Fallout 3 music

Fallout 3 music DEFAULT

World On Fire: the Music of ‘Fallout 3’

Vault Boy holding an old fashioned radio

Fallout 3 is a unique beast, something taken for granted sometimes. Generally — though not quite universally — adored, the game occupies a peculiar space between continuity and innovation. Inheriting the legacy of an acquired franchise, yet announcing itself to millions of console players, Fallout 3’s soundtrack is crucial to both the game’s atmosphere and its lasting impact. Composer Inon Zur’s ambient work, juxtaposed with the warm, crackling tunes of Galaxy News Radio, provided the perfect accompaniment to the fresh, terrifying possibilities of the Wasteland.

To fully understand the game’s soundtrack, you need to look where it came from. Fallout 3, obviously, exists in the context of the Fallout franchise. Not everyone likes where it wandered after its acquisition by Bethesda, but the continuity in soundtracks between 2 and 3 is unmistakable. Mark Morgan, who composed for Fallout and Fallout 2, said that, ‘The challenge to me was to blend a kind of odd ethnic and industrial sound design into something not only musical, but emotional.’ This is clear to hear if you listen through his two soundtracks. There is something mystical about them, suggestive of a newly discovered planet — vast, hostile, untameable. Morgan’s music feels like an ode to the Wasteland itself; in Fallout 3, Zur uses those ethnic/industrial components to explore the player’s place in it.

Fallout 3 concept art

The ‘feel’ of Fallout 3 is a commonly cited appeal. A major strength of the game is that it crafts a kind of psychological ambience around its players. The soundtrack explores the human potential of the Capital Wasteland: the likely thoughts, fears, and responses of the player. Talking to IGN in 2008, Zur said he was ‘going for more of the psychological effects rather than describing what’s going on on the screen.’ The soundtrack is generally ambient in nature, but it has an edge that colours the in-game experience. Whereas the nature of Morgan’s music seems synonymous with that of the Wasteland, Zur’s work explores humanity’s place within it. The coarsely mystic undertones remain, but they are overlaid with thematic motifs consistent with the game’s story.

When you tune in to it, the OST is markedly eclectic. There are shades of sci-fi in tracks like “Forgotten” and “Out of Service”, the latter veering into psychological horror territory. The fantastical flights of “Wandering the Wastes” could just as easily make for an Elder Scrolls track as a Fallout one. Visually speaking, Fallout 3 is probably one of the granddaddies of seventh generation gaming’s grey, desaturated dirge, but it certainly doesn’t feel dull when you play it. Like the Capital Wasteland’s post-war society, Zur’s soundtrack sounds as if it’s been pieced together in a rusty laboratory out of god knows what.

This ramshackle character was something Inon Zur wanted. The tie between the old and new world was central to Fallout 3’s world and what he sought to bring to it:

‘I think that the connection between what was before and what they have now, plus the aspiration of what you would want to create in the future, this is what creates the perfect world for Fallout. It’s like in many of the Star Trek movies it feels like it was always this way, there is almost no past. On the contrary, with this game we wanted to create a strong contact to the past and to the roots.’

Some characteristics are particularly pronounced, and they serve as a kind of in-game spectrum. There is an unmistakable militaristic edge to Fallout 3’s soundtrack, tempered by a quietly insistent primeval streak. The power struggles of the Capital Wasteland dictate much of the game’s events, and Zur inserts its dull, groaning march into its ambience. Drum cadences ripple throughout the soundtrack, seldom out of mind. “New World, New Order” models this especially well, tightly regimented and metallic. A grind of deadly machinery pervades the album.

In contrast, tracks like “Fortress” dabble in blowing horns, wedding the rigid order of modern military practice with sounds more suggestive of hunter-gatherer societies. Pan flutes haunt “Ambush” and “Metal on Metal”, while didgeridoos turn up all over the place. The contrast is striking. Dense, rusty industrial beasts rub shoulders with flutes, horns, Greek choruses, and goodness knows what else. I’m almost certain I heard a harpsichord in “Chance to Hit”. Classical and ‘primitive’ sounds recur repeatedly, almost serving as pied pipers for the blundering thunder of modern machinery that ostensibly dominates Zur’s work. “Metal on Metal”, one of the OST’s most powerful tracks, listens like a savage dance between two ages – Bronze and Nuclear.

