Fl studio 10 plus crack

Breakdown by decade.

1940s

• "Jingle Jangle Jingle" was recorded for Columbia Records in 1942, the same year as "Praise the Lord and Pass the Ammunition". However, Fallout 76 actually uses the 1962 version of the song made after Kay Kyser retired, made with former members of his orchestra for Capitol Records. Weirdly, there are a couple of videos on youtube with the New Vegas logo for "Jingle Jangle Jingle" with millions of views that are using the wrong version of the song. It's not the in-game Columbia Records version, but taken from the same 1962 Capitol Records album that Fallout 76 uses. Though it hasn't been picked up by youtube's copyright ContentID program compared to the in-game version.
  
• "Stars of the Midnight Range" is another one of those darn 16 inch transcription discs. Imagine taking a record and enlarging it to the size of your car hubcap. Like Fallout 3's Bob Crosby songs, you need a turntable that can actually accommodate the increased size. Standard turntables will cause the record to overlap the tonearm itself. According to his autobiography, Johnny Bond recorded it in 1944. The same Soundies Inc. CD album reissue also provided "Headin' Down the Wrong Highway" used in Fallout 76 which is the only other "new" Soundies transcription song used after the dissolution of the archiving company after the death of the archivist.
  
• "It's a Sin" is the only RCA Victor song in New Vegas, similar to "Anything Goes" from Fallout 3. Eddy Arnold recorded it in 1946. It would take until Fallout 4 to more RCA Victor song to appear in Fallout. Probably unsurprisingly, there are quite a few songs that talk about sin in New Vegas.
  
• "Mad About the Boy" is another 16 inch transcription disc song. Helen Forrest recorded this Noel Coward standard in the 1949-1950 period with the rather impressively-named Carmen Dragon and his orchestra. Fallout being Fallout means that this transcription disc uses vertical grooves (up and down) instead of the more common lateral grooves (side to side). If you look very closely at the huge record sleeve, there are enormous letters that say "VERTICAL". In the days before stereo sound, the idea was that since transcription disc turntables used rubber idler wheels that horizontally rub to rotate the platter, this imparts noise in the playback since the needle also moves horizontally. Therefore the grooves should undulate up and down to avoid excess noise to get good mono playback. When stereo sound was perfected a decade or so later, grooves would move the needle up-down and left-right to get two discrete stereo channels. As such, since my cartridge is meant for lateral discs, I can't actually play this disc until I find a stereo cartridge for the tonearm, Fallout being Fallout.
  

1950s

• "Orange Colored Sky" doesn't actually appear in-game, though it was prominently used in a 2010 TV trailer for New Vegas. It sort of languished in obscurity with the other Fallout trailer song "Dear Hearts and Gentle People" until they finally made it into a Fallout game with 2015's Fallout 4. It was recorded by Nat King Cole in 1950 for Capitol Records. New Vegas would actually be the first in the series to start to use Capitol Records songs.

• "Hangover Heart" also doesn't appear in-game. It only appears in the end credits for New Vegas, perhaps it was cut at the last minute? Also unusual is that Hank Thompson did record the song for commercial release on Capitol Records as well as for a transcription disc around 1951. However, the credits indicate the Soundies Inc. version would have been the one used, therefore the 16 inch transcription disc. Mercifully, it's a lateral cut so I can actually play it.
  
• "Why Don't You Do Right?" is sort of self-explanatory. New Vegas doesn't use either Peggy Lee's breakout Columbia Records recording from 1942, nor the brassier Capitol Records version from 1948 album complete with seductive cheesecake cover. The in-game version is taken directly from the soundtrack of a 1950 Snader Telescription, an early type of music video. Aside from a VHS, Laserdisc, and DVD version of the video, the exact recording of the song seems to have only been issued on Camay Records as Peggy Lee's Greatest. Unfortunately, the audio quality on the record isn't too great and omits a large part of the opening instrumental. The end credits for the song again do not cite Columbia Records nor Capitol Records, but a certain "Morley Music Co." and "Cassidy Music, LLC". Not entirely sure how Spotify would categorize it.
  
