christmas music
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When you’ve released nearly 100 holiday songs, as Pentatonix has, it’s no easy task having to narrow down that hefty list to a concise greatest hits album. But that’s just what the vocal group has done on its latest release, the 31-track The Greatest Christmas Hits.
“We put all the bangers” on the album, says the group’s Scott Hoying. And there’s “basically a whole new album [on Hits] as well, with eight new songs” added. In total, the album sports 23 previously released favorites plus eight new tunes. The set has found chart success on Billboard’s tallies, as it marked the act’s 10th top 10-charting effort on the Top Holiday Albums chart and its 12th top 20-charting set on the all-genre Billboard 200.
The vocal group (comprising Hoying, Mitch Grassi, Kirstin Maldonado, Kevin Olusola and Matt Sallee) has supported the new album on the road with The Most Wonderful Tour of the Year, which wraps on Dec. 21 in Austin, Texas. Fans who missed the trek can tune in to The Most Wonderful Tour of the Year: Live From Orlando on Dec. 22, exclusively on Veeps.
With so many holiday albums in its discography, how does Pentatonix select songs when planning a new holiday project?
“Honestly, there’s only so many Christmas songs, and we’ve released 94 of them,” Hoying tells the Billboard Pop Shop Podcast (listen to our interview, below). “So we do the ones that are popular that we haven’t done yet. But then also we like to get creative and do songs that are more wintry and have lyrics that involve the wintertime, like ‘Kiss From a Rose.’ I don’t think anyone’s ever thought of that as a holiday song, but in the pre-chorus it does say ‘when it snows,’ and we were like, ‘That sounds good to us!’ So we get creative like that.
“When curating [the songs on] The Greatest Christmas Hits … from so much touring and releasing so many albums, we’ve [done] subconscious internal research of what moves people and what moves us and what we love to sing, and what we feel would make the best soundtrack for people’s Christmas festivities and opening presents.”
Among the new songs on The Greatest Christmas Hits is the original song “Please Santa Please,” co-written by Karen Kosowski and Emma Lee along with the group’s Olusola and Maldonado. The song, which served as the lead single from the album, recently hit the top 10 on Billboard’s Adult Contemporary chart, landing the group its seventh top 10 hit.
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Classics They’ve Yet to Record: While Pentatonix has recorded nearly 100 holiday songs, there are still familiar favorites they haven’t put their spin on… yet. “I have this new obsession with ‘A Holly Jolly Christmas,’” Hoying says, “because I realized it’s one of the top streaming [and] selling Christmas songs of all time, in the top five or something, and we haven’t done that song yet, weirdly.”
“Or like ‘Silver Bells,’” Olusola adds. “We’ve never done that one either. There’s definitely songs we haven’t done, but you know we also have to pace ourselves, because there are only so many Christmas songs left. [Laughs] And we also want to get creative about how we go about Christmas songs.”
Looking to the future, Olusola says, “We’ve done pop Christmas albums, and so we’re thinking ‘are there different directions we can go that create a theme that allows for us to have a different feel on Christmas than we normally do?’ Which I think will be cool, so, I think we’re thinking about that right now, as we think about the future.”
A Dozen Years of Hits & a New Grammy Nom: 2023 marks the 12th consecutive year Pentatonix has released at least one new album, stretching back to its chart debut with PTX: Volume 1 in 2012. Through those years, the act has topped the Billboard 200 twice (with its self-titled full-length album and A Pentatonix Christmas) and won three Grammy Awards (among four nominations). The act scored its fifth Grammy nomination just last month for best traditional pop vocal album for its 2022 album Holidays Around the World. The set saw Pentatonix collaborate with a bevy of guest artists to highlight sounds and voices from all over the globe.
“We put so much heart and time and effort into this album,” Hoying says, “and we got to collaborate with the most iconic artists from all over the world. It was just such a beast to make … the logistics alone. It was such a creatively fulfilling project — to see it honored in this way [with a Grammy nomination] is really beautiful.”
“You never go into an album project thinking about Grammys,” Olusola adds. “You just want to make the best possible product that you feel speaks to your heart at that time and hopefully reaches people. … So I feel so thankful and honored and blessed that we could even have that opportunity to be recognized by the Recording Academy again.
‘Candy Cane Lane’ & Home for the Holidays: Pentatonix makes an appearance in the new holiday film Candy Cane Lane, starring Eddie Murphy, which premiered Dec. 1 on Prime Video. In the comedy, Pentatonix portray, naturally, carolers. But there’s magic afoot, and the group is seen mostly as enchanted miniature figurines in the film.
“The director [Reginald Hudlin] had been a fan of ours for a while,” Olusola says. “He gave us the premise of what he wanted us to do and we were in. … I don’t think we realized the magnitude of what we were creating. … It was really cool to see the end product. It was cool how they actually created us [as figures].”
“Because we’re figurines,” Hoying says, “it was a really easy process. We just went into the studio and sang these 10-second clips, knocked it out in a couple hours. But then we get to be in so much of the movie because we’re animated. It was a perfect scenario too, because we obviously would want to be on set and have our real likeness in the movie, and we got to do that at the end. So it was so special all around, and I’m just so happy it’s doing so well and people are loving it. The whole cast and crew and director and everyone were so kind and such good vibes. You just want good things to happen to good people, so it’s awesome to see it thriving.”
As families watch Candy Cane Lane during get-togethers this season, certainly many will also be playing holiday songs by Pentatonix around the house too. With so many households soundtracking their holidays with Pentatonix’s tunes, what does Pentatonix itself play around the house during the season?
“When I go home,” Hoying says, “my parents always put on Pentatonix, because they just are so excited that I’m home. I honestly listen to a lot of Pentatonix too during the holidays. But my go-to is a playlist of classic old songs from old Christmas movies, [like] Bing Crosby’s White Christmas. Anything that’s orchestral and one-track, mono. It really puts me in the Christmas spirit. If I’m looking at Christmas lights with [my husband] Mark or we’re driving around or something, we’ll put on the oldies.”
Olusola, too, has Pentatonix playing around the house at home, but for a different reason. “I have a 2-and-a-half-year-old and she’s obsessed with our band. Truly obsessed. She loves watching [the videos for] ‘You’re a Mean One, Mr. Grinch,’ ‘Please Santa Please,’ ‘12 Days of Christmas.’ She asks for it all the time during this time of the year. So in our house, it really is mainly Pentatonix during this time of the year. … I think also its kind of subliminally a way for her to stay in contact with dad, especially while he’s gone on tour. So I really love that. My wife has texted me so many times, where she goes, ‘She said, ‘I miss daddy, play Pentatonix.”‘ I love that. That really means something to me that I have such a close bond with her that she actually yearns for me, and so I’m very very thankful to be playing Pentatonix in our household because that keeps the connection.”
Also on the new edition of the Pop Shop Podcast, we’ve got chart news on how Nicki Minaj lands her third No. 1 album on the Billboard 200 chart, becoming the female rapper with the most chart-toppers in history, and how Mariah Carey’s “All I Want for Christmas Is You” jingles its way back to No. 1 on the Billboard Hot 100.
