930s arrangements made for the 2004 album It's De Lovely - The Authentic Cole Porter Collection. See the album article page for more footnotes.
- ^ Part 2 of the song was not included in the game. Both halves of the song would be featured in 2014's Fallout 4.
- ^ The original record label spells the title as "Jazz Interlude".[28] The title was altered to "Jazzy Interlude" when the track was reissued in 1999 on the KPM CD Roads to War (1933-1945) Part 1 and reflected in the end credits.[29]
- ^ Billy Munn's "Jazz Interlude", was originally issued as a 10 inch vinyl 78 rpm phonograph record on the Charles Brull Harmonic Private Recording label.[28] According to the Swedish Film Database, the earliest known uses of the track were in the 1950 Swedish comedy Pimpernel Svensson and the 1952 Swedish film Farlig kurva.[30][31] The record also appears as early as August 26, 1958, in the Danish daily radio broadcasting schedule (sendeplan) of the Statsradiofonien digitized by the Dansk Kulturarv.[32][33] The record was also broadcast on BBC television as test card music after daily scheduled programming in 1954.[34]
- ^ Similar to "Jazz Interlude", Allan Gray's "Swing Doors" was also reissued on the 1999 KPM CD Roads to War (1933-1945) Part 1. Likewise the track was also issued on the reverse side of the same 10 inch vinyl 78 rpm phonograph record on the Charles Brull Harmonic Private Recording label as "Jazz Interlude". Due to how record pressing plants function, it is presumed both tracks were recorded around the same time in 1950 based on the Swedish films noted above.[28] However, the earliest individual mentions of the "Swing Doors" track in the Swedish Film Database show its use in the 1951 Swedish comic book movie Biffen och Bananen and the 1955 Swedish comedy Bröderna Östermans bravader.[35][36] Likewise, both sides of the record were broadcast on Danish radio, but individual listings for "Swing Doors" appear as early as January 13, 1960, in the Danish daily radio broadcasting schedule (sendeplan) of the Statsradiofonien digitized by the Dansk Kulturarv.[37][38] The record was also broadcast on BBC television as test card music after daily scheduled programming in 1954.[34]
- ^ All three Bob Crosby songs used in the Fallout series ("Happy Times", "'Way Back Home", and "Dear Hearts and Gentle People") appear on the same 16 inch transcription disc and were reissued on the Soundies Inc. CD Bob Crosby and the Bobcats - The Complete Standard Transcriptions.[39] "Happy Times" was composed for the film The Inspector General which premiered in December 1949. The same transcription disc also featured the then-newly composed 1949 song "The Old Master Painter" noted in the December 24, 1949, issue of Billboard magazine as "No information on electrical transcription libraries available as The Billboard goes to press" while Bob Crosby's version of "Dear Hearts and Gentle People" is not noted as available.[40] Both "The Old Master Painter" and "Dear Hearts and Gentle People" are noted as available by Bob Crosby as a Standard transcription disc in the January 21, 1950, issue of Billboard.[41]
- ^ In Garrod's 1987 Bob Crosby discography, the U-286 transcription disc session is noted as occurring "[from] this period" in between the April 10, 1950, and May 22, 1950, recording sessions for Coral Records.[42] In Garrod's 1996 revised edition, the U-286 transcription disc session is slightly modified as occurring between the April 27, 1950, Decca Records session with Georgia Gibbs and the May 22, 1950, recording sessions for Coral Records.[43]
- ^ Original transcription disc and period sheet music spells title as "'Way Back Home" with a leading apostrophe.[39][44] Written by Al Lewis and Tom Waring in 1935. Period recordings from 1935 include those by Al Bowlly, Paul Whiteman, and Victor Young.[45] The song was revived in the 1950s separately by brothers Bing Crosby and Bob Crosby. Contemporary reviews for the Bing Crosby album noted it as "an oldie".