• And here’s the meme song of New Vegas, that persistent earworm that people keep singing: the man, the legend...Mr. Johnny Guitar. Apparently there's a bug that causes this song to play more often than usual, the same bug that affects the other meme song of New Vegas. This 1954 Peggy Lee song is the the title tune for the movie of the same name starring Joan Crawford. The movie wasn't spectacularly popular in the US at the time with poor reviews, so sales of the record didn't do well except in countries where the movie was popular overseas like Italy, France, and Iran. This is also the only Decca Records release used in New Vegas compared to the veritable flood in Fallout 3.
  
• "Something's Gotta Give" has a rather storied history. Evidently when Bing Crosby recorded it for his CBS radio show in 1955, it went directly into storage never to be heard again until it was digitized as part of a CD set for Mosaic Records in 2009. This so-called "Bing's basement" has yielded a number of lost recordings over the years ranging from the lost 1960 World Series film to the Kraft Music Hall radio version of "Accentuate the Positive" used in Fallout 4. Richard Kaplan, of Indigo Ranch fame, was responsible for the digitization project for Mosaic. If you've listened to punk and nu metal the likes of Korn, Vanilla Ice, Limp Bizkit, and Slipknot, you've listened to Indigo Ranch's recording studio in Malibu, California. So Bing Crosby enters the picture through reels of brittle, acetate magnetic recording tape. In a 2014 interview with TapeOp Magazine, Kaplan relayed some details of the process along with a rather graphic description of the tape reel snapping splices flying apart when being played. Incidentally, I got a hard copy of the Sept/Oct 2014 issue of the magazine, but the Bing Crosby stuff is briefly mentioned as an online-only bonus. Most of the paper Kaplan interview is dedicated to his work on Neil Young, Beatles, and punk rock sessions, go figure. Richard Kaplan would pass away shortly after this interview in November.
  
• "Love Me as Though There Were No Tomorrow" was written for the musical Strip for Action in 1956. It closed rather quickly before it went to Broadway as the title is exactly what it sounds like with many stockinged legs on the cover of the 7 inch Capitol Records EP, Nat "King" Cole Sings Songs from "Strip for Action". It was reissued on the compilation album This is Nat King Cole in 1957, presumably without nudity.
  

• "Lazy Day Blues" was originally titled "Big Note Blues" in the UK for Parlophone Records in 1958 by Bert Weedon. This British guitarist is going to come up quite a bit.
  
• And of course the other meme song of New Vegas, “Big Iron” by Marty Robbins from 1959 on Columbia Records. There's no further transcription disc-exclusive songs at this point, but here's a bigger iron comparison between a 16 inch transcription disc version of the Gunfighter Ballads and Trail Songs album and an ordinary 12 inch version. The album sold pretty well with 2 followups More Gunfighter Ballads and Trail Songs and Return of the Gunfighter. The flip side of the "Big Iron" 45, “Saddle Tramp”, was not on the original album until the various CD reissues in the 2000s. Though this 80s CD reissue holds a special place because of the weirdly canted Marty with very 80s looking LAZERS on the cover art.
  

1960s

• "Ain't That a Kick in the Head" is also pretty iconic and was featured in the film Ocean's 11 in 1960. Unusually for a Dean Martin Capitol Records 45, this is rather hard to find. It apparently failed to chart despite being in the movie. Probably because it didn't do too well, the budget compilation album company Pickwick reissued the song a lot on so-called "Greatest Hits" albums. The 1957 Pickwick album You Can't Love 'Em All is probably the earliest reissue and one of the most common. Though the end credits still credit Capitol Records for the song so they likely still retain the rights.
  
• "Blue Moon" is the only other Rat Pack song in New Vegas, this time by Frank Sinatra himself. It was taken from the 1961 Capitol Records album Sinatra's Swingin' Session!!! and doesn't appear to have been issued as a single though there are some obscure EP versions that cut down the album. This was his third to last studio album for Capitol Records, though it is a partial re-make of an album he had made previously for Columbia Records ten years ago when he was still a bobby-soxer heartthrob. By 1960, Sinatra would be rather preoccupied with launching his own record label, Reprise. Of course it didn't stop Capitol from releasing a number of compilation albums after his departure from the label.
  
