German single charts

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The official German single charts (currently Single Top 100 ) are weekly music charts for Germany that are currently being determined by GfK Entertainment . In addition to the official top 100 charts for singles, so-called repertoire charts are also available, broken down by music style and form of distribution. The survey is carried out on behalf of the Federal Association of the Music Industry (BVMI) (until 2007: Federal Association of the Phonographic Industry ) and is carried out by GfK Entertainment. GfK Entertainment also bears the publication rights and markets them.

History and developments

Single charts have existed in Germany since December 1953, when the jukebox came to West Germany from the United States . The magazine Der Automatenmarkt published a list of the most popular "boxing hits" every month. The first publication of this kind had the title There is a horse halter on the wall by the Kilima Hawaiians as "Boxing Hit of the Month" December 1953 . This title is therefore considered to be the first number one hit in German chart history.

For years, the machine market remained the only institution in Germany that reported the success of music titles in the form of chart lists a month, mostly in 30 places. From July 1959 the magazine Musikmarkt appeared , which also contained a hit list. This also appeared monthly singles charts were perfected, as they not only pulled the jukebox success rate, but also the music sales , the airplay -Use and the sound carrier sales . The first number-one success in the music market hit parade was in June 1959 the title The Guitar and the Sea by Freddy Quinn . This title was also the front runner in the machine market .

The music market hit parade quickly overtook the boxing charts and took on the role of the official German chart organ. Up to 1959 it still had a strongly fluctuating size (20 to 70 places), then from the beginning of 1960 it appeared consistently every month on the 15th with the magazine in the amount of mostly 50 places (occasionally a few more, up to 54 appeared) . At the beginning of 1965, the number was limited to 40 places, but the hit parade, which was now based on record sales, appeared twice a month on the 1st and 15th. Since then, the chart posters have also been posted in the record store become. At the beginning of 1971, the music market switched to weekly publication (every Monday) and increased the size again to 50 places. The determination of this weekly top 50 was transferred to Media Control from September 1977 .

As of January 1980, the charts had 75 places; in August 1989, the number of places still valid today was 100. From 1989 to 2001, for positions 51 to 100, not only the sale of the sound carriers but also the radio use of the titles was used. In addition, a threshold clause was introduced at the beginning of 1997 that only allowed chart titles to stay in the lower half of the Top 100 for a limited period of time. Titles were deleted from the charts after nine weeks or two weeks after leaving the top 50. On March 19, 2010 this threshold clause was abolished.

Since January 2001, sales from online providers and since July 2002 also music videos have been included in the calculation of the single charts. From September 2004, downloads were also included in the rating of the single charts and used to determine the newly introduced download charts . The prerequisite was that the piece was available as a single on a sound carrier in addition to the download offer.

Until September 2005, the sales week from Monday to Sunday was evaluated. Then the date for new releases was brought forward to Friday in order to have new releases on the market at the beginning of the high-turnover weekend. Accordingly, the evaluation period for the charts has been postponed to Friday to Thursday. Since then, the official date of the charts is no longer Monday, but Friday.

Since July 13, 2007, the evaluations have been converted to so-called "value charts". For chart placement, the number of records sold or downloads is no longer decisive, as was previously the case, but the sales achieved by a product. So the top-selling song is not necessarily the one that sells the most, but the one that has the most money spent on. This reduces the dependency on special offers and promotions from the large retail chains and online providers. The move away from sales figures to determine the hit parade listing is unique worldwide. In addition, the requirement that singles had to be published as CD single for inclusion in the charts was deleted, so so-called "digital-only releases" are also recorded.

In 2003, the Gesellschaft für Konsumforschung (GfK) got involved in charting, and media control GfK International was created . In 2013, GfK completely took over the charter position.

In 2008, at the low point of CD sales, 5,000 weekly sales of physical singles nationwide were usually enough to reach the top 10 of the single charts . According to Manfred Gillig-Degrave, at the time editor-in-chief of the industry magazine MusikWoche , less than 1,000 sales of physical singles were enough for the single charts in weak sales weeks.

