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Best of r/trance 2019 - Official Top 20 Tracks of 2019

This is one post out of a series celebrating our favorites of trance in 2019. Specifically, this post has to do with the The Best Tracks of 2019. Please click here for the December Mix Competition Information, or click here for results on Best Album, Best Label, etc. and our survey results!

Welcome ladies and gentlemen of trance for the Top 20 Trance Tracks of 2019 Results as voted by you, viewers and listeners of trance!

A few weeks ago, I provided you details and a Google Survey link for voting on the Top Tracks of 2019, and you responded!
Before we get into the full results, a few tracks that just missed out:
25) Armin van Buuren vs. Shapov - La Résistance De L’Amour
24) Arctic Moon featuring Shuba - Cool In My Disaster
23) MaRLo & Feenixpawl - Lighter Than Air
22) Paul Denton & Audrey Gallagher - Beneath The Stars
21) DT8 Project - The Edge
Before we get into the list....

Our Honorable Mention

This was the track with no restrictions that you felt either didn’t (or couldn’t) make your personal Top 5. This category did allow unreleased bootlegs first played in 2019.
The Honorable Mention for 2019 is:
Key4050 featuring Plumb - I Love You
If you want to see all the songs (include some progressive house and other genres) that people felt were superb in 2019, you can check out the Full List Here.
But now let’s get down to business; why we are here today.
Let’s count down the Top 20 detailing the Top 5. Drumroll Please

#20

Cold Blue - Shine

#19

Greg Downey & Sunscreem - Perfect Motion

#18

Will Atkinson - Autobahn

#17

Factor B - Anything (For You)

#16

Key4050 - Equinox

#15

Andrew Bayer - Parallels

#14

Craig Connelly & Alex Holmes - Waterfall

#13

Craig Connelly featuring Jessica Lawrence - Believe

#12

Andrew Bayer - Magitek

#11

Giuseppe Ottaviani - Panama

#10

Richard Durand & Christina Novelli - Save You

#9

Ciaran McAuley & Clare Stagg - All I Want

#8

Ferry Corsten presents Gouryella - Surga

#7

Cold Blue - Colors

#6

The Noble Six - Ocean Planet

#5

Giuseppe Ottaviani - 8K
We start off our Top 5 this year with none other than Giuseppe Ottaviani. Suffice to say he’s had a pretty big year, releasing his Evolver album, multiple singles, live sets, and of course, this top tune, “8K.” Released in May on Black Hole Recordings:
You can keep your fours, fives, sixes & sevens – Giuseppe’s turned the definition straight up to eight with his born-to-thrill ‘8K’! Using scudding drum patterns, offbeat bass and pulse quickening tempo, in no-nonsense fashion Giuseppe goes straight for the primetime jugular. Foundations laid he brings in evocatively lifting, flurrying sub-melodies, which are amplified through his exacting key changes.
Spacily chiming harmonies and chord soar apply more celestial sequences to its theme, before its vibrant mainline begins to well from the drop. Giuseppe gives it its time to develop before finally opening up the filters and gating it up a storm! ‘8K’ all the way – Giuseppe’s next big ‘Evolver’ is out now!

#4

Key4050 featuring Plumb - I Love You
What do you get when you combine the talents of Bryan Kearney and John O’Callaghan with the vocals from Plumb, an artist whose had multiple hits over the years? You get this song. Most heard this during Transmission Prague this year, and while the reception to the vocals is definitely mixed, there’s no denying that the underlying beat is alone worthy of a Top 5 finish. Key4050 has definitely been on everyone’s radar this year, with hits such as Exposure, Pikachu, and Prometheus, alongside their Tales From The Temple album release. “I Love You” finished the highest of them all, however, as well as earning the top spot in our Honorable Mention list.
While a label release is most likely upcoming on either Black Hole or Kearnage next year, it was officially released as an unmixed track for the ASOT Year Mix 2019 album in December.

#3

Factor B & Cat Martin - Crashing Over
Described by many as a future modern classic, Factor B finished a strong year with a crowd-pleasing performance enhanced by the emotive vocals from Cat Martin. It’s been a top performer in sets, clearly enrapturing everything one wants from a vocal uplifter. Released in March on Future Sound of Egypt, the official release is short, simple, and to the point:
Factor B’s rise to the top continues with this incredible vocal anthem on FSOE.