• "Happy Times" is another Bert Weedon guitar instrumental. It was originally titled "China Doll" and released in on HMV (His Master's Voice) records in 1961. People of a certain age from the UK may recall when 45s came with knock-out centres lest they suffer from the record dinker tool to force them to fit in a jukebox.
  

1970s

• "Roundhouse Rock" was originally titled "Rockin' at the Roundhouse" for Fontana Records in 1970. Though its title is the least changed out of the Bert Weedon instrumentals used in New Vegas, it carries the most historical baggage. Basically, the Roundhouse refers to the concert venue in London which opened for the performing arts after being converted from a railway roundhouse in 1964. In 1970, Bert Weedon and other British rockabilly artists were performing a Rock Revival show in a landscape quickly changing to metal, punk rock, glam rock, acid rock etc. He wrote the song “Roundhouse Rock” for the occasion. The Roundhouse would later be known in the 70s for its early, debut performances of the Doors, Elton John, Rolling Stones, David Bowie, the Stranglers etc. Bert Weedon’s Rock Revival concert would fade into musical history. Bert Weedon himself wrote Play in a Day which was the British guitarist compendium to learn and play the guitar. Biographies of the Beatles, Eric Clapton, Led Zeppelin etc. all cite Bert Weedon as the inspiration to pick up the guitar. Though it was issued as a single, "Rockin' at the Roundhouse" was also the title track for the album of the same name; you can take your pick of the sexy punk biker lady for Fontana Records or the Tom Selleck-moustached Bert Weedon on the cover for Contour Records.
  
• "It's a Sin to Tell a Lie" is also self-explanatory. New Vegas doesn't use the original 1941 recording of the Ink Spots using "It's a Sin to Tell a Lie". It was recorded in the same year as "I Don't Want to Set the World on Fire" on November 17, just before that "day which will live in infamy". The Talking Bass, Hoppy Jones, would die in 1944 from a cerebral hemorrhage. After many lineup changes due to the war and internal strife, the group would formally breakup in 1954. This did little to forestall the rise of various impostor groups recording under the Ink Spots name with the newly invented vinyl LP record, debuted in 1948. Lead singer, Bill Kenny would die in 1978. However, he apparently recorded a new album with a new backing studio group in stereo called If I Didn't Care, named after the group's first big hit. This was released in 1979, the year after his death. The various formats of the album vaguely insist it is previously released material or conveniently omits that it is re-recorded material on the LP release. This 1979 recording of "It's a Sin to Tell a Lie" is what Fallout: New Vegas uses in-game. In fact, it is the only Ink Spots recording used in Fallout that's not a Decca Records shellac 78 and credited to "Dominion Entertainment" instead of "Geffen Records" in the end credits of the games.
  

1. The Ink Spots originally recorded "It's a Sin to Tell a Lie" for Decca Records in 1941, but New Vegas does not use this version of the song.
   
2. Bill Kenny did record "It's a Sin to Tell a Lie" for Mercury Records in 1962 for the album Bill Kenny Sings the Golden Hits of the Ink Spots, but this is a different version.
   
3. If I Didn't Care (1979) is the first known issue of the New Vegas version of the song. It had a couple of issues in 1979 under the Columbia subsidiaries of CBS/51 West Records. Unfortunately, it's a rather vague title featuring the Ink Spots' best-selling song, muddling searches quite a bit. It features a fountain pen, an ink bottle and a rose on the cover. Depending on which format you find the album, it may or may not actually mention if it's re-recordings. The LP says it's full of "previously released material", but I have not managed to find an earlier issue of these recordings. The cover and the label mention a certain "Springboard International" and "Koala Record Company".
   

1. Ink Spots Greatest Hits (1982) again has a rather vague title, but it was made by Era Records. I don't know why the cover art features a woman in a suggestive pose covered in stars if none of the titles reference this. I guess it was the 80s. The cover does mention that it's re-recordings by "Key Seven Music" and "Dominion Music Corporation".
   