The Billboard Pop Shop Podcast is your one-stop shop for all things pop on Billboard‘s weekly charts. You can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop. Casual pop fans and chart junkies can hear Billboard‘s executive digital director, West Coast, Katie Atkinson and Billboard’s managing director, charts and data operations, Keith Caulfield every week on the podcast, which can be streamed on Billboard.com or downloaded in Apple Podcasts or your favorite podcast provider. (Click here to listen to the previous edition of the show on Billboard.com.)
In the 36 years since The Pogues released the band’s now-seminal “Fairytale of New York,” the acerbic holiday classic has occupied every single position on the Official U.K. Singles Chart’s top 20 — except for No. 1.
If there was ever a year when that changed, this would be it.
Following frontman Shane MacGowan‘s death on Nov. 30, “Fairytale of New York” is once again in the running for the coveted top spot on the annual “Official Christmas Number 1” chart put out by the U.K.’s charts organization, The Official Charts Company (OCC). On Monday, the track was No. 5 on the preliminary Christmas chart, which closes at midnight on Thursday (Dec. 21); the winner will be announced on BBC Radio 1’s The Official Chart show the following day. A mix of fan engagement and label strategy may push it up the ranking — but, as in previous years, the song faces strong competition, and a fairy tale ending is far from guaranteed.
“It’s going to be very, very tight this year and it’s not really until the week itself that you can tell who the main contenders are going to be,” says Martin Talbot, chief executive of the OCC.
Sales for MacGowan’s duet with Kirsty MacColl, co-written with Jem Finer, climbed to 77,000 in the week after MacGowan’s death, a rise of 170% from the week before, according to the OCC.
U.K. streams of “Fairytale of New York” crossed 9 million over the same period, reports OCC, giving the song its biggest-ever streaming total in the country outside the Christmas period. Total U.K. streams over the past month stand at just under 23 million, up 13% on average compared to the same period over the past five years.
The singer’s death also saw several covers of the song generate renewed traction on TikTok — including clips of Ed Sheeran, Saoirse Ronan and, of course, Travis Kelce, who recently earned his first Billboard chart-topper with “Fairytale of Philadelphia,” a spoof on The Pogues’ original version featuring his brother, Jason Kelce.
Despite the song’s New York setting and memorable black and white video (featuring a cameo from Pogues fan and Hollywood star Matt Dillon), “Fairytale of New York” has proved considerably less popular in the United States, where it has never reached the Billboard Hot 100. It has charted on Billboard‘s Holiday Digital Song Sales chart, climbing to a new peak of No. 16 in the wake of MacGowan’s passing (on the chart dated Dec. 9, 2023). According to Luminate, “Fairytale of New York” also earned just under 400,000 on-demand U.S. streams the day MacGowan passed (Nov. 30), marking a 227.2% increase in streams from the day prior.
Tom Gallacher, the London-based senior director of digital and marketing at Warner catalog imprint Rhino Music, which owns the worldwide rights to The Pogues’ repertoire, including “Fairytale of New York,” says that organic searches for the song and the group’s catalog on streaming services were “significantly up” across multiple markets in the week following MacGowan’s passing, with the biggest surges taking place in the United Kingdom and Ireland. (The song returned to No. 1 in Ireland in early December).
In tribute to the late frontman, who was born on Christmas day 1957 and died from pneumonia in a hospital aged 65, Rhino is re-releasing “Fairytale of New York” on 7-inch vinyl (limited to 5,500 copies) in the United Kingdom, with all proceeds going to homeless charity Dublin Simon Community. The direct-to-consumer release shipped on Monday (Dec. 18), meaning that those sales will count towards the all-important Christmas week tally.
“When you have a very tight chart race, physical product can make the difference,” says Talbot. “It also acts as a good marketing tool, reminding people about a record.”
MacGowan’s widow, Victoria Mary Clarke, has meanwhile given her backing to a fan-led social media campaign to get the song to No. 1 almost four decades after it was first released in 1987.
“Fairytale of New York” propelled The Pogues to a new level of mainstream success and is the band’s highest charting song to date; when it peaked at No. 2 on the U.K. chart, it was behind only the Pet Shop Boys‘ version of “Always On My Mind.”
The song served as a single from the Pogues’ 1988 album If I Should Fall From Grace With God — which became their highest-peaking entry on the Billboard 200, at No. 88 — and is routinely voted the U.K. public’s favorite Christmas song in polls.
Despite its enduring popularity, “Fairytale of New York” has also generated controversy over the years concerning its lyrics, in particular the Kirsty MacColl-sung line “You scumbag, you maggot, you cheap lousy fa–ot.”
Shane MacGowan of The Pogues performs at 02 Arena on December 20, 2012 in London, England.
Caitlin Mogridge/Redferns/Getty Images
In 2007, BBC Radio 1 announced that it would be bleeping out the slur to avoid offending listeners before immediately reversing its decision following complaints by fans and MacGowan’s mother, Therese.
In 2020, the BBC Radio 1 again announced that it would play a censored version of the track with the offending word, along with “slut,” removed. In response, musician Nick Cave accused the broadcaster of “mutilating” the festive classic.
Addressing the issue in 2018, MacGowan said that the words were not intended to offend but reflected the language that the song’s female character — “a woman of a certain generation at a certain time in history… down on her luck and desperate” — would use.
“Sometimes characters in songs and stories have to be evil or nasty in order to tell the story effectively,” said MacGowan.
Currently leading the race for the U.K. Christmas No. 1 is pop duo Wham!, whose evergreen 1984 single “Last Christmas” has spent the past two weeks at the top of the British charts.
The Yuletide-themed George Michael and Andrew Ridgeley song first went to No. 1 on New Year’s Day 2021, at the time breaking a chart record — now held by Kate Bush‘s “Running Up That Hill” — for the longest time a track has taken to top the U.K. singles chart.
“Last Christmas” has now topped the Official U.K. Singles Chart on five non-consecutive occasions, but never on the “Official Christmas Number 1” tally — traditionally seen as the most coveted chart position in the U.K. music industry.
To give “Last Christmas” a final push, Wham’s label, Epic, is releasing a limited-edition vinyl version of the track as well as a CD single release, complete with download promotion.
Hot on Wham’s heels is U.K. Eurovision 2022 entry, Sam Ryder, whose original song “You’re Christmas To Me” (East West/Rhino) climbed eight places to No. 2 in the first 48 hours of the current Dec. 15-21 chart week.
Other front runners include Mariah Carey‘s “All I Want For Christmas Is You” (currently No. 3 based on preliminary sales), Ed Sheeran and Elton John‘s “Merry Christmas” (No. 4), Noah Kahan‘s “Stick Season” (No. 6) and British TikTok collective Creator Universe’s charity fundraising cover of Wizzard‘s “I Wish It Could Be Christmas Everyday,” which is just outside the top 10.
If “Fairytale of New York” does finally top the charts on Friday it would be a “beautiful and fitting” tribute to the late singer, reflects Gallacher, who says MacGowan’s best-known song continues to resonate with audiences because “it goes beyond the usual saccharine sentiment of a lot of Christmas songs.”
“It’s totally unique,” adds Mike McCormack, U.K. MD of Universal Music Publishing Group, which represents “Fairytale of New York” on the publishing side.
“Only a lyricist as gifted and uncompromising as Shane could have written a Christmas song so joyfully sad and unconventional,” McCormack continues. “It’s the antithesis of all the other mainstream perennial hits but is honest and heart-warming… I don’t think it’ll ever be beaten as the greatest Christmas song.”