- ^ Taken from the same transcription disc as "Happy Times"; refer to its annotation above.[39]
- ^ Similar to "Jazzy Interlude" and "Swing Doors" above, "Rhythm for You" was also reissued in 1999 on the KPM CD Roads to War (1933-1945) Part 1 and originally issued as a 10 inch vinyl 78 rpm phonograph record on the Charles Brull Harmonic Private Recording label.[46] According to the Swedish Film Database, the earliest known use of the track was in the 1953 Swedish drama Vi tre debutera.[47] However, the reverse side of the record "Yankee Doodle Polka" appears in the earlier 1952 Swedish drama film Flottare med färg[48] Due to how record pressing plants function, it is presumed both tracks were recorded around the same time in 1952.The record also appears in the Danish daily radio broadcasting schedule (sendeplan) of the Statsradiofonien digitized by the Dansk Kulturarv. "Rhythm for You" (misspelled as "Rhytm for You") appears in the October 24, 1959, schedule.[49] The flip track "Yankee Doodle Polka" was played earlier and more often starting on September 9, 1958 (unrelated to the Duke & Latouche composition of the same name appearing in 1949).[50][51] The record was also broadcast on BBC television as test card music after daily scheduled programming in 1954.[34]
- ^ Originally composed by Shaindlin for the 1952 spy film Walk East on Beacon and used as incidental music during a scene in a bar.[52][53] "I'm Tickled Pink" was separately released on Shaindlin's Cinemusic record label as an LP in 1968 and as a compact disc in 1998. The digital restoration and compilation was done by John Mortarotti.[54][55]
- ^ Originally composed by Shaindlin for the 1954 nudist film Garden of Eden and used as incidental music as an instrumental and as a vocal version.[56] In 2009, Marc Myers interviewed the widow of Jack Shaindlin about the song, but was unable to shed further light on the singer other than it was unusual for Shaindlin to write for the controversial film, the song was arranged by Bob McBride, and the singer was recruited by the director Walter Bibo.[57] As with "I'm Tickled Pink" above, the vocal version of "Let's Go Sunning" was separately released on Shaindlin's Cinemusic record label as a compact disc in 1998. The digital restoration and compilation was done by John Mortarotti.[55]
- ^ The track features a naming error which is present on the 1993 CD reissue and reflected in the Fallout 3 end credits. The 1993 KPM CD Archive Series - Volume Six - 1940s and 1950s features an edited and shortened version of "Boogie Man" (2:21) than what is present on the 1960 vinyl 78 rpm phonograph record (2:52).[58][59] In addition, the melody for "Treadin' Light" on the 78 matches with "Boogie Man" on the CD and vice versa. Likewise, the original 1940s Sid Phillips sheet music arrangements published by Peter Maurice Music (the M of KPM) show that the 1993 CD mistakenly swapped the titles and melodies for "Boogie Man" (originally "Boogey Man) and "Treadin' Light".[60][61] The online version of the CD album added the original longer versions of the tracks for "Treadin' Light" and "Boogie Man" as alternate arrangements for Tracks 42 and 43, but placed them under the original 78 titles and did not correct the original track listing error on the CD. All the tracks on the digital album feature alternate arrangements with the same melody as the base track except for "Treadin' Light" and "Boogie Man" which have retained the error of alternating swapped titles and melodies.[62]
- ^ Regardless of the naming error of "Treadin' Light" and "Boogie Man" as noted above, both tracks are part of the same 78 rpm phonograph record issued in 1960.[59] Both tracks were reissued in 1970, retaining their titles, on a KPM "brownsleeve" vinyl LP album.[63] Both tracks were reissued in a shortened and edited format with incorrect swapped titles on the 1993 CD Archive Series - Volume Six - 1940s and 1950s.[58]
- ^ Reissued on the 1995 CD Archival 1 - Newsreel.[64] Liner notes indicate "Jolly Days" is an older mono archival recording, but gives no further date details. Gerhard Trede died in 1996.
- ^ Reissued on the 1998 CD Archive Selection 1.[65] Liner notes indicate "Fox Boogie" is an older mono archival recording, but gives no further date details. Gerhard Trede died in 1996.
- ^ Often incorrectly attributed to "Hail, Columbia" composed by Philip Phile in 1789, in online compilations and academic journals[71] possibly due to confusion with overall vague similarities with the melody as well as the "presidential" in the filename and its association with "Hail, Columbia's" alternate titles of "The President's March" or the vice president's anthem.