2. The World on Fire (I Don't Want to Set...) (1983) Again, the title is rather vague, but this is an unusual French issue under Carrere/Media Plus. The cover art features imagery from the Chanel No. 5 perfume commercial as mentioned above with the man and the tower looking on a man and a woman enjoying a chance meeting. The text boxes reference this with "Musique originale du spot TV" (Original music from the TV commercial) and "Nouveaux enregistrements" (New recordings). There also was a lead single 45 with the same cover art, but it only has the version of "I Don't Want to Set the World on Fire" from the commercial and "We Three (My Echo My Shadow and Me)". The cover mentions "Kilo Music Limited" and "Key Seven Music".
   

1980s

• "Heartaches by the Number" is also another self-descriptive song. New Vegas doesn't use the original Guy Mitchell recording made in 1959 for Columbia Records. It's a re-recording made in 1980 for K-Tel Records. After contacting the head of the Guy Mitchell Appreciation Society in the UK, I was forwarded a list of the many versions of "Heartaches by the Number" he recorded through the decades. The recording sessions also yielded a number of UK compilation albums which do have the correct version of the song while I needed a filter out quite a few Benelux and European pressings which may or may not have had the New Vegas version.

1. The Top 100 Country Hits of All Time (1983) This is a long 5 LP set (or 3 8-track) Candlelite set. The minuscule asterisks mention this version of the song is a re-recording by the original artist provided by "Imperial Music".
   
2. The 1950's Rock and Roll Music Collection - Looking Back (1983) This is part of a colorful Candlelite series, this one is yellow and features a woman precariously rocking back at a bowling alley. It's a 3 LP set with a large booklet featuring random 1950s trivia. The album mentions a random mix of original and re-recordings by the original artist, some provided by "Imperial Music".
   
3. Country Music Cavalcade - Nashville Graffiti (1983) 3 LPs. This is a confusing issue for Candlelite Records. First, there is a nearly identical 1976 version of Nashville Graffiti which uses the CBS/Columbia Records version aka the original recording not used in New Vegas. Cavalcade is also a series with nearly identical covers which have different bylines like "Welcome to Candlelite Country" while emphasis should be placed on the Nashville Graffiti byline for the New Vegas version. The cover is a scribbly one-line type drawing with a man and woman singing next to a jukebox and a car near a diner. It mentions re-recordings from "Key Seven Music".
   
4. Heat of the 50s (1987) This is a cassette released by Master Sound a subsidiary of the Mastertronic video game company from the UK. There's a long story about this release, but the intriguing thing is that it also has the version of "It's a Sin to Tell a Lie" from New Vegas as well which is extremely unusual. The cover features black and white clipart of a man dancing? The tape does mention re-recordings from "Kilo Music Limited".
   
5. Those Fabulous 50s (1988) Another UK release from Ocean Records. The lamination is unfortunately peeling off from the cover which features a large closeup of a car. The label does mention re-recordings from "Kilo Music Limited".
   
6. Hooked on Country (1990) Another UK release, this time a true-blue K-Tel record instead of one of its subsidiaries. It's a gatefold for a single LP with 50 non-stop country classics. Because it's non-stop, it's mostly one giant groove with no track separations, so cuing is a little difficult. The track credits are a bit of a mess with some tracks being re-recorded and some not. "Heartaches" is credited to a "S J Productions Inc." You can actually hear the New Vegas version of "Heartaches on this very old K-Tel TV commercial for the album.
   

1990s

• "Cobwebs and Rainbows" (1993) New Vegas starts the tradition of covering a fairly modern song to with a new recording to fit into Fallout. The New Vegas end credits apparently used to call this song "Green Clouds and Dust Whirls" back in 2010, but by 2011 it has been patched to call it "Cobwebs and Rainbows". It was written by Dick Walter for the KPM 2 CD set Pure Big Band and the booklet gives a nice description of the musicians who played on the CD. Josh Sawyer laid down the vocals for the Lonesome Drifter with three songs based on old folk songs as part of New Vegas' unlockable songs with James Melilli and Nathaniel Chapman on guitar. However, he sang "Cobwebs and Rainbows" for Bruce Issac which uses the backing track from the CD "Cobwebs and Rainbows (c) Alternative version for cocktail lounge piano and rhythm section". If you're wondering why the title is "Cobwebs and Rainbows" even though they're never mentioned in the song, it's because they were mentioned in the 1993 vocal versions provided by Claire Martin and Danny Street as alternate male and female versions. If you're a 90s kid and viewer of old Nickelodeon cartoons, The Adventures of Pete & Pete, you may recognize the same song from the 1994 episode "Yellow Fever" sung by the character over the end credits with the original lyrics. The backing track is from the CD "Cobwebs and Rainbows (a) Dreamy romantic ballad featuring saxophone".