The holiday season is a lousy time for new Christmas music. From one year to the next, the top of the chart sees little turnover.
During the last decade, Mariah Carey’s “All I Want for Christmas Is You” has been the top holiday song eight times, except in 2014 and 2016, when Pentatonix took the honors with “Mary, Did You Know” and a cover of Leonard Cohen’s “Hallelujah,” respectively. Brenda Lee’s “Rockin’ Around the Christmas Tree” and Bobby Helms’ “Jingle Bell Rock” are reliable runners-up. Of 2022’s top 10 holiday tracks, nine were also in the top 10 in 2021; six of them were in the top 10 in 2016. Reaching that region means outperforming some of the iconic recordings of the past 100 years, including Bing Crosby’s “White Christmas” and Nat “King” Cole’s “The Christmas Song.” It’s tough competition.
This year, Jordin Sparks is hoping to nudge into the Douglas fir-scented scrum with a multiplatform approach to establishing a Christmas-season earworm. The American Idol season 6 winner recently signed with Epidemic Sounds, a platform that licenses royalty-free music to content creators, and released the four-track EP The Gift of Christmas on Nov. 21, which includes covers of “Jingle Bells,” “Silent Night,” “O Come, All Ye Faithful” and “Angels We Have Heard on High.”
Epidemic Sound acts like a record label by releasing the EP to digital service providers and getting tracks on playlists. But the most powerful distribution mechanism is its army of content creators that attract huge audiences. According to Epidemic Sound chief of music Niklas Brantberg, music licensed from the platform is heard 2 billion times daily on YouTube and 500 million times daily on TikTok.
Sparks’ EP is off to a good start. The songs on The Gift of Christmas have been used thousands of times and amassed nearly 10 million views to date, according to the company. In just two weeks, her cover of “Jingle Bells” became the best-performing holiday track ever released at Epidemic Sounds.
Sparks’ holiday branding strategy also includes a three-part seasonal decorating and home improvement video series, Merry & Bright, which is sponsored by Home Depot and will be shown on the video streaming interface built into 22 million VIZIO TVs. Katlyn Wilson, director of branded content sales and strategy at VIZIO, says Sparks “was the perfect host for this,” adding, “She has done Christmas content before. Hopefully, it will be a great way for her to continue to establish herself in the Christmas space.”
The Gift of Christmas is not Sparks’ first foray into seasonal music. She released the holiday album Cider & Hennessy in 2020, and two of its songs were featured in the 2021 Hallmark Channel movie A Christmas Treasure, which co-starred Sparks.
The Hallmark Channel is so important to the holiday music business that BMG, Downtown Music Publishing, Kobalt Music Publishing and Seeker Music partnered with the cable network for songwriter camps in 2023. Hallmark executives clued in the creators to what they look for when licensing music. “So far, we’ve had five placements from that camp,” says Mariana Migliore, director of creative synch at BMG — two of them by HunterGirl, the runner-up on season 20 of American Idol. “The Hallmark Channel will promote [the songs] on their SiriusXM channel and Spotify playlists,” she adds.
Other platforms such as Netflix and Amazon Prime have followed Hallmark Channel’s lead and are getting more involved in Christmas movies. That presents an opportunity to get holiday music in front of large audiences that wouldn’t hear the music otherwise. “It feels like probably every other writer of ours is either an openly big fan of putting their music in that kind of project, or they are secretly obsessed with those projects,” BMG senior vp of creative synch Jonathan Palmer says. “It becomes like a bucket-list item for them.”
True to its title, Brenda Lee‘s “Rockin’ Around the Christmas Tree” — which just notched its second straight week at No. 1 on the Billboard Hot 100 — brings in some serious green over the holiday season.
Billboard estimates that in 2022, the enduring holiday hit racked up $2.7 million in master recording revenue for Lee and her label, Universal Music Group, and $1.274 million in publishing revenue, totaling nearly $4 million, on the strength of 464 million on-demand streams and 25,000 track downloads.
So far this year, Billboard estimates the master recording has garnered $1.6 million in revenue and about $700,000 in publishing revenue, or $2.3 million total, on the strength of 301 million on-demand global streams and 16,000 track downloads.
In the United States last year, “Rockin’ Around The Christmas Tree” generated nearly 1.75 million song consumption units (track downloads and on-demand streaming), while it has so far accumulated 967,000 song consumption units (and, within that, 301 million on-demand streams) in 2023.
But there’s still plenty of holiday season left — and when you compare the 49-week period that has elapsed so far this year with the same period in 2022, it’s clear that “Rockin’” is on track to surpass last year’s total. The song’s 967,000 song consumption units to date in 2023 is far ahead of last year’s 807,000 song consumption units (and 195 million streams) at the same point. (Luminate doesn’t compile global song consumption units).
“Rockin’ Around the Christmas Tree” was solely written by the late Johnny Marks, whose publishing company, St. Nicholas Music, would get the publishing revenue. Marks wrote a number of other holiday favorites including “Rudolph the Red-Nosed Reindeer,” “A Holly Jolly Christmas,” “Silver and Gold” and “I Heard the Bells on Christmas Day.”
The above estimates don’t include whatever royalties come in from licensing the song to Christmas compilation albums; while the publishing total doesn’t include whatever revenue is generated from cover versions.
In a way, 2023 was Demi Lovato‘s reset year. Across myriad projects spanning various genres and formats, the Grammy-nominated singer-songwriter spent the year flaunting both their versatility and their distinct star quality — two attributes that make their brand new Roku special, A Very Demi Holiday Special, an effortless winner.
They kicked off the year with “Still Alive,” an original song for the box office-topping Scream VI that earned them a best song nomination at the 2023 MTV Movie & TV Awards. The single soon gave way to the promotional campaign for Revamped, a reclamatory endeavor that found Lovato re-recording their biggest pop hits in the rock-focused style of their recent music. Included on the album were rock-ified versions of Billboard Hot 100 hits such as “Sorry Not Sorry” (No. 6), “Heart Attack” (No. 10) and “Cool for the Summer” (No. 11), all of which were included in Lovato’s MTV VMAs performance, which Billboard ranked as the fourth best of the night.
At that ceremony, Lovato enjoyed a best pop nomination for “Swine,” a blistering protest song they released two days before the anniversary of the fall of Roe v. Wade. The track peaked at No. 12 on Alternative Digital Song Sales.
By September, Revamped — which also featured collaborations with Slash, The Maine, Nina Strauss and The Used’s Brett McCracken — became their ninth career entry on the Billboard 200 (No. 60), reaching the top 10 of Top Album Sales (No. 4), Top Rock Albums (No. 10) and Top Alternative Albums (No. 8) in the process. Nonetheless, the new projects didn’t stop there.
Outside of their own music, Lovato also found time to appear Le Sserafim’s K-pop-meets-Jersey-club “Eve, Psyche & the Bluebeard’s Wife” remix and Luísa Sonza‘s Portuguese-language “Penhasco2,” both of which made the Billboard charts. They also released a cover of “Let Me Down Easy” from the Emmy-nominated Daisy Jones & the Six miniseries. Of course, the multi-hyphenate maintained their presence in the film and television arenas, appearing as Anonymouse on the kick-off show for the tenth season of The Masked Singer and guest-starring as herself in the third season of the FX comedy Dave.