After music streaming celebrated its breakthrough in 2013 and was also included in the Billboard Hot 100 by Billboard , it was also included in the calculation of the single charts in Germany on January 3, 2014 . In the single top 100 - unlike in the streaming charts - only premium streams are rated, i.e. song requests for which the customer pays individually or directly at a flat rate . Ad-financed platforms like YouTube are not taken into account.

In the chart week of March 13, 2020, the complete top 100 hit list was composed exclusively of digital sales or usage data for the first time, so it no longer included any physical sales. The first number one was the rapper Loredana with her single Angst .

Chart date

Unlike in some other countries, the official date of the German charts until the beginning of May 2015 was not identical to the period in which the sales of the albums and songs were evaluated. Until 2005, the recording period ended on Sunday and the charts were published exactly eight days later on Monday. So there was another complete sales week between the evaluation and the validity date of the charts. In the past, this was due to the fact that data collection by post and telephone and the chart calculation took a correspondingly long time. The development of electronic data processing and transmission made faster and more accurate evaluations possible, to which the official date was not adjusted until 2015. In 2005, the recording period was brought forward to Friday to Thursday, and the official chart date has always been a Friday since then. Since May 2015, in response to the New Music Fridays , the chart determination has already been completed on the Friday immediately after the end of the recording period. On this day at 4:00 p.m. the first five positions in the charts will be announced on , on the following Monday another five positions and on Wednesday, five days after the end of the recording, the remaining positions. Furthermore, the payment barrier for the music archive has been removed. The music industry and partners will be provided with all of this data on Friday against payment. For example, the entire Top 100 single can be viewed on the MTV Germany website on Fridays .

Basics of chart determination

Chart panel

The portfolio currently comprises around 2,500 providers who can submit a report that is sufficient to determine the chart. In addition to retail or online providers, special forms of distribution ( download , wholesale , streaming or teleshopping ) can also be taken into account if they can statistically record and report direct sales to the end customer. Examiners decide on participation in the panel. The following criteria apply to all sales channels :

  • It has to be direct sales or the end user pays for music access as with streaming providers. For downloads, the end users must have German postal addresses .
  • The provider must be a retailer whose business purpose is sales to end consumers.
  • The image and sound carrier offer must be permanent.
  • The “breadth of the repertoire” must be representative and introduce innovations.
  • A significant amount of sales must be reported in a timely manner. The GfK Entertainment for this establishes appropriate sales values and monitors compliance. Traders can be excluded from the chart panel if they repeatedly fall below the sales values.
  • The sales reports must be traceable.

Data acquisition

The data acquisition takes place through IT-supported cash terminals . Conventional video and audio sales are cash reports with receipt number , date and time. In the case of online music services , the email address and the account number or relevant information must also be sent. A title is counted a maximum of once per email address or account number. For each product sold, the POS terminals register the catalog number (usually the so-called EAN or UPC code ), the number of items, the gross sales price and the date and time of purchase. The POS terminals are connected to the workstation of the “PHONONET system” at the providers. PHONONET is a service provider for the German music and film industry founded in 1991, which among other things offers a complete eMedia catalog, including product images, sound and video samples for online research and the exchange of data between trade and industry (order, delivery or also billing data) designs and operates. The data collected by the retailers are encrypted and forwarded to GfK on a daily basis. The encryption is intended to prevent further use of the data. The only exception is the determination of whether two dates are identical. GfK archives the delivery data over a longer period of time and checks multiple orders on the basis of their data in the archive. Reported sales are eliminated by products not qualified for chart determination. Products on the basis of very strong similarities capable of addition are summarized. The IT system can authenticate qualified products by comparing the catalog number as an indicator with an article master database operated by PHONONET . The PHONONET database contains information such as the artist name, song title, music publisher or even the music label . If a sales company does not create a "PHONONET article master", a comparable individual registration must be made with GfK. Individual registrations must be submitted at least one week before publication. During the period in which a product is in the charts, it is not possible to unsubscribe.

