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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Hallelujah - Alexandra Burke - (2008)
Syco - Number 1 for 3 weeks from 2008-12-21 to 2009-01-10
The *X Factor* winner's single was a cover of Leonard Cohen's classic track. Its commercial success generated significant controversy and an unsuccessful campaign to get Jeff Buckley's version to Number One instead, foreshadowing the next year's chart battle. The track spent four weeks at the top.
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.
Two Little Boys - Rolf Harris - (1969)
Columbia - Number 1 for 3 weeks from 1969-12-14 to 1970-01-03
A sentimental song about childhood friendship and war, this nostalgic track was originally from 1902. Its unexpected success over more contemporary artists was a surprise at the end of the sixties, continuing the trend established by The Scaffold that a Christmas hit could come from any genre or time period, often focusing on a sweet or sentimental message. It remains one of the more unique choices for the festive top spot.
Lily the Pink - Scaffold - (1968)
Parlophone - Number 1 for 3 weeks from 1968-12-15 to 1969-01-04
This was the first true novelty song to top the Christmas chart, a folk-style song recounting the bizarre cures of a fictional herbalist. The song was a major hit for The Scaffold (a band featuring Paul McCartney's brother, Mike McGear). Its success introduced the idea that the Christmas Number One could be a fun, often silly, diversion from mainstream pop. It spent four weeks at the top.
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Hello, Goodbye - The Beatles - (1967)
Parlophone - Number 1 for 3 weeks from 1967-12-17 to 1968-01-06
The Beatles returned to claim their **fourth and final Christmas Number One of the 1960s**. The song, a simple, optimistic piece of pop-psychedelia, was released just before the *Magical Mystery Tour* film. For the second time, The Beatles held both the **Number 1 and Number 2 spots**, with the *Magical Mystery Tour* EP at number two. This marked the end of the band's extraordinary festive chart reign.
Green, Green Grass of Home - Tom Jones - (1966)
Decca - Number 1 for 3 weeks from 1966-12-18 to 1967-01-07
A dramatic ballad about a condemned man's thoughts of home, this song was a huge crossover success for Welsh singer Tom Jones. Its sentimental and powerful vocal delivery ensured its dominance, **temporarily breaking The Beatles' run of Christmas Number Ones** and showcasing the public's appetite for powerful, traditional ballads. It was Jones' only UK Christmas Number One and spent two weeks at the top.
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.
I Feel Fine - The Beatles - (1964)
Parlophone - Number 1 for 2 weeks from 1964-12-20 to 1965-01-02
Continuing The Beatles' festive dominance, this song was another upbeat, chart-topping smash that spent five weeks at Number One. Notably, it is cited as one of the first popular recordings to feature **guitar feedback as a deliberate artistic effect**, a sound that was picked up by John Lennon. Its success cemented the band's status as a festive chart institution, setting a high bar for their contemporaries.
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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.
I Hear You Knocking - Dave Edmunds - (1970)
MAM - Number 1 for 2 weeks from 1970-12-20 to 1971-01-02
This rock and roll track, a cover of a 1950s R&B song originally by Smiley Lewis, brought a raw, blues-rock sound to the Christmas chart. Edmunds, primarily a producer, demonstrated his versatility by scoring a major hit as a performer. The song stayed at Number One for **six weeks**, its retro-rock vibe a contrast to the glam rock that was soon to dominate the early 70s.
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.
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