Christmas Music
Christmas music has evolved dramatically over centuries, shifting from ancient religious hymns to modern secular pop anthems, yet its core purpose remains to capture the festive spirit of the winter season. The earliest forms of this music were Christian carols, tracing back to 4th-century Rome, but they truly took off in the Middle Ages when figures like St. Francis of Assisi encouraged singing songs in the local language, rather than Latin, allowing the common people to celebrate the Nativity. These songs were initially lively, communal folk tunes associated with circle dances and feasts, and many of the beloved carols we know today, like "The First Noel" and "Hark! The Herald Angels Sing," were popularized during a revival in the Victorian Era of the 19th century, which romanticized and standardized many Christmas traditions.
The most significant evolution came in the mid-20th century with the rise of secular holiday hits, primarily in the United States during the 1940s and 1950s. This era saw songwriters shift focus from the religious narrative to themes of nostalgia, winter wonder, and family togetherness, perfectly captured by enduring classics like Bing Crosby's "White Christmas" and Nat King Cole's "The Christmas Song." These songs, with their sophisticated jazz and "crooner" arrangements, solidified the distinct, warm, and sentimental sound that defines the modern Christmas music canon. Today, new pop standards like Mariah Carey's "All I Want for Christmas Is You" and Wham!'s "Last Christmas" compete with the classics, but the genre's enduring popularity lies in its ability to evoke powerful positive memories, providing a comforting and familiar soundtrack that breaks through the noise of the rest of the year.
That exploration of the shift from traditional carols to contemporary pop only scratches the surface of Christmas music culture. In the UK, no tradition is more closely followed—or debated—than the annual Christmas Number One, the single topping the chart on Christmas Day. This coveted spot has been held by everyone from The Beatles and Queen to charity supergroups, reality TV winners, and even novelty acts like Bob the Builder. The history of this chart battle perfectly illustrates the changing trends in British pop music, especially since 1952, when the tradition truly began to take hold.
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Day Tripper / We Can Work It Out - The Beatles - (1965)
Parlophone - Number 1 for 2 weeks from 1965-12-19 to 1966-01-01
This was a double A-side single, a rarity for the Christmas Number One, featuring two strong, distinct tracks from the Fab Four. The song's success secured the group's **third consecutive festive chart-topper** and was a sign of the band’s constantly evolving musical complexity, even on their pop singles. They saw off a challenge from Cliff Richard's "Wind Me Up (Let Me Go)" to take the crown.
Here in My Heart - Al Martino - (1952)
Capitol - Number 1 for 3 weeks from 1952-12-14 to 1953-01-03
The very first UK Singles Chart Christmas No.1, a sweeping romantic ballad from Italian-American singer Al Martino.
I Want to Hold Your Hand - The Beatles - (1963)
Parlophone - Number 1 for 3 weeks from 1963-12-15 to 1964-01-04
The first of four Christmas Number Ones for The Beatles in the 1960s, this song marked the true beginning of **Beatlemania dominating the charts**. It represented a huge cultural shift, signifying the rise of British rock music and youth culture. Its energetic, exuberant pop sound became the soundtrack to the year's festive celebrations. The Beatles also held the Number 2 spot with the *Magical Mystery Tour* EP, achieving an impressive chart double.
Return to Sender - Elvis Presley - (1962)
RCA Victor - Number 1 for 3 weeks from 1962-12-16 to 1963-01-05
Elvis Presley secured his first Christmas Number One with this upbeat rock and roll track from his film *Girls! Girls! Girls!* The song was a massive commercial hit, spending a total of five weeks at Number One, and its popularity was purely down to its mass appeal as a pop single, having no festive theme. Its success underscored Elvis's enduring global popularity even as the British Beat movement was beginning to emerge.