#2

Ben Gold & Sivan - Stay (Sneijder Remix)
The original song released in 2018 didn’t even make our Top 25 last year. That’s the power of this remix on a track that delves into the power of love. Sneijder takes the original, perhaps more big room track and transforms it into an absolute banging uplifter. Released in February on Who’s Afraid of 138?!, the tagline:
This isn’t the first time Sneijder drops a thumping remix and it won’t be the last time either. With his remix of Ben Gold’s ‘Stay’, the Irish Trance juggernaut shows to everyone out there that uplifting Trance is still the way to go when you need to make a mainstage crowd roar.

And now your number 1 song….

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#1

Let’s take a trip down memory lane. It’s 2007. The BP Deepwater Oil spill hasn’t occurred yet. The Cubs are still waiting for another World Series victory. LCD Soundsystem gets Pitchfork’s nod with best song of the year with “All My Friends.” And you still can’t get that “Umbrella,-Ella,-Ella” song out of your head. In the studio Josh Gabriel and Dave Dresden co-write a track with Jes Brieden as one track in her debut studio album Disconnect. It’s a catchy song it its own right, but it still remains that technically this is just a newly recorded version of a prior acoustic track from 2004, released under their Motorcycle alias on Gabriel & Dresden’s Bloom album.
Later that year, it gets remixed by arguably one of the biggest names in trance: Tiesto. And it’s a banger. It was featured on the now-classic In Search of Sunrise 6: Ibiza mix compilation and was one of the standout tracks not just on Disc 2, but the album together. That mix compilation would end up winning a WMC Award in 2008.
The following year, it gets additional remix support from another big name DJ: Kaskade. The track also reaches #1 on Billboard’s Dance Radio Airplay in January of 2009.
Around the same time, an 18-year-old producer from Glasgow was putting together his debut release “Cloud Surfing.” Did he know at the time the support he would receive from that debut and what was to come?
Fast forward to today, twelve years on, and we finally have the intersection of these two paths.
I think by now you know our tune of the year for 2019:
JES - Imagination (Will Atkinson Extended Remix)
It must be daunting for any producer to take a classic, loved track and produce a new remix for the song. Let alone take a track that has been remixed into the trance classic archives. And yet, this is not a new task for Will. In 2018, he gave the world his take on Roger Shah’s “Lost.” In 2017, he produced trance’s Tune of the Year with his remix of Dogzilla’s “Without You.” Even his remixes of more modern tracks make the end of year lists, such as 2016’s “Lies Cost Nothing.”
And that’s nothing on his individual production level and own singles. Here’s a fun fact. Since 2014, Will’s had at least one song in our Top 3 every single year. Some artists struggle to make our Top 20 consistently. And Will’s doing this on the regular, typically with other songs sprinkled throughout our Top 20.
It can’t be any surprise, then, how we end up in 2019 at the end of the year with another Will Atkinson remix of a classic. And it can’t be any surprise, then, how it ends up as the top tune of the year.
The track was released on Magik Muzik in February, and theres not much else to be said! Congratulations to Will Atkinson on his remix for the Tune of the Year 2019 on trance!
submitted by soccernamlak to trance

After 10 years, here’s my (mostly complete) Fallout New Vegas music CD and record collection containing the songs from the game’s radio soundtrack from 1942 to 2009.

Hello all. With the 10-year anniversary of Fallout: New Vegas, I wanted to share with you a project I have been working on for the past couple of years. I have been trying to collect the music of the Fallout series on the original records as a way to bring the games to life.
I've been working on other similar video game record collections, however, the Fallout series has proven to be a combination of both fascinating and frustrating in tracking down the original versions of the songs used in the game which run the gamut from shellac 78s, vinyl LPs and 45s to enormous 16 inch transcription discs, radio broadcasts, re-recordings, Snader Telescriptions, 8 tracks, and stock music. New Vegas runs the gamut from 1942-2009 and every decade and music format in between.
For those of you impatient with this wall of text to see another wall of text, but with far more pictures mostly alphabetized by artist, here's the link where I try to document every single record used in Fallout: New Vegas' various main radio stations, Radio New Vegas, Black Mountain Radio, and Mojave Music Radio.
https://imgur.com/a/vCoH9Y1
Important: Imgur may or many not prompt you to click on "Expand More Images"; the image album goes far beyond 10 pictures.
And of course we can't forget Mr. New Vegas aka Wayne Newton and perhaps his most famous single "Danke Schoen". Though some might say his voice is very different; many people confuse it with a woman's voice.