- ^ Composer attribution was altered to Craig Riley along with different titles in the 2007 Jazz Club (Instrumental) and the 2015 Making Waves digital albums.[75][76]
Tracks have been reissued on the 2000 CD set The Mix VII Broadcast Music Library[77] as well as on digital Sound Ideas albums, among others, Jazz Mix 1[78] and Lite Jazz Mix 1[79] attributed to Jason Nyberg, but with different titles. - ^ Track taken from the 2007 Cavendish Music 3 CD set Fifties: Original 1950's Background Music CD 2: The Light Fantastic [CAVCD 223].[83] Originally issued as a Boosey & Hawkes 78 rpm record dated 1958.[84]
- ^ The game's end credits cite several songs licensed from Dominion Entertainment Inc., a known subsidiary since 1997 of K-tel Records, the compilation album company.[89]
- ^ Some online compilations incorrectly use the re-recording taken from the 1962 Capitol Records album Kay Kyser's Greatest Hits. Fallout: New Vegas uses the original 1942 recording from Columbia Records.
- ^ Some online compilations incorrectly cite Peggy Lee's version of "Why Don't You Do Right?" with Benny Goodman's orchestra for Columbia Records in 1942 or the version with Dave Barbour's orchestra for Capitol Records in 1947 as part of the album Rendezvous with Peggy Lee. The end credits for Fallout: New Vegas indicate the track was not licensed from either label and is instead credited to "Cassidy Music, LLC". The recording used in the game was originally taken from the audio track of Snader Telescription which Peggy Lee had filmed with Dave Barbour in 1950.[96][97]
- ^ Exact recording date not known at this time. "Love Me As Though There Were No Tomorrow" was originally written for the short-lived 1956 musical Strip for Action which failed Broadway tryouts. Nat King Cole recorded the song for the 1956 7-inch EP Nat "King" Cole Sings Songs From "Strip For Action" and was re-released on the 1957 Capitol Records compilation album This Is Nat King Cole.
- ^ Originally titled as "Big Note Blues" and issued as a Parlophone Records 45 in 1958.[100][101] Reissued and retitled as "Lazy Day Blues" for the 2003 KPM album Bert Weedon Gold.[102]
- ^ Unrelated to the Bob Crosby song of the same name used in other Fallout entries.
- ^ Originally titled as "China Doll" and issued as a His Master's Voice Records 45 in 1961.[100][103] Reissued and retitled as "Happy Times" for the 2003 KPM album Bert Weedon Gold.[102]
- ^ Originally titled as "Rockin' at the Roundhouse" and issued as a Fontana Records 45 in 1970.[100][104] Also published as the lead single from the Fontana Records album of the same name. The title refers to the Roundhouse venue in London which first opened for concerts in 1964. Reissued and retitled as "Roundhouse Rock" for the 2003 KPM album Bert Weedon Gold.[102] The 2003 reissue album incorrectly gives a release date of 1960 for the track; it was released in 1970.
- ^ Fallout: New Vegas does not use the original 1941 mono Decca recording of the Inks Spots' "It's a Sin to Tell a Lie".[22] According to the end credits, the recording was not licensed from the typical Ink Spots and Geffen/Decca Records listing used in other Fallout titles and instead lists the licensor Dominion Entertainment Inc., a subsidiary of K-tel Records, the compilation album company.[89] The track was newly recorded in stereo in Nashville by former lead singer Bill Kenny after the Ink Spots broke up in 1954 and shortly before his death in 1978.[105] The first known release of the track was on the 1979 posthumous album If I Didn't Care issued by CBS Records and subsequently reissued on other budget labels. See the album page for more details on the dates and litigation surrounding the album.
- ^ Fallout: New Vegas does not use the original 1959 Columbia recording of Guy Mitchell's "Heartaches by the Number". Though other Columbia Records tracks in the game are attributed as such ("Big Iron", "Jingle Jangle Jingle"), the end credits indicate that "Heartaches by the Number" was licensed instead from Dominion Entertainment Inc., a subsidiary of K-tel Records, the compilation album company.[89] Though Guy Mitchell re-recorded the track multiple times, the version in the game was newly recorded in stereo in Nashville for K-Tel by Guy Mitchell in June 1980.[106][107][108] The first known issue of the track was as part of compilation albums in 1983 by Candlelite Records,[109] [110][111] which K-Tel had acquired in 1980. The following year in 1984, K-Tel filed for bankruptcy. The track was subsequently reissued on other budget labels with K-Tel reissuing it on their house label as Hooked on Country in 1990 (part of the Hooked on Classics series)[112] and later as Dominion Entertainment in 1995.[113] See the K-Tel article page for more information about acquisition and the 1984 bankruptcy.
- ^ From the 1997 Bruton CD album Nashville Timeline 1 BRR57.[114] The liner notes do not indicate the performers except that the album was recorded at Battery Studio in Nashville and that the composers of the track "Goin' Under" were Wayne Perry and Tommy Smith. Perry died in 2005.
