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Fallout Series Music Overview
First up, the classics—Fallout and Fallout 2. Mark Morgan was the genius behind these soundtracks, laying down ambient, synthesized tracks that feel like the wasteland itself. Morgan’s soundtracks for Fallout and Fallout 2 are iconic in their own right—dark, minimalistic, and industrial. He drew inspiration from ambient pioneers like Brian Eno, blending eerie synths, metallic clanks, and distant drones to create a sense of desolation and decay. The music feels like the aural equivalent of the games’ barren wastelands, with tracks like “Metallic Monks” (Shady Sands in Fallout) and “Khans of New California” using sparse melodies and unsettling textures to evoke ruined cities and lost civilizations. For Fallout 2, tracks like “Gold Slouch” (Redding) and “Moribund World” (Arroyo) lean even harder into a gritty, tribal feel with percussive elements and faint echoes of melody.
Interestingly, Morgan’s work wasn’t entirely original—he repurposed some of his earlier compositions from other projects, but they fit the Fallout universe so well that it’s hard to imagine the games without them. There’s no upbeat swing or jazz here like in Fallout 3’s Galaxy News Radio; instead, the classics double down on immersion through sound design that mirrors the bleakness of the setting. One standout exception is the intro music. Fallout opens with The Ink Spots’ “Maybe,” paired with Ron Perlman’s narration, setting a nostalgic yet ironic tone—a thread that Fallout 3 later expanded on. Fallout 2 uses Louis Armstrong’s “A Kiss to Build a Dream On,” keeping that same bittersweet vibe.
Then came Fallout 3, and oh boy, did things get iconic. Inon Zur’s original soundtrack is haunting and ambient, perfectly capturing the desolate, eerie feel of the Wasteland. Tracks like “Main Title” and “Wasteland Warriors” use sparse instrumentation—think moody strings, distant percussion, and subtle electronic tones—to evoke a sense of isolation and survival. It’s cinematic and understated, letting the game’s environment speak.
The radio stations, like Galaxy News Radio (GNR) and Enclave Radio, feature licensed music from the 1930s, ‘40s, and ‘50s, reinforcing the retro-futuristic aesthetic. GNR, hosted by the charismatic Three Dog, plays classics like “I Don’t Want to Set the World on Fire” by The Ink Spots, “Maybe” (also by The Ink Spots), and “Anything Goes” by Cole Porter. These songs are upbeat yet tinged with irony given the nuked-out setting. Enclave Radio, on the other hand, leans into patriotic vibes with tracks like “America the Beautiful” and “Stars and Stripes Forever,” mixed with propaganda broadcasts from President John Henry Eden.
Fallout: New Vegas shakes things up with a Mojave twist. Inon Zur keeps the orchestral vibes going, but tosses in some of Mark Morgan’s old tracks too—talk about a throwback! The original score, with tracks like “Main Title” setting an eerie tone, all twangy guitars and sparse percussion. Pieces like “The Strip” or “Goodsprings” weave in subtle Western motifs, while “Radiation Storm” ramps up the tension with dissonant swells. It’s less in-your-face than the radio but nails the wasteland’s lonely, sprawling vibe.
For the radio stations, you’ve got gems like “Big Iron” by Marty Robbins, a classic Western ballad about a showdown, and “Ain’t That a Kick in the Head” by Dean Martin, dripping with that smooth, ironic charm. Radio New Vegas also spins “Blue Moon” by Frank Sinatra and “Jingle Jangle Jingle” by Kay Kyser, giving you that retro, dusty feel. Then there’s Black Mountain Radio with more country-western flair—think “Heartaches by the Number” by Guy Mitchell or “Lone Star” by Tony Marcus. These tracks, licensed from the ‘40s and ‘50s, lean heavy into the game’s blend of nostalgia and desolation.
While reading about the music from Fallout, why don't you tune in to some '50s?
Fast forward to Fallout 4, and Zur’s "Main Title" hits you right in the feels. It’s big, it’s triumphant, and it fits the Commonwealth’s personal survival story perfectly. The score is a blend of haunting orchestral pieces and subtle ambient sounds that perfectly complement the desolate, yet oddly hopeful, wasteland of the Commonwealth. Zur’s work builds on his previous contributions to the Fallout series, delivering a soundtrack that feels both familiar and fresh. Tracks like “The Commonwealth” and “Of the People, For the People” use sweeping strings and melancholic piano to evoke a sense of loss and resilience, mirroring the game’s narrative of survival in a shattered world.
Beyond the original score, Fallout 4 features an iconic in-game radio soundtrack that mixes 1940s and 1950s classics with the series’ signature retro-futuristic vibe. Curated with care, the radio stations—most notably Diamond City Radio hosted by DJ Travis Miles—play a selection of licensed tracks from artists like The Ink Spots, Billie Holiday, and Dion. Songs such as “The Wanderer” and “Atom Bomb Baby” inject a darkly ironic cheerfulness into the nuclear wasteland, contrasting the grim setting with upbeat melodies and lyrics that often take on new meaning in context. The addition of Magnolia’s original jazz performances, voiced by Lynda Carter, adds a unique layer of immersion, tying the music to the game’s world-building. Together, the score and radio create a sonic identity that’s both nostalgic and unsettling, cementing Fallout 4’s place in the series’ musical legacy.
And then there’s Fallout 76. Zur goes full Appalachia with folk-tinged orchestral tracks like "Appalachian Sunrise". The soundtrack features a mix of original compositions and a curated selection of licensed tracks from the 1940s and 1950s, broadcast through the in-game Appalachia Radio. Songs like “Take Me Home, Country Roads” by John Denver (re-recorded for the game by Copilot Music and Sound) and classics such as “Ain’t That a Shame” by Fats Domino evoke a sense of lost Americana, contrasting sharply with the wasteland setting. Zur’s ambient score, with its haunting melodies and subtle industrial tones, underscores exploration and combat, enhancing the game’s immersive desolation.
In addition to the radio hits, Fallout 76 includes unique in-world music, like the folk-inspired tunes performed by robotic NPCs or stumbled upon in abandoned locations, adding layers to the lore of West Virginia’s survivors. The game’s musical identity evolved with updates, such as the “Wastelanders” expansion, which introduced new tracks to reflect the return of human NPCs. While the soundtrack retains the series’ signature retro-futuristic vibe, its focus on regional flavor—think banjos and bluegrass—sets it apart from previous Fallout titles. Together, the music bridges the gap between a pre-war past and a broken future, making every trek through the wilderness feel both melancholic and strangely hopeful.
So yeah, from Morgan’s creepy synths to Zur’s sweeping scores, Fallout’s music is the secret sauce of its atmosphere. Tracks like "I Don’t Want to Set the World on Fire" aren’t just songs—they’re part of the Fallout soul, burned into our memories.
You can, as well, listen to the awesome '50s tunes here on the blog, but also in our new app about all-things-Fallout - FH Companion. The app is available on the Google Play Store, be sure to check it out. Manny wastelanders already love it! So, what’s your favorite track from the Fallout universe? Drop it in the comments—let’s keep the radio playing!
If you're reading this post in FH Companion app, this article will get you to the web version where you can leave the comment. For all other articles check the Fallout Hub Blog.
There are so many great classic hits in the Fallout series, but if I had to choose just one song, it would be "Jingle Jangle Jingle" by Kay Kyser. It always gets me up!
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