• "Goin' Under" (1997) is taken from the Bruton 2 CD set Nashville Timeline 1 and 2. It's an imitation of Hank Williams who is depicted on the cover art. While the liner notes mention the writers of the song Wayne Perry and Tommy Smith and extensive lyrics, it doesn't reveal the singer or the musicians playing. Just a biography of the writers, the names of the producers, and that it was recorded in Battery Studio in Nashville. If you remember the Disney movie Cars, this song actually plays very faintly at the beginning of the 2008 animated short "Toyko Mater" Unfortunately I can't find the English version of the short that didn't get copyright struck, but here's the official Dutch episode.
  
• "In the Shadow of the Valley", "Let's Ride into the Sunset Together", "Lone Star" (1998) were all taken from the same Sonoton CD Swingin' Out West. As for the cover art, it really pushes clip art and word art styles to the limit. On the Lost Weekend Swing Band's official website, they mention recording the album for Sonoton in 1998 and are still touring today. The liner notes are fairly detailed listing the writers and arrangers of each song. The personnel is clearly listed with the band's lineup in 1998 (the current touring lineup is a little different) though the vocals are just piled together in one credit line. The album was recorded at Bay Records in Berkeley, California, and it's a DDD CD to boot.
  
• "I'm Movin' Out" (1998) is taken from the Bruton CD Portrait of the 50s. Unlike the other Bruton CD, the writers, singers, and musicians are clearly documented for each track. "I'm Movin' Out" was written by the brothers Billy and Steven Roues and Gary Solomon with lead vocals by Billy Roues. There are detailed biographies, but no location on where it was recorded. If you recognize the dancing couple on the cover art, it's the same stock image used for the cover of the Cinemusic Dance Orchestra CD which provided archival recordings of the Jack Shaindlin songs "Let's Go Sunning" and "I'm Tickled Pink".
  

2000s

• "I'm So Blue" (c. 2000) This actually comes from a multi-CD set released by Carlin over several years, Country Music 1, 2, 3, 4, (possibly a 5). "I'm So Blue" appears on both Country Music 3 - Songs/Line Dancing and Country Music 4 - Songs/Instrumentals. They appear to be ever so slightly different takes. Unfortunately, 3 and 4 don't have release dates, but 1 and 2 have dates of 1998 and 1999 respectively. The booklets both credit Martyn Laight and Katie Thompson as writers, but no further details on the musicians. However, the track was used in the 2000 film Remember the Titans when they are thrown out of the restaurant. It was also used in the 2008 Supernatural episode "Lazarus Rising".
  
• "Where Have You Been All My Life?" (2003) This comes from a Bruton CD Singers and Swingers. It's mentioned as the latest Hal David and John Cacavas album in the May 3, 2003 issue of Billboard magazine. The booklet is forthcoming with the vocalists, Jeff Hooper sang on this track, but only mentions a "Musician Fixer" and a Metro Voice Chorus. It was recorded at Battery Studios & Whitfield Street Studios in London. It actually shares an identical melody and arrangement with "Underneath the Mistletoe" found on the next Cacavas/David album the 2004 Bruton album In the Christmas Swing.
  
• "Sit and Dream" (2009) was released on a cardboard digipak as the Bruton CD Colourful Characters. The composer is listed as Laurie Stras and there are two male and female vocal versions. Laurie Stras coincidentally recorded for Obsidian Records singing early 16th and 17th century music. Unsurprisingly, she's a music professor in Southampton and mentioned Pete Thomas, the composer of the following track "Total Dreamer", sang the male vocal for her song. Apparently her young son is impressed with her getting a song in a video game though she wasn't notified.
  

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