- ^ "In the Shadow of the Valley" was composed by Bing Nathan & Raun Burnham. Tracks 17-19 are taken from the 1998 Sonoton CD album Swingin' Out West SCD 347 and SCE 012. Recording the Sonoton album in 1998 is mentioned on the official band website.[115] Composer credits are taken from the Sonoton CD liner notes.[116] The liner notes do not indicate the performers of each track, but instead lists all of the musicians present at the recording session. The album was also partially digitally reissued in 2010 as Swing with) Western by MyPension / Rosenklang.[117]
- ^ Composed by Tony Vice & Jerry Burnham. See annotation for "In the Shadow of the Valley" above.
- ^ Composed by Tony Marcus. See annotation for "In the Shadow of the Valley" above.
- ^ From the 1998 Bruton CD album Portrait of the Fifties BRH100.[118] The liner notes list the lead singer of "I'm Moving Out" as Billy Roues and also lists all of the musicians present at the recording session.
- ^ Two takes of "I'm So Blue" exist on the Carlin CDs Country Music 3 - Songs/Line Dancing and Country Music 4 - Songs/Instrumentals using the same backing instrumental, but slightly different vocal tracks.[119][120] The liner notes only mention the composers of the tracks and not the performers. Though the CDs for Country Music 3 and 4 do not mention dates, the earlier CDs in the series are marked with dates: Country Music - 1 (1998) and Country Music 2 - Band/Solo (1999).[121][122] In addition, "I'm So Blue" was featured in a scene in the biographical sports film Remember the Titans, released September 29, 2000.[123][124]
- ^ Lead male vocalist is credited to Jeff Hooper according to liner notes from the 2003 Bruton CD Singers & Swingers BRO25.[125] Recording the album Singers & Swingers was also mentioned in the May 3, 2003, issue of Billboard magazine.[126]
- ^ The song "Sit and Dream" was composed by Laurie Stras and taken from the 2009 Bruton CD album Colourful Characters BR487.[127] The CD liner notes feature male and female vocals of the song "Sit and Dream". The vocalists are not credited.
- ^ Reissued on the 1990 CD Pop and Dance Music as track 12.[128] Liner notes indicate "American Swing" is an older archival recording, but gives no further date details. Gerhard Trede died in 1996.
- ^ Reissued on the 1990 CD Pop and Dance Music as track 10.[128] Liner notes indicate "Hallo Mister X" is an older archival recording, but gives no further date details. Gerhard Trede died in 1996.
- ^ Reissued on the 1990 CD Pop and Dance Music as track 20.[128] Liner notes indicate "Manhattan" is an older archival recording, but gives no further date details. Gerhard Trede died in 1996.
- ^ Reissued on the 1990 CD Pop and Dance Music as track 11.[128] Liner notes indicate "Slow Bounce" is an older archival recording, but gives no further date details. Gerhard Trede died in 1996.
- ^ Reissued on the 1990 CD Pop and Dance Music as track 3.[128] Liner notes indicate "Strahlende Trompete" is an older archival recording, but gives no further date details. Gerhard Trede died in 1996.
- ^ Reissued on the 1990 CD Pop and Dance Music as track 8.[128] Liner notes indicate "Von Spanien Nach Südamerika" is an older archival recording, but gives no further date details. Gerhard Trede died in 1996.
- ^ Originally titled "Stars and Teardrops" and issued on the Sam Fox record label.[129] The pressing date is derived from the record's matrix number provided by the RCA Victor Custom Record Division at their Rockaway, New Jersey pressing plant in operation from 1954 - 1973.[130] The runout of the LP record features a small "R" for Rockaway and the matrix number "S4RM". According to the "RCA Victor Master Serial Number Codes (III. 1963 - 1990's)", the "S" stands for a pressing year of 1965 followed by characters indicating it was recorded from the client's tapes, it is a 12-inch LP, and a mono fine groove pressing.[131] The track was reissued by 2007 with varying cover art on multiple Carlin CDs and digital albums on Jazzy Vibes CAS19 and retitled as "Joe Cool" as track 13.[132] Nino Nardini died in 1994.
- ^ Though the track was composed by Philippe Parès and released in 1966, when it was retitled and reissued on the Carlin Jazzy Vibes CD, it was mistakenly attributed to Philippe's father, Gabriel Parès.[132] Gabriel Parès died in 1934, Philippe in 1979.