Ready to wind down for the holidays and bask in her delightful new holiday special, Demi Lovato catches up with Billboard for a light-hearted conversation about family traditions, her upcoming Child Star documentary, a potential Christmas rock album and plans for new music next year.
Why was this the year for you to hop into your holiday bag and put on A Very Demi Holiday?
That’s a good question and I don’t really have an answer for it! [Laughs.] It just was an opportunity that presented itself and I had to take it because I love the holidays!
What’s your absolute favorite thing about the holidays?
I love getting to spend time with my family. I think that’s my favorite part of the holidays.
What are some family traditions that you guys hold near and dear to your hearts?
Sometimes we wear onesies on Christmas morning. Other times, we have s’mores on Christmas Eve, but those aren’t traditions we do every year. We do do this tradition where we come down the stairs and look at presents, and we’ve been doing that since I was a kid — just having my mom say, “Okay, it’s time for the presents!” and then all three sisters come down at the same time. It’s cute.
I remember you recounting those moments in the special. When it comes to getting into the Christmas spirit, what’s your personal favorite Christmas song and which performance in the special would be your top pick?
I’d say that “Have Yourself a Merry Little Christmas” is probably my favorite Christmas song. My favorite song in the special would probably [also] be “Have Yourself A Merry Little Christmas” because I got to do it with JoJo and we had a really great time performing together.
You guys have worked together previously. What was it like reuniting for a Christmas cover?
Oh, it was so great! She’s so sweet and funny and being able to work with her again was such a joy. She’s so talented. She’s such a powerhouse vocally and she’s incredible.
It’s always a treat to hear two vocalists like yourselves joining forces on a track. In terms of the music in the special, how did you guys decide which of your original non-holiday songs to include, and what was the aim of those arrangements?
You know, it wouldn’t really fit if I did a rock concert for a holiday special, although it depends on who you who you ask! [Laughs.] I wanted to have a different approach to it, so my band was different than my normal band and they were incredible. We had a really great time. I wanted it to feel more in line with the Christmas spirit, so that’s what I did!
Do you have plans for this to be a recurring special, or is this one-off thing for you?
I don’t know, we’ll have to wait and see! Wait until next year.
Between making ugly sweaters and learning the Nutcracker ballet, what was your favorite thing to really sink your teeth into and show out in front of the cameras?
I think making the meat cakes for my dog was one for the books. Paris and I had a really great time, and I would do anything for my dogs. So, getting to dress them up and see who liked the cake more was really cute.
Did you look to any past Christmas specials and concerts for inspiration for your own?
No, I didn’t. I just. I just kind of winged it! [Laughs].
What draws you to the holiday season? Why do you think that it’s such an inspiring time of the year for so many artists?
The holidays inspire so many people because there’s a lot of downtime, so there’s a lot of opportunity to be able to listen to what inspires you during downtime that you wouldn’t have normally throughout the rest of the year.
There is a segment in the special where you’re consoling this young lady whose grandmother had recently passed away and it was such a beautiful, sentimental scene. What was it like getting to involve fans in this project in such a special way?
Getting to involve my fans was really fun. It was great to be able to sing with them too, you know? We sang “Joy to the World,” and they seemed really enthusiastic. Getting to surprise my fans was really fun and gave me nerves. I had butterflies to tell each person, but it was fun!
At the very end of the special there’s this animated thing that comes across the screen and you do a voiceover where you’re talking about aliens and you’re like, “Bye, b—ches, I’m going to Mars!” Did you freestyle that?
Well, the holiday special was trying to show what it would look like if an alien came to Earth and saw what Christmas was like. It would be showing them how absurd Christmas is. How a jolly old man comes down the chimney to give gifts, and there’s a tree that we decorate, you know? So, that was kind of a through-line through the special and I don’t remember how that last line came about! Maybe I freestyled that, I’m not sure. [Laughs.]
So, for the fans that didn’t get to sing with you in the special, what can they expect from you musically come 2024?
Hopefully, I’ll have an album by then. I would love to put out new music. I’m kind of just always releasing new music, it feels like, because I’m always trying to top myself or do something that feels fulfilling in the moment. So, hopefully, I’ll have new music out or new music to release next year. But I’m also not putting any pressure on it.
Do you have any plans to officially release any of these holiday covers for fans to stream?
I don’t have any plans to do that, but maybe next year I’ll come out with a Christmas album or something!
Okay if we get a Christmas album, can we get some rock Christmas songs on there?
Yeah, that would be cool!
Outside of music next year, you’re also continuing to make some moves in the film world. You’re currently prepping your Child Star documentary, what are some updates you can give fans on that project?
I’m getting some really great people to participate in the film. I’m really excited about it and — nothing that I can share with you right now! — but it’s turning out great. I’m having some deep and meaningful conversations with people that obviously were child stars previously. I can’t wait for everyone to see it.
Okay, now it’s time for some “this or that,” holiday edition. Peppermint or Gingerbread?
Peppermint.
Eggnog or apple cider?
Eggnog!
This is the tricky one: “All I Want for Christmas Is You” or “Last Christmas?”
“All I Want for Christmas Is You!” [Laughs.]
What is on your Christmas playlist? What’s playing around your house as you countdown to the 25th?
This isn’t Christmassy at all, but I’ve become a really big fan of Lola Young. I’ve been listening to her album a lot.
When you look back on the year, what’s your favorite overall moment? What’s one moment that you’ll always remember from the making of A Very Demi Holiday?
I think my favorite moment this year — I mean professionally — I would say the VMAs performance was really fun for me. Yeah. also filming the “Swine” music video was really fun, getting to release the Revamped album was awesome. I think, personally, anytime I’ve been able to spend with my best friends, my boyfriend and my loved ones.
When it comes to the holidays, country artists are all about making music to fit any Christmas mood–whether you’re joyful, thankful, reverent, lonely or not all that into the holiday season. Just like the plethora of holiday activities that folks engage in each year — attending Christmas gatherings, caroling, baking Christmas cookies, attending a tree […]
Exactly 65 years ago, Ross Bagdasarian‘s “The Chipmunk Song (Christmas Don’t Be Late)” — a novelty song featuring weird, high-pitched voices augmented in a recording studio — kicked off what would become the multimillion-dollar Alvin and the Chipmunks brand. Three weeks after its Dec. 1, 1958, release, the track topped the Billboard Hot 100, then went on to win three Grammy Awards and sell millions of records.
“They were born from a No. 1 song, which is unusual for most cartoon characters,” says Ross Bagdasarian Jr., whose father — the creator of Alvin, Theodore, Simon and their long-suffering host, David Seville — died in 1972.
The potent holiday-season earworm evolved over the decades into a cartoon empire, encompassing blockbuster films and their soundtracks, animated TV series, Taylor Swift-style re-recordings, one platinum-selling album (the Alvin and the Chipmunks movie soundtrack), one gold-selling album (the Alvin and the Chipmunks: The Squeakquel soundtrack), concerts, musicals and dozens of branded toys, blankets, party favors and video games. Beginning with 2007’s Alvin and the Chipmunks, the four theatrical live-action Chipmunks films have grossed a combined $656 million, according to Box Office Mojo. “It wasn’t just that it was a song,” says Bagdasarian, who, with his wife, Janice Karman, produced the films and voiced some of the chipmunks. “It created characters and personality.”
