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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Only You - The Flying Pickets - (1983)
10 Records - Number 1 for 5 weeks from 1983-12-11 to 1984-01-14
An a cappella cover of the Yazoo synth-pop song, this track brought a stripped-back, unique sound to the top of the charts. Their vocal harmony arrangement was highly distinctive and their success showcased the public's appetite for unconventional musical styles and arrangements during the festive race, with the single spending five weeks at Number One.
Save Your Love - Renée and Renato - (1982)
Hollywood - Number 1 for 4 weeks from 1982-12-12 to 1983-01-08
A romantic, operatic-style duet sung in Italian and English, this song came from an unlikely duo and became a massive novelty hit, spending five weeks at Number One. The female half of the duo was Renée from the Belgian group The Two Man Sound, and its unexpected success made it one of the more quirky and memorable Christmas Number Ones of the decade, proving the enduring power of a sentimental love song.
Don’t You Want Me - The Human League - (1981)
Virgin - Number 1 for 5 weeks from 1981-12-13 to 1982-01-09
This synth-pop track, with its dramatic narrative and cutting-edge electronic sound, was the first New Wave song to take the Christmas crown. The song was a major hit for five weeks, solidifying The Human League's transformation into a major pop act and proving that the festive chart could still be conquered by an innovative, non-Christmas-themed pop song.
There’s No One Quite Like Grandma - St Winifred’s School Choir - (1980)
MCA - Number 1 for 3 weeks from 1980-12-14 to 1981-01-03
An incredibly sentimental and gentle song performed by a school choir from Stockport, this song tapped into a deep vein of public affection. It became one of the most memorable and successful novelty-style Christmas Number Ones, capturing the simple, family-focused spirit of the holiday. It spent four weeks at the top, famously beating John Lennon's "Imagine" to the top spot.
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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.
Mary’s Boy Child – Oh My Lord - Boney M. - (1978)
Atlantic - Number 1 for 4 weeks from 1978-12-10 to 1979-01-06
This song is a medley that begins with the traditional Christmas spiritual (previously a Number One for Harry Belafonte in 1957) and shifts into a disco tempo. Boney M.'s version brought a contemporary, danceable sound to the Christmas chart, becoming a huge-selling festive favourite. It is the **only song to be Christmas Number One for two entirely unrelated artists** and remains a classic example of disco-era holiday music.
Mull of Kintyre / Girls’ School - Wings - (1977)
EMI - Number 1 for 4 weeks from 1977-12-11 to 1978-01-07
Paul McCartney's band secured the Christmas Number One with this double A-side, led by the Scottish-themed folk ballad "Mull of Kintyre." The single became the **biggest-selling UK single of all time up to that point**, a staggering achievement for a non-Christmas-themed song. Its success underscored McCartney's enduring commercial appeal post-Beatles and demonstrated the enduring power of a simple folk melody.
When a Child Is Born - Johnny Mathis - (1976)
CBS - Number 1 for 2 weeks from 1976-12-19 to 1977-01-01
A solemn and sentimental Christmas ballad, this song was a perfect fit for the traditional festive mood. Mathis, the veteran American crooner, gave the song a classic, smooth vocal delivery, providing a peaceful contrast to the rock and novelty singles that often dominated the Christmas chart in the 70s. It was Mathis' only UK Number One single and sold 885,000 copies, spending three weeks at the top.
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Bohemian Rhapsody - Queen - (1975)
EMI - Number 1 for 9 weeks from 1975-11-23 to 1976-01-24
This ambitious, six-minute operatic rock single was an unprecedented choice for the Christmas Number One. It topped the chart for a total of **nine weeks** and was a massive global smash, demonstrating the band's creativity and commercial power, and proving that serious musical works could still win the festive chart race. It returned to Number One in 1991 following the death of Freddie Mercury.
Lonely This Christmas - Mud - (1974)
RAK - Number 1 for 3 weeks from 1974-12-15 to 1975-01-04
Following Slade's festive success, Mud's song offered a more melancholic, '50s-style Christmas ballad, famously delivered with a vocal and spoken-word interlude in the style of Elvis Presley. The track successfully capitalised on the demand for new festive material and is now considered a staple of the holiday season, selling over 750,000 copies and highlighting the sadder, reflective side of Christmas.
Merry Xmas Everybody - Slade - (1973)
Polydor - Number 1 for 3 weeks from 1973-12-16 to 1974-01-05
One of the biggest and most enduring Christmas classics of all time, this glam rock anthem finally brought a contemporary, **purpose-written festive song** to the top spot. Its raucous, celebratory feel and Noddy Holder's iconic shout of "It's Christmaaaaassss!" made it an instant seasonal favourite, selling over 1.2 million copies and kicking off a tradition of glam rock bands competing for the Christmas crown.
Long Haired Lover from Liverpool - Little Jimmy Osmond - (1972)
MGM - Number 1 for 3 weeks from 1972-12-17 to 1973-01-06
At just nine years old, Jimmy Osmond became the **youngest person ever to achieve a UK Number One single** (aged 9 years and 8 months). The bubblegum pop track was a massive hit for five weeks and is widely regarded as a quintessential 70s novelty song. Its chart success was a high point for the popularity of the Osmonds family group in the UK and it sold over a million copies.
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