These kinds of juxtapositions are threaded throughout the game’s soundtrack, though they’re seldom in your face. Zur’s work is, ultimately, ambient. It isn’t strictly meant to be noticed. As he recently put it in an interview with GamesIndustry.biz last May, ‘In video games, you don’t need to hear the music – you need to feel it … you don’t need to notice the music but it needs to be part of the whole experience on an emotional level.’ Agree or not, it’s safe to say Zur’s soundtrack is the furthest thing from intrusive. Instead it drifts, lapping at the listener’s mind just enough to tint his or her experience. For the game’s more overt sounds, the player needs to turn to the wireless.

Fallout 3 concept art

It’s impossible to talk about Fallout 3’s soundtrack without mentioning Galaxy News Radio. Its cheerful, crackling tunes are a haven for players — tellingly, the GNR Soundtrack has enjoyed much more playtime on YouTube than the OST has — but they also reinforce the same themes explored by Morgan and Zur. The Capital Wasteland is a product of the same world that produced the Ink Spots and Billie Holiday. The songs Three Dog plays are remnants of the same past, one the players themselves share given that the songs are ‘real’. Billie Holiday and Co. didn’t cause the war, obviously (that particular DLC was shelved), but their prevalence creates clear parallels with the ambient soundtrack’s tone. The weapons of Fallout 3’s past salt the earth; its melodies hold up the sky.

The interplay is subtle, but undeniable. It is crucial to Fallout 3’s atmosphere. Concerning video game soundtracks, Inon Zur argues that implementation ‘is as important as the quality of the music itself. At least 50%.’ The OST is constant, unobtrusive, and, most importantly, true to the uncertainty of the player’s position. GNR overlays a sense of certainty paradoxically derived from the pre-war world it so derides. Together they create something really quite special. Exploring the Wasteland is not a leisurely affair, but it is absorbing. Zur’s work sits underneath like a heartbeat, rising to meet the quiet, sublime potential of the Wasteland. Everyone who has played *Fallout 3 *remembers leaving Vault 101 for the first time and realising how alone they really were. I doubt as many remember turning on their radio and learning they had company.

The soundtrack guides moments like that more than is immediately apparent. It’s all about implementation, and for sheer punch this moment unquestionably belongs to Inon Zur:

Both the OST and GNR bolster the theme of humanity’s place in post-war ruin. More of the same? Rebirth? Let’s see. Indeed, the OST track listing almost feels like a spectrum. The further along it gets, the more technology falls away in favour of a smoother, purer sound. And as post-war society develops, further motifs grow out of that. There are elements of blues and folk in “Megaton”. The same is true of the town’s ambient tracks. Zur nods to this, saying that the people of Megaton “are kind of creating a new, wild west world,” planting their flag in a new frontier.

Similarly, “Old Lands, New Frontiers” threatens to swell, to promise something new. It is one of the cleanest pieces in the soundtrack, the absence of brutish technological motifs giving strings, bells, and flutes space to breathe and swell. “City of Ruin” feels like a cleansing. There is something quietly, unstoppably indigenous about the music, like a forest reclaiming a fallen metropolis. Indeed, it’s decidedly cyclical. As the game unfolds, the raw, jangly odes of the OST evolve to resemble the songs on the radio. That which is gone will be reborn.

Building upon the work of Mark Morgan, accompanied by the cheerful ironies of GNR, Inon Zur’s soundtrack is characterised by potential just as much as it is by ruin. It explores the psychology of a true American Wasteland; tainted by the brutality of its past, redeemed by the potential of the future — fragile as that future may be. It is in many respects a model video game soundtrack: not terribly memorable on its own, but essential to an experience that most players will remember for the rest of their lives.

Sours: https://audioxide.com/articles/world-on-fire-the-music-of-fallout-3/

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.
The Falloutseries sources licensed music originally released on wide variety of audio formats. All formats are sized to scale. The song titles are noted with subscript captions. Click on the format to load the appropriate article.

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, and Inon Zur. 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 50s in accordance with its atompunkretrofuturistic setting influenced by the post-warculture 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.


Original score[edit]

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]

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[edit]

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.

Fallout 2[edit]

Original score[edit]

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]

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[edit]

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" or 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.

Additional Fallout entries[edit]

Fallout Tactics: Brotherhood of Steel[edit]

The 2001 game, also known as Fallout Tactics, 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[edit]

The 2004 game 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.

Van Buren[edit]

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]

Fallout Online[edit]

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]

#TitleArtistRecording dateLength
01"Slave to the Blues"Ma Rainey19252:15

Fallout Shelter[edit]

A spin-off of the Fallout series, the vault-building simulation mobile game 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[edit]

Original score[edit]

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]

1."Main Title"2:04
2."New World, New Order"1:34
4."Price of Honor"1:40
6."Unwelcome Guest"3:38
8."Never Surrender"2:03
9."Metal on Metal"3:28
11."Think Fast, Shoot Faster"3:00
12."Chance to Hit"3:00
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
29."A Stranger in Town"3:18

Licensed soundtrack[edit]

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

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.