The senior Bagdasarian had been shrewd enough to initially retain all the rights to the shockingly lucrative holiday tune: master recording, publishing and product licensing. (He relinquished the master rights in the late ‘60s.) Billboard estimates the holiday track that started it all brings in $300,000 in annual revenue for the master recording and publishing. It has racked up 112.4 million total on-demand U.S. streams, more than half of which have come in November-December of the last five years, according to Luminate. Last December alone, the track streamed 10.4 million times. Plus, “The Chipmunk Song” has sold nearly 665,000 digital tracks, according to Luminate, and Bagdasarian says the Chipmunks have sold 50 million albums in their history, from 1965’s Chipmunks A Go-Go to 1980’s Chipmunk Punk.
Along with Karman, Bagdasarian — who has a law degree from Southwestern Law School — runs Santa Barbara, Calif.-based Bagdasarian Productions, which they started in 1981. Early on, the couple intended to make original films and shows, but they moved in the Chipmunks direction with Chipmunk Punk.
“And here we are, almost 50 years later, trying to come up with the next new idea for Alvin and the Chipmunks, from TV shows to movies to another TV series that we just finished last year,” says Bagdasarian, 74, in a phone interview marking the song’s 65th anniversary.
What do you hear in “The Chipmunk Song” that nobody else does?
I am pulled back to 1958, with my brother and sister and I being called into my dad’s den, where he would record these demos before he went into the studio to do a more polished version. We would hear not only the charm of the song but the personality of Alvin, talking back to him, as only a four-or-five-inch tiny chipmunk could do to a large man. Parents understand how frustrated and exasperated Dave would be with Alvin, and kids love identifying with Alvin because he’s got that spunk and that sass and he’s not afraid to go, “Hold on a second.” Just that little rebellious, mischievous nature.
Ross Bagdasarian, Sr., creator of Alvin and the Chipmunks.
CBS via Getty Images
How much did Alvin empower you to be more rebellious as a kid?
I was more of the Simon character. Very dutiful. I was the one [who] really wanted my dad to be proud of me. So if there was a chore to do, let me wash his car or something. My younger brother Adam was the rebellious one. But I think he might have been rebellious on his own. I don’t know if he needed any prompting from Alvin.
Your family owns the entirety of the rights to the song — publishing, recording, licensing, etc. Right?
Yeah. True.
How did that come to be?
My dad was one of the first folks — you’re talking about in the ’50s — that not only owned the publishing rights to the song but he also owned the master itself. That was something that no artist was really doing back then. And Berry Gordy [Jr.], when he founded Motown, he had mentioned over the years [in private], “Well, when I found out that Ross Bagdasarian could own his own masters, I went from writing songs for people to developing a record label so I could own those masters, as Ross Bagdasarian had done.”
I didn’t realize the connection between your dad and Gordy.
Yeah. In the late ’60s, when he had decided he had done everything with the Chipmunks he wanted to do, he gave back [to] then Liberty Records, now Capitol-EMI, the phonograph rights to those masters. But he retained for himself — obviously, we still own these master-recording rights for movies, television, toys, commercials. The one area that we don’t control the master recording is simply in the phonograph-recording area. Which obviously is not what it was 10, 15 years ago, when you could actually really sell a lot of albums. “The Chipmunk Song” is still a wonderfully valuable song.
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So if anyone streams “The Chipmunk Song,” the master royalty goes to Capitol-EMI, now owned by Universal Music Group, not to your family?
That’s right. Fortunately or unfortunately, these days, 8 billion [plays] on Spotify would still amount to 17 cents. So it’s not a payment we actually miss. [Editor’s note: 8 billion Spotify plays would amount to about $38 million, according to Billboard’s royalty calculator.]
The most important revenue is in licensing songs for movies, the movies you make as part of the franchise, and publishing — right?
As far as the song is concerned, that is fair to say. The song has probably sold 20 million records, maybe more, because it sold 4.5 million records in the first seven weeks back in 1958.
Does your family own all the publishing — publisher share and artist share?
Yeah. My wife and I.
What do you remember about what your dad taught you about the music business?
It wasn’t as much about the music business as it was just life lessons. The most important thing that my dad ever said [was], “Listen, your word is all you will ever really have.” Had he lived a little longer, he would have added a caveat: “Your word is your bond, but don’t expect that from everybody else that you meet.” We’ve had times when we’ve made what we thought were various deals with record companies, only to have them say, “If you don’t have it in writing, you don’t have it.” They didn’t get that part of the story that my dad told me, evidently.
Want to give examples?
No! [Laughs.] I don’t think I want to. But they know who they are.
Any final thoughts about what it’s like to hear “The Chipmunk Song” everywhere this time of year?
Honestly, I am so thrilled every time, because it brings back my dad. I get to hear his voice.
Ed Christman contributed to this report.
It’s not often that an artist’s debut LP consists entirely of Christmas songs – but James Fauntleroy is no ordinary artist. Nearly a decade after the release of the original Warmest Winter Ever, the three-time Grammy Award-winning R&B singer-songwriter is making his formal debut as a lead solo artist with The Warmest Winter Ever. The steamy new project compiles the first two Warmest Winter projects with 10 brand new songs perfect for a sultry Christmas between the sheets.
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The announcement of The Warmest Winter Ever comes exactly one week after Fauntleroy picked up his sixth career Grammy nomination. Recognized in best progressive R&B album for his bossa nova-inspired Nova collab album with Terrace Martin, the nod marks Fauntleroy’s first Grammy nomination as an artist. The acclaimed musician has won four prior trophies thanks to his writing contributions to Justin Timberlake’s “Pusher Love Girl” and Bruno Mars’ 24K Magic (“That’s What I Like”; “Finesse”). That’s no small feat for someone who claims that “for the last 20 years,” they’ve “been telling everybody I’m not an artist constantly when they ask.” With more previously released music making its way to DSPs soon, Fauntleroy is set to truly step into his own as an artist – and he’s redefining holiday music as he swaggers down that path.
Filled to the brim with jaw-dropping harmonies and hilariously sultry wordplay, The Warmest Winter Ever finds Fauntleroy inviting his audience to expand their understanding of what holiday music can sound like. Why stop at “O Holy Night” and “Deck the Halls,” when you can croon “bring that s–t to Santa” to your special someone? The first two Warmest Winter projects primarily feature cozy, acoustic-forward arrangements, and the 10 new tracks broaden that soundscape into a wonderland of skittering bass and intimate a cappella joints. Take “Sleigh,” a tongue-in-cheek harmonic rhapsody that answers the question: What would it sound like if James Fauntleroy took “Dance of the Sugar Plum Fairy” and absolutely freaked it?
In a wide-ranging conversation with Billboard, James Fauntleroy discusses the making of The Warmest Winter Ever, why Mariah Carey is “one of the best writers in the history of man,” working with Beyoncé and the state of male R&B.
Billboard: What’s up with you, man? How’re you feeling?
James Fauntleroy: I’m excited, man! I’m happy and surprised that I’m still in the game. Appreciative, you know, so I’m feeling a lot of gratitude. I’m going from my first artist-led project — ’cause the jazz album, or I guess R&B album, was [with] Terrace — getting nominated for a Grammy to now my first album even though I’m damn near 20 years in the game. This is gonna be my literal first album, so I’m super excited. I’m a new artist. This is my gonna be my first project.