Breakdown by decade.

This is a continuation of my previous post on the 10 year anniversary of Fallout 3. https://www.reddit.com/Fallout/comments/9rkz6y/after_10_years_of_fallout_3_heres_my_mostly/
Compared the Fallout 3, finding the records for New Vegas was more difficult since many weren’t available as jukebox singles, only came on albums, were the wrong versions, or just more rare overall.
4 songs were re-recordings/obscure versions and very uncommon to find outside the game since radios do not use the more famous originals: “Heartaches by the Number”, “It’s a Sin to Tell a Lie”, “Why Don’t You Do Right”, “Hangover Heart”. (Also an easy way to check if a Spotify or YouTube playlist compilation of the New Vegas soundtrack accurately uses the in-game versions) See also: “Jingle Jangle Jingle”.
New Vegas' soundtrack also tends to move forward in time with more records being first issued on the newly invented vinyl record instead of shellac 78s. More of them largely exist only on albums and weren't issued as singles.
Of course with albums comes cover art. While Fallout 3 had one song associated with a nudist film, a couple of pieces of album art for New Vegas feature a number of provocative poses even if it has nothing to do with the song itself, be warned that it is Sin City indeed.
Of course, people know the story of why Elvis was way too expensive to put in New Vegas. As for Rat Pack songs, there's one each for Sinatra and Dean Martin from their Capitol recording days. Sammy Davis Jr. would be a Decca records guy at the time (the label is much rarer to find in New Vegas compared to Fallout 3), but he is represented in the game as Tommy Torini.

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.
This is also the last shellac 78 used for New Vegas before the soundtrack transitions into the newer vinyl era.
By the way there is an interesting Nat King Cole song that encapsulates the Fallout soundtrack called "Mr. Cole Won't Rock and Roll". It doesn't appear on the original 1966 release of the album Live at the Sands released after his death in 1965, but it does on the CD reissue.

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

Meanwhile, director Ridley Scott was riding on a wave of fame after the release of Alien in 1979. To keep up his directing chops, he made a series of commercials for Chanel No. 5, the perfume. The first was the radically different Blue Sky commercial with a woman lounging by a pool with the tagline “Share the Fantasy”.
The second came out in 1982, known officially as “L'invitation au rêve - Le jardin”.
There are several different versions with dialog, but they all feature the same images of the mysterious woman and man and personal questions.
https://www.youtube.com/watch?v=dx3Na_7inPI
https://www.youtube.com/watch?v=B_AHJ3miqLE
The curious thing about the commercial is that it uses the re-recording of “I Don’t Want to Set the World on Fire” from this very same album. The commercial garnered a feature in the December 14, 1982 issue of the New York Times, but it does not mention the discrepancy in the recordings. The recording proved so popular in France that it led to a reissue of the album in 1983 with a new cover evoking scenes from the commercial spot and sprinkling of piano present in the commercial, but not in the original 1979 album.
Later the same year in 1982, Ridley Scott would complete Blade Runner which featured similar imagery from the commercial and another Ink Spots song in the original trailer "If I Didn't Care". This was cut from the theatrical release and replaced with the soundalike "One More Kiss, Dear". The original Ink Spots tune is restored depending on which version of the movie you have.
For "It's a Sin to Tell a Lie", it's arguably one of Billy Kenny's last recordings before he died in 1978.
Again, you have to be careful with buying the Ink Spots on vinyl LPs. After the Ink Spots broke up, many impostor groups rand around recording under the Ink Spots name even if they didn't have any original members. At best for Ink Spots LPs you can have mono or fake stereo, but original recordings, the worst will have entirely new re-recordings with no original members. Most of the Ink Spots repertoire was originally recorded on mono shellac 78s and a couple of the songs used in Fallout never made the jump to vinyl. If you want to find vinyl compilation albums with the original versions you know and love from the games, try to find labels and the subsidiaries which hold the original rights like Decca, MCA, and Brunswick to reduce the chance of them being re-recordings.
Of course for "It's a Sin to Tell a Lie", it is taken from an album of re-recordings though with Bill Kenny as the original member. I've been able to confirm the following issues as having the New Vegas version of the song though it could be there are others especially on compilations with other artists. While all of the other Ink Spots songs used in Fallout are licensed from Decca/Geffen Records, the New Vegas end credits for this song mention a Dominion Entertainment which appears to be a K-Tel subsidiary which also provided the other oddball New Vegas song "Heartaches by the Number". I'm not sure how Spotify would categorize this.
  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".
Here is the 8-track issue of the song in the most 70s way I can think of, with a space age Weltron and a lava lamp. Around the middle you get the dreaded fade-out and fade-in that people of a certain age may remember about the quirks of the 8-track format.
  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".
My copy actually appears to be signed by Harold Winley, Jim Nabbie, Sony Hatchett, and King Drake aka the Jim Nabbie's Ink Spots. There's an interesting article from the August 1, 1985 issue of South Florida Sun Sentinel about the Jim Nabbie's Ink Spots suing other Ink Spots groups for using the Ink Spots name. Whatever the case, they were not present at the original 1941 recording sessions for "I Don't Want to Set the World on Fire" and "It's a Sin to Tell a Lie", nor does it appear that Bill Kenny sang with the group at the 1978 recording session. Apparently they were based around the Florida area and I'd love to know the circumstances that led them to signing an Ink Spots record pressed in France.
One more note on this song: I haven't been able to find much about the recording of the album. There is some information about the album having being made in Nashville in some newspaper articles for the Vancouver Sun in 1982-1983 by Denny Boyd. It was brought forth by Bill Kenny's widow Audrey McBurney who apparently tried to sue the Chanel No. 5 perfume corporation for unauthorized use of the song from the album. Other newspaper articles from 1985-1992 either misidentify or correctly identify the version of the song used in the commercial.
https://imgur.com/a/5pgwPPE
Presumably there would be more information about the album in the court case if it still exists. I've tried to visit a couple of legal libraries over the years, but Canadian court cases and appeals are hard to get this side of the border and since it took place around 1982, it is before the 1985 digitization limit. The case was possibly dropped and settled out of court, but if there are any Canadian Fallout fans who have access to the legal archives in Vancouver, I'd greatly appreciate any help in this matter on Bill Kenny's last album.