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[edit]

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.

Promotional only[edit]

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[edit]

Original score[edit]

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]

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 Bell2:10
37."Home on the Wastes"Josh Sawyer & Nathaniel Chapman2:31
38."New Vegas Valley"Josh Sawyer & James Melilli1:59
39."Streets of New Reno"Josh Sawyer & Nathaniel Chapman2:18

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[edit]

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.

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.

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[edit]

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 compositionVera 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[edit]

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.

Fallout 4[edit]

Original score[edit]

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]

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
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
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[edit]

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 ⁋.

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


This section needs expansion. You can help by adding to it. (March 2021)

The Classical Radio station features around 30 instrumental pieces of classical music by various composers.

Original songs and covers[edit]

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]

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]

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]

1."Nuka-World Theme Song (From Fallout 4: Nuka World)"1:21

Promotional only[edit]

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[edit]

Original score[edit]

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]

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
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
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
26."The Excavator"4:21
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]

1."Wastelanders Main Theme"2:20
2."Wayward Souls"3:42
3."Strength in Numbers"4:27
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]

1."Steel Dawn Main Theme"2:27
4."Dawn Patrol"3:50
5."Into the Unknown"4:21
6."Darkness into Light"3:51
8."In Our Midst"3:16
10."Lying in Wait"3:16
11."A New Dawn"3:38
14."Uncertain Rest"3:50
16."Something Lurking"2:12

Licensed soundtrack[edit]

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 ⁋.

Sours: https://en.wikipedia.org/wiki/Music_of_the_Fallout_series
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To meet The Vault's quality standards, this article or section may require cleanup. Please help by improving the article.

The Fallout 3 soundtrack is a collection of orchestrated tracks composed by Inon Zur for Fallout 3, as well as licensed tracks performed by various artists. On January 31st, 2013, Bethesda released the Fallout 3 Original Game Soundtrack on iTunes for purchase but only contains the orchestrated tracks composed by Inon Zur and none of the licensed tracks.


Fallout 3: Original Game Soundtrack

Main article: Fallout 3: Original Game Soundtrack

All 29 orchestrated and ambient songs composed by Inon Zur packaged together.

Fallout 3 Soundtrack

The following section is transcluded from Fallout 3 promotional items. To modify, please edit the source page.

A CD featuring five songs from the soundtrack (three of them from Three Dog's broadcast at Galaxy News Radio) was made available to people who pre-ordered the game at GameStop. The track list is as follows;

  1. I Don't Want to Set the World on Fire by The Ink Spots
  2. Way Back Home by Bob Crosby
  3. Butcher Pete (Part 1) by Roy Brown
  4. Fallout 3 Soundtrack-Main Title by Inon Zur
  5. Fallout 3 Soundtrack-Megaton by Inon Zur

Radio soundtracks

Galaxy News Radio

The licensed tracks played on the in-game radio station Galaxy News Radio are as follows. {{columns|2|

Enclave Radio

Agatha's Station

Vault 101 PA system

Ambient music








Behind the scenes

  • The name of the start menu theme, "When The Swallows Come Back", is almost the same name as one song by The Ink Spots, named "When The Swallows Come Back to Capistrano".


  • The reverse of the promotional Fallout 3 Soundtrack.


Sours: https://fallout-archive.fandom.com/wiki/Fallout_3_soundtrack

Investigator Surganov - You, as before, say the investigator Dorofeev said that you were only trying to prevent these two accidents. And you have no direct relation to them. - Yes, I say, the investigator. This was my personal initiative, said Andrei, sitting on a chair in front of a table littered with papers in the private office of the investigator for special cases in the.

3 music fallout

Everything that was now around Veronica. Even her bedroom. It seemed to her that even the bedroom was her enemy, and it seemed to Veronica that the monsters were in her bedroom. As if they were just waiting for the moment to attack her.

Full Fallout 3 OST

Slava enjoyed the process for about ten minutes, then said: - Klas, I am no longer a virgin, I have become a. Woman. Now it's your turn Vlad.

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And so it is in Russia, Why carry that in bulk. But that is not the point. One fine morning, in the summer, She sent the Red girl's mother a Present to her grandmother. Look here, she said to her daughter, - There are.

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