Why is now the time to bring The Warmest Winter Ever to DSPs?
We had a meeting this morning, [and] I found this old tweet of Rihanna posting about the first [Warmest Winter] project and because I knew it’d been out for a while, I did the math and I was like, Damn, this was nine years ago! The first project, I put out nine years ago, and I put out the other one sometime between then and now, and basically these projects are my first official releases.
I’ve been putting music out the whole time, [but] there’s one other project that I hear about all throughout the year, every year, even though it’s like 13 years old. This is one that all year-round people are telling me it’s July and [they’re] still playing the Christmas album. It’s so mind-blowing that music has the power to be something that people care or talk about after — especially now when s–t comes out and you switch your playlist up the next f–king day – a week. A big part of wanting to put these things on DSPs is just to show all my core fans appreciation because even though the s–t’s on SoundCloud, for whatever reason, they’re always like, Please put this on Spotify, please put this on Apple Music!
I’m just slowly starting to put all these songs on DSPs, but also give them something new, because another part of my compulsion to release is that while I do it because I love it and I get paid to do it, it’s also because I know so many people study me from them telling me and also from my ears. That was a big part of why I started my school called the 1500 Sound Academy. I also feel compelled to take it to the next level for people who I’ve inspired. A friend of mine [named] August 08 — he just got caught in the crossfire in the hood, a couple of [months] ago and passed away — I met him when he literally ran up to me in the airport and he was like, “Oh my God, I’m such a huge fan, I never even thought about making music until I heard your music and I got your album cover tattooed on my leg!” He opened up his jeans because they were already ripped and I didn’t even say nothing yet, and he said all of this. Then he went on to have success as a writer, got signed to Def Jam, had a song with Jhené Aiko.
I think about that kind of thing especially as the Internet and life and music go through growing pains. I’m always trying to think about maintaining the art form and pushing the envelope forward. Maybe everybody on Earth doesn’t listen to it, but if it gets to the right person and has an impact on them, then you know that makes it worth it. So those are all the reasons. And then I found the right team, honestly. Everybody thinks I’m trying to be mysterious, but really I’ve been waiting for the right time, the right platform, and the right team to put something out that is giving my audience the level of quality that they expect from what my music sounds like.
Does it feel weird having your first official solo album be a Christmas record?
No, it feels natural to me because when I’m thinking about it in terms of my legacy — not what I’m trying to build, but where I’ve come to at this point — I think that it’s so unusual to have your first album be your Christmas album, but considering all the s–t I make, it makes it the perfect first album. I’m always trying to find ways to express that there’s more, that you know that I’m different, that I’m doing something. As a writer — that’ll always be the core of what I’m doing — I love it because why I even started doing it was it was never about trying to f–king take a small percentage of that Mariah Carey money, which, oh my God, I’d love to have some of that, but it was really about finding new ways to tell stories. It’s just an opportunity to have a new topic; finding something new to wrap the art around is my primary method of coming up with new art. This project, it’s 25 Christmas songs, like, is it really 25 things about Christmas to sing about?! I don’t even know. [Laughs]. They’re all about Christmas, but they’re all so different from any Christmas music I’ve heard, so they’re doing their job of helping me push myself forward.
I had a lot of fun making all this s–t. It’s so fun to make music with no pressure. I produced, I think, every song on here. Maybe there’s like a few that I brought in some talented musicians, and there’s two songs with other people’s voices on them. I just had a blast doing what I wanted and trying to figure out how to do something different from what I have done in the past.
This record has some steamy joints on there. What inspired the sonic world of The Warmest Winter Ever, and what was it like to return to that place for a third installment?
When I’m thinking about where I want to draw inspiration from my projects, at its core, it’s all about drawing from references. There’s Stevie Wonder all the way up to the Timbaland-Missy s–t. There’s a bunch of different references technically. As far as the artistic inspiration, it’s less music and more film.
In the song “Neck,” you know, I’m imagining the movie Elf. “Christmas List,” that’s a song where I’m talking about picking up a gun, and that’s a different kind of movie. But then you also have “Miracle,” where in the second verse, I was thinking about The Santa Clause. I’m thinking about Black movies like Soul Food because when I’m thinking of a song, I’m doing a lot of visualizing, which is where I’m pulling a lot of the descriptive lyrics like, “She’s Grand Theft Auto 5 stars bad” — I was laughing while I wrote that. It’s really just trying to create a movie because that’s how I view music.
Sounds like you were in a very cinematic headspace. Any music videos on the horizon?
I have so many ideas! Do I have enough money to do all those things? Absolutely not. So it’s really based on how people respond to it. “Sleigh,” for instance, which is maybe my favorite song on the whole thing, is actually about imagining that Santa Claus worked at FedEx and he’s about to go out to do a shipment and he has Mrs. Claus with him and his manager or whatever, he’s like You can’t take this lady out. He’s like What?! If she don’t go in there, we ain’t going nowhere. This is how I do it. The message is about a relationship that empowers you and strengthens you and gives you the ability to do magic. If I could do a video, it would be UPS Santa with a real ultra-bad Mrs. Claus with her arms folded. [Laughs].
“Sleigh” is also one of my favorites. Talk to me about crafting your vocal arrangements and background harmonies? Who are you building on and emulating?
The goal of the song is the same as the goal of the arrangements, but the arrangements are the primary. The lyrics are really important, but those tend to hit you after the third or fourth listen. The first goal is to catch you with the arrangement and the music. My number one goal before streaming, but especially now, is you really need these motherf–kers to play that s–t more than once. My goal is to make a song that you want to hear again. What is the use of this song? How is this of service to people you know?
Typically, the use I’m aiming for is that it makes you feel good. It gives you an escape out of the moment you’re in, makes you feel good about yourself, and makes you think about something differently, it’s world-building.
On the technical side, there’s more and more s–t going on. There’s more and more parts coming in. I tell my students and people this all the time, I usually think about the different notes in the harmonies as different people. They’re different background singers, so sometimes I’ll pronounce what I’m saying a little differently. I might use a different dynamic. On “Sleigh,” I really overtly did it. In the second verse, the way I sang the first line and the way I sang the second line is two different people. The first line is all soft and pretty, and then the next one I’m singing three times louder. It’s just all these dynamics that I’m trying to turn your attention to.
Now, I would be remiss if I didn’t ask this since you do sing “Sleigh like Beyoncé” in the song, so have you worked with Queen Bey recently?
The last thing we did was that song with Nas and Jay-Z [DJ Khaled’s “Sorry Not Sorry”]. I sang the hook. That was the first song I ever put out that I didn’t write, actually. They sent that to me done already and just asked me to put my voice on it and [there’s] Beyoncé at the end which sounds epic.
As I was saying earlier about service, it’s really to make whoever is playing Beyoncé, the listener who is Beyoncé in that moment, have the opportunity to feel that. I’m always gon f–k with Beyoncé on whatever s–t she’s doing, but the idea came into my mind because of what she represents.
Since that Nas song, I’ve worked on some s–t for her, I’ll say. But nobody knows what’s coming out except for her, so I really have no idea.
The new tracks sort of depart from the cozier, more acoustically intimate vibe of the first two projects. Was that an intentional choice or was that simply where your heart was during the creative process?