- ^ The track was originally titled as "Cafard", composed by Philippe Parès and issued on the Sam Fox record label.[133] The pressing date is derived from the record's matrix number provided by the RCA Victor Custom Record Division at their Rockaway, New Jersey pressing plant in operation from 1954 - 1973.[130] Similar to "Stars and Teardrops" (S4RM) above, the runout of the LP record features a small "R" for Rockaway and the matrix number "TR4M". According to the "RCA Victor Master Serial Number Codes (III. 1963 - 1990's)", the "T" stands for a pressing year of 1966. However in 1966, "business has never been better" and RCA had "its three pressing plants going at full time, they've gone to outside pressing plants to keep up with the orders.[134] To keep up with the orders, RCA Victor subsequently adopted a labeling custom where the "practice of switching second and third characters of custom matrix numbers began to take effect after the block of numbers passed the 10,000 mark", meaning the matrix number should read "T4RM" with the following characters indicating it was recorded from the client's tapes, it is a 12-inch LP, and a mono fine groove pressing.[131] The track was reissued by 2007 with varying cover art on multiple Carlin CDs and digital albums on Jazzy Vibes CAS19 and retitled as "Blues for You" as track 13. It was incorrectly attributed to Philippe's father, Gabriel Parès[132]
- ^ Originally titled as "Modern Jazz (Blues)" and issued on the CBS Records EZ Cue label.[135] The pressing date is derived from the record's matrix number provided by the Columbia Special Products division of Columbia Records which also features the "Walking Eye" logo introduced in 1954. Columbia Records documentation held at the Library of Congress indicates that the XTV matrix prefix stands for a "12" mono LP master" while the number of digits in the XTV number can be assigned to a pressing year.[136] The matrix number of the record is "XTV 134330" with the six digit XTV 130000 roughly corresponding to similar Columbia Special Products releases dated to 1968. In addition, the CBS EZ Cue Library was advertised as the "newest most up-to-date collection of production music" in the Broadcasting 1971 Yearbook.[137] The track was reissued on the 1990 CD Jazz Time 1 as track 1 as retitled as "Jazz Blues".[138] Liner notes indicate "Jazz Blues" is an older archival recording, but itself gives no further date details. Gerhard Trede died in 1996.
- ^ "Slow Sax" was taken from the 1999 Kosinus CD album Modern Jazz Movies KOS 69.[139] The liner notes list the personnel of the Christof Déjean Septet that performed on the album. Christof Déjean died in 2006 at the age of 43.[140]
- ^ The track was reissued by 2006 with varying cover art on multiple Carlin CDs and digital albums on Big Band & Jazz Combos CAS18 as track 1.[141] Liner notes indicate "Jazz Club Blues" is an older archival recording, but gives no further date details. Harry Bluestone died in 1992.
- ^ The track was reissued by 2010 with varying cover art on multiple Carlin CDs and digital albums on Urban City Life CAS35 as track 13.[142] Liner notes indicate "Sleepy Town Blues" is an older archival recording, but gives no further date details. Harry Lubin died in 1977.
- ^ The end credits for Fallout: New Vegas originally titled the track as "Green Clouds and Dust Whirls" in 2010,[147] but was later patched to read "Cobwebs and Rainbows".[148]
- ^ The game uses track 20 from the 1993 KPM CD Pure Big Band - Part 2/Vocals, the instrumental "Cobwebs and Rainbows (c) - Alternative version for cocktail lounge piano and rhythm section" with developer Josh Sawyer providing the vocals. The CD booklet does not provide lyrics, but credits the male and female vocal versions as sung by Claire Martin and Danny Street as well as listing the musicians who performed on the album.[143]
- ^ Some online compilations incorrectly cite the longer 3-minute 1944 recording of "Ac-Cent-Tchu-Ate the Positive" performed as a duet between Bing Crosby and the Andrews Sisters and released on Decca Records.[159] According to the end credits for Fallout 4 while Decca/Geffen Records tracks are licensed for the game, this track was licensed instead from HLC Properties Ltd., a company formed from the initials of Bing Crosby's birth name. This minute-long version of "Ac-Cent-Tchu-Ate the Positive" was recorded for the February 1, 1945, radio broadcast of the Kraft Music Hall. Bing Crosby was promoting the then-recent release of the December 1944 film Here Come the Waves by singing a medley of songs from the movie: "There's A Fellow Waiting In Poughkeepsie", "Ac-Cent-Tchu-Ate the Positive", and "Let's Take the Long Way Home".[160]
- ^ Exact recording date not known at this time. Originally written for the 1946 film of the same name, One More Tomorrow, which debuted on June 1, 1946. Frankie Carle's recording was advertised in Billboard magazine on April 27, 1946.[161]
- ^ Exact recording date not known at this time. Advertised in Billboard magazine on February 14, 1948,[164] formally reviewed on February 28.[165]
- ^ Part of the same phonograph record as Part 1.[27]
- ^ Exact recording date not known at this time. Advertised in Billboard magazine on September 23, 1950.[167]
- ^ Exact recording date not known at this time. Advertised in Billboard magazine on December 23, 1950,[168] formally reviewed the following January 13, 1951.[169]
- ^ Taken from the same transcription disc as "Happy Times"; refer to its annotation above in the Fallout 3 section.[39]
- ^ Exact recording date not known at this time. Reviewed in Cashbox magazine on May 5, 1951.[171]
- ^ Exact recording date not known at this time. Described as having been recorded "last week" in a dated byline of November 5th in the Billboard magazine issue from November 12, 1955.[173]
- ^ Unrelated to the song of the same name recorded around the same time by Dude Martin, composed by Ann Jones.
