Fallout Music Timeline

What follows is a timeline of the music associated with the Fallout games based on their recording date. It primarily deals with the licensed tracks which were not specifically composed for the Fallout series. However, several songs are described as existing in the Fallout world in the future.

Note that the Fallout world is not our own, but rather one that has diverged from ours soon after World War II. So, while it takes place in the future, it is not our future, but a future as imagined in traditional 1950s style science fiction.

While many songs are from the 40s and 50s, others are markedly newer than those decades. Reasons cited by the developers regarding the inclusion or omission of newer or older recordings vary considerably ranging from cost of licensing, wanting to use tracks that would be new to the audience, or changes in the licensing companies.

The original source material for the tracks encompasses a broad range of music formats which run the gamut from the traditional vinyl LP and 45 and the shellac 78 rpm record to the more obscure 16 inch transcription disc, Old Time Radio broadcasts, Snader Telescriptions, and library music as well as newer CDs.

Music supervision and licensing was primarily done by Christopher S. Parker, Tim Scanlin, and Ian M. Anderson, music coordinator for Brandracket, LLC.

Notes:


 * Some songs have more well-known versions by the same artist that do not appear in the games. Fallout's versions may come from an entirely different decade, but the originals are included for context and marked with a strikethrough.


 * Generally if there is a considerable time gap between the "Recorded" dates and the first public release date, it is accounted in "Release notes". Many of the songs licensed for Fallout were not available for public purchase at the time and existed on publicly obscure formats until they were digitized. The largest gap between original recording date and first public release is "Anything Goes" (1934 and 2004, 70 years).


 * The record labels listed are the US labels that originally issued the recording that the average consumer would have had access to unless otherwise marked. Many songs were first issued as singles until the invention of the vinyl LP album in 1948 where noted.


 * Library music tracks are prioritized based on their original issue if known along with their Associated Production Music (APM) listing. As the music was not intended for public sale, dates are unfortunately spotty.

1900s and prior
The Fallout 3 quest, Lincoln's Profit Margins, features a phonautograph and phonautogram recording of President Lincoln's voice presumably made sometime during his life (1809-1865) and Frenchman Édouard-Léon Scott de Martinville's patent of the device (1857). In reality, phonautograms consist of sound waves traced in insubstantial soot which hampered playback until 2008.

Thomas Edison's invention of the cylinder phonograph in 1877 would allow for more permanent sound capture first in tinfoil, then wax, then celluloid. Emile Berliner's invention of the disc gramophone would spark one of the earliest of the format wars.

The Copyright Act of 1909 allows for mechanical licenses so that piano roll manufacturers could make cover versions of songs. However, since sound recording is a nascent technology, it is not yet considered to be eligible for copyright.

The act also codifies the copyright symbol as a circled capital letter C (©) for eligible works. A song's composition qualifies for copyright, but not its recording.

1920s
By this time, the cylinder had fallen out of favor and disc records carried the day. The material to make records was standardized to shellac with a playback speed of 78 rpm. However, all recording was doen acoustically where singers had to shout to make themselves heard above the surface noise.

The development of electrical recording by the late 20s allowed for more sensitive microphones and gave rise to the "crooners" the likes of Bing Crosby and Rudy Vallée.

1930s
The 30s heralded the Great Depression and brought an end to the Roaring 20s. Record companies nearly folded since people could listen to music for free on the radio. RCA Victor attempts to launch a 33.3 rpm record which was a commercial failure.

1940s
The US enters WWII. Wire recorders and transcription discs attempt to allow for longer recording times. Famed bandleader Glenn Miller goes MIA in 1944.

1950s
Just after the war is over, Columbia Records debuts the vinyl long-playing (LP) record in 1948. Stung by the memory, RCA Victor rolls out the 45 single in 1949. So begins a War of the Speeds with the 78 record slowly losing market share.

Bing Crosby begins to popularize magnetic tape recording which cleared away any negative lingering German association.

Note: Hank Thompson did record a commercial version of "Hangover Heart" for Capitol Records. However, the end credits indicate that the Soundies Inc. version was scheduled to be used.

1960s
By the 60, 78s are largely phased out of production in the US. Stereophonic sound starts to become widespread and standardized, phasing out monoaural recording.

1970s
Formats come and go with the 8-track giving way to the cassette tape.

US Congress passes the Copyright Act of 1976. Prior to this, sound recordings (as opposed to compositions) could not be copyrighted. All sound recordings made prior to February 15, 1972 are under a blanket copyright until February 15, 2047 provided they are published and made publicly available. After 2047, these songs will fall into the public domain.