No, it’s super intentional because if you listen to the first [project] and the second one, you can hear my progression as a producer because I’m just starting to take beats seriously. I love when I look back at these projects that they’re time capsules of where I was in that moment, what I thought was cool, and what my capabilities were. Literally, the first one, I’m playing the guitar and I don’t know how to play the guitar. [Laughs]. I’m also playing the guitar on this one, but it’s 10 years later. So I still don’t know how to play the guitar, but you can hear the growth.
What are some of your favorite original contemporary Christmas songs? How about the classics?
As far as contemporary — I can’t wait to hear [this one] because you asked me about harmonies and the core of all that is Brandy. Let’s just keep it real, that’s the basis of my style in general – I’m super excited to hear Brandy’s Christmas album.
I’ve heard some good Christmas rap songs over the years. I’ve heard some good contemporary [songs], but I’m trying to think of something other than this Brandy s–t. I think my favorite contemporary Christmas songs are my own. As far as my favorite classics, of course, Mariah Carey. I’ve had the pleasure of working with her a couple of times, and she’s always pretty upset that nobody acknowledges that she’s one of the best writers in the history of man. When I hear her snapping about that s–t, I’d be like You right, man. F–k that! because they is not putting nearly enough respect on this motherf–ker’s name. Not even close, bro. And then when I worked with her, I was like, Oh, [she] really does write? She’s not just an artist who wants to write to get the money, she’s an actual writer who can just sing her a– off. She’ll always be number one, literally and figuratively and philosophically.
I really love [Paul McCartney’s] “Wonderful Christmastime.” “This Christmas,” that’s a classic. The modern Christmas song Chris Brown put out called “It’s Giving Christmas,” I like that one too.
You just picked up your first Grammy nomination as an artist and your first Grammy nom this decade. How does that feel? Especially in relation to your career longevity?
Man, I can’t believe it. I’ll tell people all the time, that the typical lifespan for a person like me in the business, it’s like one to three years. Even for a big act, if you get one year, you did it. I’ve been doing this s—t for like 18 years. I was not expecting to get nominated for a f—king Grammy as an artist because I’ve been telling everybody under the sun for 18 years or however long that I’m not an artist. I am an artist, but I’m not a professional recording artist. It’s extremely exciting to still be in the game at all. A month ago, Saturday Night Live had a Donald Trump joke about “No Air,” and I’m like Yo, that was my first hit song!
For people to still give any amount of attention or conversation or anything for anything I’m doing is such a big deal to me because that’s the part that never gets old because they just don’t have to do that. That means it really had an impact on them. To be this late in the game and still have new achievements and new opportunities and new possibilities happening is really such an honor.
R&B has been in a great space lately with artists like Victoria Monét, Coco Jones and SZA killing it both critically and commercially. Where would you like to see the journey go next?
My hope is if you listen to SZA’s development over the years, it’s gotten to a quality level that I think is really admirable and respectable and serious – and still, she’s growing. Every genre experiences a point where it goes off of the tracks of the mainstream and it kind of turns into this isolated place where it can just develop on its own, and typically that means people pay attention to it differently. But it also means that the genre has the freedom to develop without the pressure of success, so the creators are not thinking about it like that.
R&B hit that point. I’m more really thinking about R&B as it relates to gospel because gospel music has been able to develop so much that you have — even since the ’90s, but from the ’90s till now — this gospel tangent that’s actually jazz. Kim Burrell‘s doing jazz s—t up and down, left and right. All these kinds of singers are, not just her, but like the whole genre of gospel that she started, it’s all heavily jazz-based. I feel like R&B went through a bunch of different growing pains trying to figure out what was going to happen when it wasn’t the Confessions era — that’s pop at this point, we’re only calling it R&B because Usher’s Black, but that’s another conversation. It was at the height, and then it experienced what every genre that reaches that level experiences, which is too many opinions from people who aren’t in it, because now it’s making so much money. When [R&B] went through the struggles it went through, it had an opportunity to evolve and I think what it turned into is gangster rap.
Future, Migos, Drake is the most overt because he’s actually singing, but that’s what happened to R&B, bro. It turned into gangster rap on one arm and it turned into [what] they call progressive R&B at the Grammys. But is that what is actually? It’s just the freedom that the genre is allowed when it’s not under the scrutiny of the machine to develop to such a point that it can focus on the quality. I think that that’s where we’re at. I think it’s been happening. It was happening the whole time, like when the industry stopped f—king with it, it didn’t go away. I really feel like what we’re going to experience going forward is a mixture of both.
Music has been going on in the industry since the 1920s and even though the hit songs have changed over the years, tempos, topics, whatever, the point of the music hasn’t changed. It’s to make people feel a certain way and these are the ingredients that I think are going to give us more diverse and more interesting forms of R&B going forward, and so I’m personally going to continue to put that s—t in my music and show as many people as possible that there’s more.
I named only women in my previous question because I wanted to dig into your take on the state of male R&B, specifically in relation to women’s dominance in the genre for much of the young decade.
They gotta start talking to women, bro. I can’t say it any simpler than Drake is the biggest n—a, and who is his demographic? Which of his songs are the best ones? Because he got a lot of songs talking to n—as, but which ones matter the most? Which ones make him Drake? It’s just being aware of who you’re talking to. I won’t name their legendary names — but I talked to a lot of legendary people about when it happened and why it changed and, basically, when gangster rap came in, they all started saying the same thing. Women were like “We don’t want that soft s–t no more.”
Still, women are having such a big impact on what men are doing. You have to look past the statistics. You have to look past what the data is telling you people want and think about first, who are you? They need to focus on what we know is right. Yes, you can make money giving people the world to escape into where they can be Scarface and be going extra hard on h–s and beating people up and killing them and s–t and that could be fun. But you could also just watch Taken. You’re not gonna get the same feeling out of your target, which is women. There’s two women for every man, and you’re not gonna get the same response out of a woman that watches Taken versus The Notebook.
I think that’s part of the reason why the male artists are struggling. We need more. It should just be who you are. And I think that’s really the issue with any modern artist, it’s like, Are you doing something that’s gonna matter? Are you doing something that’s going to set you apart? Or are you doing what you heard yesterday? Because in today’s world, that’s just not going to be acceptable. You don’t want to be a replaceable slot in the playlist to have a long career, so I think the R&B guys are figuring that out, but it’s going to be a process.
Looking beyond the holiday season – once the decorations are taken down – what can fans expect from you in the new year?
I’m about to really be an artist, bro. How else can I show the people [who] supported me and made my life into what it is, my appreciation? I put my full power, mind, creativity and energy into giving them what they’re asking for. I’m really about to be putting out music and doing shows — I just did the first show I’ve done in years at a jazz festival with Terrace singing some of the Nova songs a couple of days ago. It’s time. There’s some more music that’s been out that I’m gonna finally put on DSPs. I did a joint album with someone that I think people are gonna be really surprised and excited about, and it’s done. I’m really about to start giving everybody my interpretation of what albums should sound like in the world I’m trying to create and we’ll see how it goes, but I’m excited!