- ^ Unrelated to The Five Stars, another singing group formed on different continent after the song was made. Multiple groups named The Five Stars recorded under this era and are frequently confused for each other on song compilations. Notably a black doo-wop group from Dallas called the Five Stars recorded "Hey Juanita", a gospel group from Baltimore also recorded as the Five Stars, but the Five Stars performers of "Atom Bomb Baby" and "Picking on the Wrong Chicken" were a white doo-wop group from Indianapolis.[174]
- ^ Exact recording date not known at this time. Original Kernel Records issue formally reviewed in Billboard magazine on April 29, 1957.[175] Advertised as a "new release" as a Dot Records reissue on May 13th, followed by another Billboard review on May 20th.[176][177]
- ^ Exact recording date not known at this time. Originally recorded for Sun Records, but was unissued (no Sun 45 from the era exists) until it started appearing on Sun Records compilation albums decades later. CD reissues mention Warren Smith's "several alternate takes and unreleased material" from the Sun Studios.[178][179]
- ^ Taken from the 1960 album Folk Songs for the 21st Century under HiFi Records.[180][181]
- ^ Fallout 4 uses the 1939 Louis Jordan version instead.
- ^ Recorded in March 1936, shortly before his sudden death the following April.
- ^ Bob Wills recorded two takes of "Steel Guitar Rag" on September 29, 1936. Fallout 76 uses Take 1 issued on Okeh Records. Take 2 was issued on Vocalion and Columbia Records.[204]
- ^ Original disc spells title as "Midnite" instead of "Midnight"
- ^ Johnny Long recorded several versions of "In a Shanty in Old Shanty Town" for Decca Records as well as for Coral Records. Fallout 76 uses the 1940 Decca recording[208] and not the 1946 Decca recording.
- ^ Original disc spells title as "Juke Box" instead of one word.
- ^ Though Fats Waller recorded many versions of "Ain't Misbehavin'",[209] Fallout 76 uses the version made for the 1943 film Stormy Weather.[210] Fats Waller died shortly after the film's release in 1943. The track was issued in 1947 as a 12-inch shellac 78 rpm record by RCA Victor and advertised as "'Fats' Waller's last record".[211][212]
- ^ Some online compilations incorrectly cite the 1960 recording by Glen Gray for the Capitol Records album Swingin' Decade which uses the same arrangement Dorsey used except in stereo.
- ^ Freddie Slack had earlier recorded "Pig Foot Pete" with Don Raye in 1941 on Decca Records instead of Capitol.
- ^ Exact recording date not known at this time. The later Capitol Records version with Ella Mae Morse was advertised in Billboard magazine on July 27, 1946[213] and formally reviewed on August 3, 1946.[214]
- ^ Answer song to "Drivin' Nails in My Coffin", also recorded by Jerry Irby.
- ^ Exact recording date not known at this time. Reviewed and advertised in Billboard magazine on March 13, 1948.[216]
- ^ Exact recording date not known at this time. Reviewed in Billboard magazine on February 14, 1948.[217]
- ^ Exact recording date not known at this time. Advertised in Billboard magazine on April 23, 1949,[218] formally reviewed on May 7, 1949.[219]
- ^ Exact recording date not known at this time. Advertised in Billboard magazine on April 16, 1949[220] and formally reviewed on March 30, 1949.[221]
- ^ Part 2 of the song was not included in the game despite previously being featured in Fallout 4.
