Courtesy of Columbia Records By Arrangement with Sony Music Licensing Blue Moon Written by Richard Rodgers and Lorenz Hart Performed by Frank Sinatra Used by Permission of EMI Entertainment World, Inc. (BMI) All Rights Administered by Unichappell Music Inc, Mariposa Music, Inc.
#Fallout new vegas ost flac license#
Under license from EMI Film & Television Music Big Iron Written and Performed by Marty Robbins (C) 1958 Unichappell Music Inc. (ASCAP) Courtesy of Capitol Records, Inc. Radio New Vegas Ain't That a Kick in the Head? Written by Sammy Cahn and James Van Heusen Performed by Dean Martin Maraville Music Corp. See the pages for the radio stations, or see the songs page for correct track information. Note: The track listings in the credits do not accurately reflect the playlist for those stations. Music supervision and clearance was done by Christopher S. ĭespite the game having numerous references to Elvis Presley, developer Jason Bergman revealed on the Bethesda forums that performance rights to any of Elvis' songs would be too costly. ĭeveloper Joshua Sawyer contrasted the music choice of Fallout 3 as having a "goofy upbeatness" of the '30s and '40s, while New Vegas focused the crooner-style Rat-Pack-late '50s, as well as bluegrass and country music from the '40s to the '50s. Audio director Scott Lawlor was responsible for the inclusion of the ambient tracks by Mark Morgan from Fallout and Fallout 2. In addition to 80 minutes of new score, Bethesda and Obsidian got the rights to integrate the previous scores from earlier Fallout games. Regarding the period tracks: "the score for New Vegas is basically portraying more of the psychological place that we want the player to be and the songs are giving them more of the adventure of the era." The result is "quite a twangy, a little Western, but a very twisted western sound."
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In comparison to Fallout 3, Fallout: New Vegas went for a smaller scale using sound design synthesizers, The Lyris Quartet providing the strings and a few guitars. Makes me wonder why they didn't just get Mark Morgan to begin with, since I think he could have captured the Fallout atmosphere a lot better.Inon Zur reprised his role for composing the orchestral score. I do really like the music Inon Zur wrote for the game, but it doesn't mesh as well as I'd like with the original songs - as much as I love the original Fallout soundtrack, it shouldn't be setting alarm bells off in my head every time I hear it. Inon Zur makes some strong attempts, but I think that there's too much percussion, and too much use of traditional instruments like strings and pianos. Fallout 2 was more upbeat, but Morgan was smart enough to save the right songs for the right places to create a more "epic" feel. In the first two Fallouts, melody and percussion were things that only showed up on occasion, and when they did, they really stood out from the near-ethereal and dead soundscapes of the rest of the world. I just wish there wasn't such a stylistic difference between the new and old songs. I've barely even touched the in-game radio stations because the regular soundtracks are so integral to the mood of the game. Music is a huge part of games and I think they did a great job making New Vegas much more interesting.
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all alone, things are quiet, enemies appear nearby and things become a bit more tense, then as gunfire starts up some drums kick in and things become more dramatic. There are a huge number of themes, not to mention layers that build and build on each other based on what's going on. I have to say that I'm really enjoying the dynamic music in this game. It makes me wish that it wasn't carried out in a desert setting, because I get the feeling that these guys could have made the vault experience extraordinary. This has proven so far to be a most definitely flawed, but acceptable follow-up/spin-off of Fallout. It felt good before I heard the music, even though the knowledge and visual reminder that its built off of a Bethesda abomination hurts it a bit (honestly the most immersion/Fallouty-breaking element are the character models, animations and interactions).īut it feels really good after hearing those tracks and feeling like I was trying to SURVIVE. I now actually feel like I'm playing a Fallout game.
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It's amazing what a soundtrack (or a bite of nostalgia that actually feels legitimate) can do for your feelings and enjoyment of a game. Having that playing in the background as I lurked in a dark dilapidated building was an INCREDIBLE feeling. I've been enjoying New Vegas a lot so far, and it wasn't until I reached Primm that I noticed some of the original Fallout music.