1980s

The New Vegas version was recorded in 1980 for K-Tel Records in Nashville. The end credits of New Vegas for the song do not mention Columbia Records, the original label, like they do for "Big Iron" and "Jingle Jangle Jingle". Instead it's "Dominion Entertainment" again like for "It's a Sin to Tell a Lie". Dominion Entertainment also appears appears to be a K-Tel subsidiary I'm not sure how Spotify would categorize this.
Candlelite Records provided the earliest issue of the New Vegas version that I could find. There appears to have been an acquisition/lawsuit/bankruptcy between Candlelite and K-Tel in 1980 and 1984. However, they were multiple Candlelite compilations issued in 1983 which have 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.
There are likely other issues, but these are the ones I found so far with the New Vegas version. I also have a large number of "duds" from various countries which do not have the version featured in Fallout.
This is the last track used in New Vegas that was originally issued on vinyl before the soundtrack moves forward into the newer CD era.

1990s

Much of this information comes from the physical CDs themselves and their liner notes booklets. Surprisingly, the original CDs were among the hardest things to track down for New Vegas. Some people assume these songs were composed specifically for New Vegas mostly because they don't seem to exist outside of New Vegas. But these were songs composed by many talented musicians who are still working today. I will try to list instances where the song also appeared in media earlier than New Vegas.
You may recognize the other Dick Walter tracks on the Pure Big Band KPM CD set. "Hey, Hot Lips!" was used on the UK version of Whose Line is It Anyway? for the Narrate scenes back in the 1990s. The US version uses a slightly less sleazy version for its narrate scenes. "Hot Liquorice" was also used in 1998 X-Files "Triangle" episode and the Boggart scene coming from the gramophone Harry Potter and the Prisoner of Azkaban.

2000s

Here we are firmly in the CD era and some of Fallout's most modern songs. Some of these CDs would be issued on cardboard digipaks instead of plastic jewel cases.

TL;DR

Like all Fallout games, trying to track down the original releases and information about the songs in New Vegas was simultaneously interesting, rewarding, surprising, and very frustrating since so little information seems to exist about many of the songs outside of the game and the wide range of formats from shellac to vinyl to transcription discs to reel to reel tape to 8-tracks to cassettes to CDs. And yet after 10 years on the anniversary, it is still incomplete and I'm still looking.
Continued below...
submitted by UpgradeTech to Fallout

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