- ^ Unrelated to The Commodores who were formed after the song was made. The Commodores who recorded on Dot Records were based in Texas and were previously known as the Imperial Quartet.[222][223]
- ^ Exact recording date not known at this time. Reviewed in Billboard magazine on June 4, 1955.[224]
- ^ While the Sons of the Pioneers recorded multiple versions of "Riders in the Sky", Fallout 76 uses the re-recording made for the 1960 RCA Victor album Cool Water. The liner notes indicate it was recorded in June 1959 in Hollywood, California.[225]
- ^ Fallout 76 uses a recording of "Shenandoah" from a March 9, 1961, TV episode of The Ford Show. It was part of the episode's theme "Songs of the Open Sea".[226] The end credits for Fallout 76 incorrectly cite the track as coming from Capitol Records which Ford had recorded a different version of the track for the 1970 The Folk Album.
- ^ Kay Kyser himself did not record on the 1962 album, Kay Kyser's Greatest Hits, since he had retired from show business, but gave his blessing for his former bandmembers to reform the band.
- ^ Fallout 76 does not use the Kay Kyser's orchestra most famous 1942 mono recording for Columbia Records of "Praise the Lord and Pass the Ammunition".[92][227] It is a re-recording made for the 1962 album, Kay Kyser's Greatest Hits. The album was recorded in stereo in 1961 at Capitol Records by former members of Kay Kyser's orchestra, but without the appearance of Kay Kyser himself.[228] The end credits for Fallout 76 incorrectly cite the track as coming from Columbia Records, but other Capitol Records releases are correctly cited.
- ^ The game files for the radio station (SQ_RadioAppalachia in SeventySix.esm) contains the licensed track filenames such as "RadioG_InkSpotsMaybe" as well as five files with the naming variations of "_DELETE_RadioG_xxx", "_DELETE_RadioG_xxxx" etc.
- ^ Licensed from Sound Ideas which issued the album Frank's Place SI-N4 in 1995[72][67] and under its subsidiary Westar Music as Jazz - Effortless & Refined WSR 149 in 2003, composed by Jason Nyberg.[73]
- ^ The game uses an alternative mix present on the CD album that substitutes piano for the heavy brass.
- ^ The game uses an alternative mix present on the CD album that substitutes piano for the heavy brass.
- ^ The game uses an alternative mix present on the CD album that uses lower mellow flute notes instead of higher shrill ones.
- ^ The game uses an alternative mix present on the CD album that uses less brass for the melody and substitutes piano.
- ^ Lafleuriel is the credited author of the main text, Lopez is credited for writing Chapter 6 regarding the music of Fallout, Fargo is credited on the cover for the foreword, Harrison is the English translator from the original French.
- ^ Ivănescu clarifies her use of the term "appropriated music" in her definitions noted further below.
- ^ The music from the fourth music-based station, Vault 101 PA System, was briefly mentioned in footnote 6 but only mentions 3 of the 6 songs.[251]
- ^ Ivănescu omits the third major radio station in the base game, Black Mountain Radio, which largely features the same musical content of Mojave Music Radio, but with a non-human host who provides in-universe commentary (pre-scripted as opposed to running commentary) on the game world.
- ^ The song titles and performers of the songs on Radio Freedom are uncredited and unknown as of 2021.
- ^ Cheng's tables contain several errors. In the table for Enclave Radio, a track called "Hail, Columbia" is listed composed by Philip Phile. This song was misidentified and the composition was not used in Fallout 3. The track in question is an original composition composed by Danny Pelfrey & Rick Rhodes titled "Presidential Entrance" and initially released on the 1996 Sound Ideas album Time Marches On - Military Marches, Ceremonial, Band Music SI-S1[66][67] For Galaxy News Radio regarding Bob Crosby's "'Way Back Home", Cheng specified the recording date as 1935, obtaining the date from game's end credits. This is an error mistaking the song's composition date instead of its recording date. According to entries in Bob Crosby's discography and contemporary Billboard magazine advertisements, Bob Crosby recorded and released "'Way Back Home" in 1950.[39][41][43] In addition, Bob Crosby would have been around 22 years old in 1935 compared to 37 in 1950.
