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The Fallout TV show, inspired by the popular video game series, has captivated audiences with its immersive portrayal of a post-apocalyptic world.
Like its gaming counterpart, the television adaptation featured a meticulously curated soundtrack that transported viewers to the retrofuturistic setting that defines the franchise.
With nods to popular songs of the time, the soundtrack brought depth and emotion to the series, complementing the journeys of its main characters: Lucy, Maximus, and Cooper Howard.
Original score of the Fallout TV series and video games
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Ramin Djawadi crafted an original score for the series, influenced by original compositions for the Fallout video game series. However, the series also incorporates numerous songs by various artists, mirroring the immersive musical experience of the video games.
The Fallout video game series' soundtrack combined original compositions by composers such as Mark Morgan, Matt Gruber, Devin Townsend, and Inon Zur with licensed songs from the 1920s to the 2000s.
Every song in the Fallout TV series
In the debut episode of Fallout, titled The End, viewers are first treated to King Cole's Orange Colored Sky provides the backdrop for a birthday party scene, while Perry Como's Don't Let The Stars Get in Your Eyes accompanies Lucy's interview for the marriage trade.
The wedding of Lucy and Monty has Connie Conway's Who Do You Suppose playing and Some Enchanted Evening by The Castells. Scatman Crothers' Keep That Coffee Hot plays during an intimate moment between Lucy and Monty, while Johnny Cash's So Doggone Lonesome introduces the character Maximus.
The Brotherhood of Steel's celebration is underscored by Johnny Cash's All Over Again, and Connie Conway's Brighter Side accompanies Lucy as she prepares to leave the Vault. The episode concludes with Sheldon Allman's Crawl Out Through the Fallout during the credits.
In The Target, the second episode of the show, Ella Fitzgerald and Count Basie's rendition of Into Each Life Some Rain Must Fall sets a somber tone during the opening scene, while Bing Crosby's Fence Me In accompanies Lucy's exploration of the wasteland.
Betty Hutton's It's a Man adds intensity as Maximus dons the iconic Fallout Power Armor for the first time. The episode concludes with the haunting melody of the Ink Spots' I Don't Want to Set the World On Fire during the credits.
The third episode in the series, The Head, opens with the melancholic tones of The Ink Spots' Maybe. The soundtrack accompanies Lucy as she traverses the desert with a decapitated head.
The Ink Spots' We'll Meet Again plays as Chet faces the news of his transfer and departure from Vault 33. Meanwhile, LaVern Baker's Tweedle Dee provides a backdrop to Norm's interactions with imprisoned raiders.
Glenn Miller's In The Mood sets a chilling atmosphere during Thaddeus's demise. Finally, Buck Owens' Act Naturally features both in a flashback scene with Cooper Howard meeting Vault-Tec suits and in the episode's credits.
In The Ghouls, the fourth installment of Fallout, Jack Shaindlin's Let's Go Sunning sets the tone as Coop leads Lucy through the wasteland in the opening scene. Buddy Holly's What To Do accompanies a moment of tension as Lucy experiences a loss.
The Swallows' It Ain't The Meat provides a playful backdrop to a scene of intimacy between Chet and Steph. Lastly, The Andrews Sisters' I Can Dream, Can't I? enhances the atmosphere as Cooper Howard navigates a supermarket in the aftermath of a ghoul attack.
In Fallout episode 5, The Past, the first soundtrack is Bonnie Guitar's Robin in the Pine, which accompanies a tense moment as Lucy rescues Maximus from mutant bugs while he's trapped in Power Armor.
Battle Hymn of the Republic by Eugene Ormandy and The Tabernacle Choir sets the scene during overseer elections in Vault 33. Herb Alpert & The Tijuana Brass's Ladyfingers play as Lucy and Maximus encounter cannibal travelers on a bridge.
What A Difference A Day Makes by Dinah Washington underscores the announcement of the Vault 32 resettlement campaign. Finally, It's Just A Matter Of Time by Brook Benton closes the episode with its credits.
Alvino Rey's Dardanella plays during the party at the Howard house starting Fallout episode 6, titled The Trap. Lonely Hours by Gene Armstrong & His Texas Nite Hawks accompanies Coop as he traverses the desert.
Summer In Love by I Marc 4 plays as Maximus explores Vault 4, and Give Me The Simple Life by June Christy accompanies a montage depicting Maximus's life in Vault 4. Lastly, I'm Tickled Pink by Jack Shaindlin underscores pivotal moments as Lucy attempts to persuade Maximus to leave Vault 4, as well as closing the episode.
The first soundtrack of Fallout episode 7, titled The Radio, is Merle Travis's Sixteen Tons, while Only You by The Platters sets the tone as Maximus rescues Lucy from Vault 4.
Dinah Washington's What A Difference A Day Makes plays again as Norm tends to the Vault 33 inmates. You're Everything by The Danleers underscores a poignant moment as Lucy and Maximus share a kiss while Brotherhood of Steel soldiers appear.
From The First Hello To The Last Goodbye by Jane Morgan accompanies the emigration of Vault 33 dwellers to Vault 32, and Annie's Song by John Denver closes the episode with its credits.
The concluding episode of the series, titled The Beginning, sets the tone with Nat King Cole's I Don't Want to See Tomorrow during the intense battle between the Brotherhood of Steel and the Shady Sands residents.
Meanwhile, The Ink Spots' We Three (My Echo, My Shadow, And Me) accompanies the final scenes of Fallout season 1, capturing the Brotherhood of Steel's acknowledgment of Maximus as a hero and Lucy and Coop's escape.
Will there be a Fallout season 3?
While Prime Video has not yet confirmed a second season of Fallout, the creators have expressed their desire to continue the series. Executive producer Graham Wagner revealed to Collider that they began working on season 2 immediately after wrapping up season 1, aiming to minimize the gap between release dates.
Season 1 of the series is available to stream on Amazon Prime Video.