Here’s the full tracklist for The Warmest Winter Ever:
*previously unreleased
1. Unwrapped*
2. Bad Bad Bad*
3. Magic*
4. Bring That Shit to Santa*
5. Mrs Claus*
6. The Neck*
7. Miracle*
8. Christmas List*
9. Sleigh*
10. Nice Or Not
11. Body Heat
12. Spiritual Gift
13. Is It Morning Yet
14. It Rains Everywhere
15. Christmas Lights
16. Christmas Everyday
17. Christmas Everynight
18. Give You Love
19. The Present
20. Stocking Stuffer
21. Dreaming
22. Like Summer
23. Mistletoe ft. Maeta
24. Open Up
25. You Can Get It
Billboard’s Top Holiday Albums chart returns for the 2023 holiday season, with Cher’s Christmas album debuting atop the tally (dated Nov. 4). It’s the pop superstar’s first holiday collection. The 13-song set has a blend of classic tunes and newly written tracks, and boasts a starry lineup of guests in Michael Bublé, Cyndi Lauper, Darlene Love, Tyga and Stevie Wonder.
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The new Nov. 4-dated chart will be posted in full on Billboard‘s website on Oct. 31.
The Top Holiday Albums chart will continue to be published on a weekly basis through early January of 2024, when it will dash away until the next holiday season. (The chart generally returns to Billboard’s weekly chart menu every October.)
The Top Holiday Albums chart ranks the 50 most popular seasonal albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each units equals one album sales, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Cher’s Christmas earned 21,000 equivalent album units in the U.S. in the week ending Oct. 26, according to Luminate. Of that sum, album sales comprised 20,000, SEA units comprised a little under 1,000 and TEA units comprised the remaining negligible sum. The album was available to purchase as a digital download album and in four different CD variants (each with alternative cover art). A vinyl LP, on ruby red-colored vinyl, is scheduled for release on Nov. 17.
Cher also makes waves on the all-genre Billboard 200 chart, where Christmas bows at No. 32, marking her 14th solo top 40-charting album on the tally. Further, she becomes only the second woman, and third soloist, with a new top 40-charting albums in the 1960s, ‘70s, ‘80s, ‘90s, 2000s, ’10s and ‘20s. The only other acts to have achieved this feat are Bob Dylan, Barbra Streisand and The Rolling Stones.
The top 10 of the Nov. 4-dated Top Holiday Albums chart is dotted with familiar favorites, as the soundtrack to the Halloween-meets-Christmas film Tim Burton’s The Nightmare Before Christmas is No. 2, Pentatonix’s new The Greatest Christmas Hits debuts at No. 3, Bublé’s Christmas is No. 4 and Vince Guaraldi Trio’s TV soundtrack for A Charlie Brown Christmas is No. 5. The top 10 is rounded out by *NSYNC’s Home for Christmas (No. 6), Mariah Carey’s Merry Christmas (No. 7), Frank Sinatra’s Ultimate Christmas (No. 8), Nat King Cole’s The Christmas Song (No. 9) and Bing Crosby’s Christmas Classics (No. 10).
Among the artists that have new holiday albums dropping later this holiday season (or have recently released a new holiday set in the past month or so): Michael Bolton, Brandy, Jim Brickman, Ally Brooke, Bing Crosby, Jessie James Decker, Seth MacFarlane and Liz Gillies, Samara Joy, Johnny Mathis, My Morning Jacket, Oak Ridge Boys, Jon Pardi, Gregory Porter, Matt Rogers, Michael W. Smith, Straight No Chaser and The Tenors.
Mariah Carey may have had the most popular song of the 2022 holiday season, but Pentatonix was its most-listened-to act. The five-person vocal group had 92 recordings in the top 10,000 holiday tracks and total consumption of 2.58 million song units, based on sales and streams from Nov. 4 to Dec. 22, according to Luminate — more than any other artist.
While Pentatonix doesn’t have the same kinds of smash singles as Christmas-time mainstays like Carey, Andy Williams and Burl Ives, the group uses a combination of quantity and popularity to drive its seasonal success. Pentatonix’s top holiday track, a cover of Leonard Cohen’s “Hallelujah,” ranked No. 43 and accounted for about 10.5% of its total track consumption. Its cover of the David Foster-Jennifer Thompson-Jenner song “Grown Up Christmas List” ranked No. 187 and its rendition of the traditional songs “O Come All Ye Faithful” and “Deck the Halls” were Nos. 189 and 191, respectively. Additionally, Pentatonix’s collaboration with Maren Morris, “When You Believe,” from the 1998 animated feature The Price of Egypt, ranked No. 188.
While most artists are content with the occasional holiday release, Pentatonix has released four studio albums comprised mostly or entirely of holiday music since Oct. 2018: Christmas Is Here! In 2018, We Need a Little Christmas in 2020, Evergreen in 2021 and Holidays Around the World in 2022. In addition, the group released a compilation album, The Best of Pentatonix Christmas, in 2019. Some recordings from its 2012 EP PTXmas and its 2014 album That’s Christmas to Me remain popular to this day. In addition, each November and December, the group tours U.S. arenas to perform holiday music.
Carey’s “All I Want for Christmas is You” was once again the most popular holiday track with 1.29 million song units, narrowly beating the 1.24 million song units of Brenda Lee’s “Rockin’ Around the Christmas Tree.” But Carey, the self-described “Queen of Christmas,” doesn’t have Pentatonix’s depth of holiday catalog. She ranked fifth in total consumption with 1.96 million units from 36 tracks within the top 10,000. Her second-most popular holiday recording, a cover of Darlene Love’s 1963 standard “Christmas (Baby Please Come Home),” ranked only No. 68. Her 2010 original recording “Oh! Santa” ranked No. 110 and her version of the traditional Christmas carol “Hark! The Herald Angels Sing” was No. 130.
The No. 2 holiday artist was Bing Crosby with 2.43 million song units from 61 tracks in the top 10,000. Crosby’s top recording, “White Christmas,” was No. 13. “Hawaiian Christmas Song” at No. 38, “Winter Wonderland” at No. 63, “Silent Night” at No. 72, “I’ll Be Home for Christmas” at No. 83, “The Little Drummer Boy” at No. 86 and “Do You Hear What I Hear?” at No. 95.
At No. 3 was Michael Bublé, whose 25 recordings in the top 10,000 amassed 2.39 million song units. Bublé had numerous songs in the top 100, including “It’s Beginning to Look a Lot Like Christmas” at No. 16, “Have Yourself a Merry Little Christmas” at No. 31, “I’ll Be Home for Christmas” at No. 45 and “Holly Jolly Christmas” at No. 46. Bublé also stands out for having numerous recordings in the top 100 that are the second-most popular versions of the songs. (Burl Ives’ version of “Holly Jolly Christmas,” ranked No. 4 while Perry Como’s “It’s Beginning to Look a Lot Like Christmas” ranked No. 10.) But Bublé is also notable for knocking off some holiday legends. His 19-year-old version of “I’ll Be Home for Christmas” ranks 38 slots above Bing Crosby’s historic recording from 1943.
Nat King Cole ranked fourth in holiday music consumption with 2.1 million song units from 33 recordings in the top 10,000. Cole’s top recordings were his now-standard versions of “The Christmas Song” at No. 12 and “Deck the Halls” at No. 15. “O Come All Ye Faithful” and “Joy to the World” were also in the top 100, at Nos. 51 and 82, respectively.
After Carey at No. 5, artists in the top 10 were Andy Williams (1.84 million), Frank Sinatra (1.71 million), Perry Como (1.38 million), Burl Ives (1.37 million) and Brenda Lee (1.31 million).