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Moon River - Danny Williams - (1961)
HMV - Number 1 for 3 weeks from 1961-12-17 to 1962-01-06
This classic song, written by Henry Mancini and Johnny Mercer for the film *Breakfast at Tiffany's*, won the Christmas Number One for the British crooner Danny Williams. Its sophisticated, orchestral arrangement and sentimental theme offered a touch of Hollywood glamour to the festive season. Williams' version famously beat Kenny Ball and His Jazzmen's "Midnight in Moscow" to the top, following in the tradition of popular non-rock ballads.
I Love You - Cliff Richard & The Shadows - (1960)
Columbia - Number 1 for 3 weeks from 1960-12-18 to 1961-01-07
This romantic ballad continued the trend of non-festive hits reaching the top spot during the Christmas week, staying at Number One for two weeks. It was the **first of Cliff Richard’s four Christmas Number Ones** across three decades, establishing him as an enduring figure in the festive chart race. The song's gentle pop sound, backed by his band The Shadows, was typical of the pre-Beatles era.
What Do You Want to Make Those Eyes at Me For? - Emile Ford & the Checkmates - (1959)
Pye - Number 1 for 3 weeks from 1959-12-13 to 1960-01-02
A doo-wop/rock and roll rendition of a 1910s jazz song, this track secured the last Christmas Number One of the 1950s. The song's success highlights the growing British interest in rock and roll and R&B styles as a new decade of pop music was about to begin. Emile Ford was the **first black British artist to sell one million copies of a single** and his band, The Checkmates, helped define the sound of the late 50s.
It’s Only Make Believe - Conway Twitty - (1958)
MGM - Number 1 for 2 weeks from 1958-12-14 to 1958-12-27
This was the biggest hit for American rockabilly and country music star Conway Twitty in the UK. The non-festive romantic ballad, with its dramatic arrangement, topped the chart and was a sign of the rising influence of American rock and pop music as the 1950s drew to a close. Its soulful delivery was characteristic of the nascent pop-country blend. The song would remain at Number One for a total of four weeks.
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Mary’s Boy Child - Harry Belafonte - (1957)
RCA - Number 1 for 2 weeks from 1957-12-15 to 1957-12-28
Belafonte’s calypso-infused recording of this traditional Christmas spiritual was only the second overtly festive song to reach the Christmas Number One spot. It became one of the decade's biggest hits, spending **seven weeks at Number One**, and established itself as an enduring Christmas classic. Belafonte became the first male black artist to top the UK Singles Chart. The success of the track highlighted the growing crossover appeal of world music styles in the UK.
Just Walkin’ in the Rain - Johnnie Ray - (1956)
Columbia - Number 1 for 2 weeks from 1956-12-16 to 1956-12-29
Known for his emotional stage presence, American crooner Johnnie Ray topped the Christmas chart with this melancholy, non-festive ballad. Its success over more uptempo rivals demonstrates the continued popularity of traditional crooning and sentimental tunes in the mid-50s UK chart. The song stayed at the top spot for **seven consecutive weeks**, proving its enduring popularity beyond the Christmas week itself and making it one of the decade's most dominant hits.
Christmas Alphabet - Dickie Valentine - (1955)
Columbia - Number 1 for 2 weeks from 1955-12-18 to 1956-01-01
This song holds the distinction of being the **first UK Christmas Number One single to be explicitly about Christmas**, cementing a new festive theme in the chart. Valentine was a popular British singer, and the song’s charming premise is an alphabetical list of reasons for celebrating the holiday. Its festive success, which saw it spend three weeks at Number One, was a break from the more general ballads and novelty tunes of the preceding years. It was a cover of a McGuire Sisters track.
Let’s Have Another Party - Winifred Atwell - (1954)
Decca - Number 1 for 2 weeks from 1954-12-19 to 1955-01-01
This instrumental medley, played on a honky-tonk piano, was a popular, lively follow-up to her earlier hit, "Let's Have a Party." Atwell, a Trinidadian pianist, was one of the biggest stars of the 1950s and was the **first black artist to achieve a UK Number One**. The ragtime-style song, composed of snippets of popular music hall tunes, reflected the era's taste for light entertainment and party records, giving the festive season a danceable soundtrack. It spent five weeks at Number One.
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