- ^ Other songs on Galaxy News Radio which were not written and recorded in America include those by Gerhard Trede, Billy Munn, Allan Gray, and Eddy Christiani & Frans Poptie as German, British, Polish, and Dutch nationals respectively. The author noted these songs were provided by APM Music and could not find research on these tracks at the time.[254]
- ^ Cheng's paper primarily focuses on the music of 2008's Fallout 3 and does not address the newer 1950-2009 music added to the radio of 2010's Fallout: New Vegas and the original music diegetically composed for the game in the aforementioned 1950-2077 period. In footnote 37, Cheng notes his paper was first drafted in 2011 when Fallout: New Vegas was still recently released.[281] He also does not list earlier games like 2004's Fallout: Brotherhood of Steel (and its music) in his brief overview of the Fallout series in footnote 2.[282] In addition aside from the 1934/2004 nature of "Anything Goes", "Boogie Man" used in Fallout 3 was recorded in 1960, but he notes that research on the APM tracks was not available at the time.[254]
- ^ Cheng provides a direct quote by Agatha supporting her statement, but does not provide a quote for Three Dog. A similar quote about finding records in "playable condition" cannot be found in the game's dialogue file for Three Dog. Three Dog does not mention the word "record" or "playable" in his available dialogue. Searches for "condition" and "disc" refer to irrelevant lines of dialogue.
- ^ Neither of the authors Cheng nor Gibbons provide a direct quote from the Fallout games to support the suggestion that post-vinyl recording technology was destroyed.
- ^ Gilbert did not address the newer songs recorded in the 1970s, 1980s, 1990s, and 2000s used in the Fallout series shown above.
- ^ Gilbert omitted mentioning the original songs by Agatha, Bruce Isaac, The Lonesome Drifter as well as those by Vera Keyes and Dean Domino who also provided diegetic music within the world of Fallout shown above.
- ^ At 5 million views as of 2021.
- ^ The original trailer was concurrently uploaded by other gaming channels during Fallout 4's release in 2015.[300] The 2015 fan-edited video in question is also still available to view.[301]
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- Lafleuriel, Erwan; Lopez, Rémi; Fargo, Brian (2018). "Chapitre 6 - La musique dans Fallout" [Chapter 6 - Music in Fallout]. La saga Fallout. Histoire d'une mutation [Fallout. A Tale of Mutation] (in French). Translated by Harrison, Paul (1st ed.). rue d'Alsace-Lorraine, Toulouse, France: Third Éditions. pp. 133–141. ISBN 978-2-37784-032-8.
- Morgereth, Timothy A. (1987). Bing Crosby: a discography, radio program list and filmography. Jefferson, North Carolina: McFarland & Company. ISBN 0899502105.
- Nimmo, Harry Arlo (2004). "Appendix 1 - Discography". The Andrews Sisters: A Biography and Career Record. Jefferson, North Carolina: McFarland & Company. pp. 419–435. ISBN 0-7864-1731-5.
- Rust, Brian (1975). The American Dance Band Discography 1917-1942: Irving Aaronson to Arthur Lange. Vol. 1 (2nd, 1979 ed.). New Rochelle, New York: Arlington House Publishers. ISBN 0-87000-248-1.
- Rust, Brian (1975). The American Dance Band Discography 1917-1942: Arthur Lange to Bob Zurke. Vol. 2 (2nd, 1979 ed.). New Rochelle, New York: Arlington House Publishers. ISBN 0-87000-248-1.
- Rust, Brian (2001). Jazz and Ragtime Records: 1897 – 1942 (Personal Use Edition) (PDF) (6 ed.). Mainspring Press.
- Ruppli, Michel (1985). The King Labels: A Discography. Vol. 1 & 2. Westport, Connecticut: Greenwood Press. ISBN 0313251452.
- Taylor, Stephen (2006). Fats Waller on the Air: the Radio Broadcasts and Discography. Lanham, Maryland: Scarecrow Press.
- Townsend, Timothy A.; Pinson, Bob (1976). San Antonio Rose: The Life and Music of Bob Wills. Champaign, Illinois: University of Illinois. ISBN 0-252-01362-X.
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- Episodes
- "The End"
- "The Target"
- "The Head"
- "The Ghouls"
- "The Past"
- "The Trap"
- "The Radio"
- "The Beginning"
- Soundtrack
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- Exodus
- Wasteland
- The Outer Worlds
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