The act also codifies the sound recording copyright symbol as a circled capital letter P (℗). This distinguishes the copyright for a recording as opposed to the copyright for the composition (denoted under ©).

1980s
Phillips had unveiled the compact disc (CD) in 1979 giving way for a new format for the decade.

1990s
US Congress passes the Copyright Act of 1998 otherwise known as the Copyright Term Extension Act. Copyright law is amended such that sound recordings made prior to February 15, 1972 are under a blanket copyright until February 15, 2067 provided they are published and made publicly available. After the new date of 2067, these recordings will fall into the public domain.

Much of the soundtracks to the Fallout series also contain songs from various production music libraries. These tracks were never meant to be sold to the public and recording information is often obscured. These recordings appear on CD compilations, but indicate they are meant to imitate older songs though they are newer, stereo recordings based on the liner notes, copyright information, and the age of the composer.

''Note: Since January 2017, APM Music no longer holds the rights to Carlin Production Music. All Carlin tracks are currently represented by Warner/Chappell Production Music.''

21st century and Pre-War
Fallout features a number of songs presumably written and recorded in the near future up until the events of the Great War.

On February 15, 2067, all sound recordings made before February 15, 1972 are no longer given federal copyright protection and now fall into the public domain.

Ten years later, on October 23, 2077, the bombs fall resulting in the destruction of civilization, extinction of most plant and animal life, and near-annihilation of humanity.

Post-War
Fallout also features a number of songs recorded after the Great War. Some were written for the games while others are covers of established songs, but all were newly recorded for the games.

In-universe as the player character encounters the songs being played "live", it is presumed that the song was written or recorded shortly before the events of the game. The year for the main events of each game are as follows:

Recordings with uncertain dates
''Note: Since January 2017, APM Music no longer holds the rights to Carlin Production Music. All Carlin tracks are currently represented by Warner/Chappell Production Music.''

Much of the soundtracks to the Fallout series also contain songs from various production music libraries. These tracks were never meant to be sold to the public and recording information is often obscured. These recordings appear on CD compilations, but indicate they are from older mono, archival sources based on the liner notes, copyright information, and the age of the composer.

Vault 101 PA System
The Vault 101 PA System and Fallout Shelter features several easy-listening instrumentals licensed from Westar Music. However, it appears that the same tracks have been re-released on multiple occasions under various titles and artists.

Enclave Radio
Enclave Radio consists of public domain patriotic compositions also recorded by Westar Music.


 * America the Beautiful - Samual A. Ward (1910)
 * The Battle Hymn of the Republic - Julia Ward Howe (1862)
 * Dixie - Dan Emmett (1861)
 * Hail, Columbia - Phillip Phile (1789)
 * Marine's Hymn - Jacques Offenbach (1867)
 * The Stars and Stripes Forever - John Philip Sousa (1897)
 * The Washington Post - John Philip Sousa (1889)
 * Yankee Doodle - Dr. Richard Shuckburgh (1770's)

The recordings appear on the album WSR171 Proud & Spirited, but with a release date of 2014. Fallout 3 was released in 2008.

The artist given is Rhodes & Pelfrey.

Other stations
Radio Freedom plays colonial fiddle music and both Classical Radio stations play various tracks of classical music. The dates of the exact recordings and musicians are not known.

Behind the scenes

 * The Fallout Bible makes passing references regarding the music of the world.


 * Despite Fallout: New Vegas 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.
 * Developer Joshua Sawyer alluded to the use of library music because it was "low-cost".
 * Audio Director Mark Lampert commented on the music being a mix of the "instantly recognizable", "lesser-known tracks from well-known artists", and "obscure tracks from long-forgotten bands".
 * Historically, there was a real-life music stagnation around the time of the Divergence.
 * The ASCAP boycott resulted in a ten-month period lasting from January 1 to October 29, 1941, where no music licensed by ASCAP (1,250,000 songs) was broadcast on radio.
 * The 1942–44 musicians' strike commenced on July, 31, 1942 until the last of the major record labels had capitulated in 1944. No union musician was allowed to participate in a recording sessions. This was only mitigated with the creation of V-Discs for the war effort which were not sold to the general public.
 * "Pistol Packin' Mama" was Decca Records' first recording made after the strike.
 * The 1948 musician's strike lasted from January 1, 1948 to December 14, 1948 over disputes regarding radio and television royalties. This strike was anticipated with labels stockpiling recordings, singers going a capella, or using harmonicas (which were not part of the union).