Data processing

In the first step of data processing, the GfK IT system takes over the daily sales data of the reporting retailers. The quantity sold is multiplied per transaction by the gross sales price at the sales value. First, non-qualified sales are eliminated and products that can be added together. There is an upper limit of 40 euros per transaction in order not to jeopardize the representativeness due to individual above-average high-priced items. Due to downloads and streaming, the single charts have developed into a “track chart” in recent years, which means that the sales values ​​must be adjusted according to the number of tracks per physical sound carrier or per “download singles bundle”. To calculate the sales value per title, the total price of the sound carrier must be divided by the number of titles. The article master does not always contain all information on the number of titles, which is why the chart system calculates with average "track numbers". The average number of titles per category is determined by PHONONET for a calendar year and adjusted annually. To analyze the sales value per title, the sales value is now divided by the average number of titles. The resulting sales value is the relevant value for the chart sequence of a purchased product within the single charts .

Average number of tracks in the four singles categories

  • Maxi Singles Group (4.1)
  • Download Singles Bundle (3.4)
  • Singles Group (2.3)
  • Download Tracks (1.0)

Music streams are also taken into account when determining the chart. In contrast to the download charts, only so-called “premium streams” are included in the official Top 100 singles (end users pay for access to music). Advertising-financed or "non-interactive" music streams, in which the end user does not select or create the song or playlist himself, are not taken into account. In addition, only streams with a playback time of 31 seconds or more are counted. The streaming value results from the following invoice, which is checked every six months: number of premium accounts × average value of a premium subscription ÷ number of streams made by premium users.

The sales values ​​of each sales week are finally added up for each title, from which a per mille share of the total result is calculated. This serves as a criterion for the chart ranking. Sales from the publication date (“Street Date”) stored for the respective title in the PHONONET article master are taken into account. This date must be changed at least one week before the planned publication. If the report is received too late, the original publication date applies to Erste.


The chart determination is checked at regular intervals by auditors from the association (BVMI) in Baden-Baden . They share their results with the charting and marketing committee, which may make further decisions. In the event of discrepancies, the solution to which cannot be found in the system description, the examination officers will coordinate their work within 48 hours. The vote takes place after a simple majority, in case of a tie the vote of the BVMI decides. At least three votes must be received for a vote , otherwise it must be repeated. The result of the vote will be announced to GfK, the respective interested parties and the auditor. The BVMI itself distinguishes between three different control procedures.

general control

The sales reports are checked through a multi-stage control process before they are used. In addition to the temporal course of product sales per day and week, this includes multiple sales of a product within one registration process. Large differences in the sum of average sales also lead to reviews. The sales processes are compared for dealers and titles and searched for data constellations that could be incorrect, illogical or improbable. Thus, detection errors should be recognized and excluded.

Dealer-related control

The sales of each trader are compared with the individual upper limit of the title sales, these result from the actually reported volume of the respective trader. As soon as a certain tolerance limit is exceeded, the relevant sales report will be adjusted accordingly.

Title related control

After all sales reports have been received, the sales totals for each title are determined and the average sales of all products per retailer are calculated. Deviations in sales from the mean value are shown individually in a test report for each dealer. If the deviations exceed a certain limit, the respective message is checked and adjusted if necessary. Recognizable irregularities lead to further checks. Stocks whose distribution is based on unfair influence do not qualify for chart determination. This applies to mass purchases and uses using technical aids, among other things.


The reports submitted by the dealers are weighted so that the dealers' sales data reflect a representative business image. The providers who are eligible for charting are recorded by GfK on the basis of their structure and volume. The chart panel now covers more than 75% of the relevant music market and is thus approaching a full survey . The use of a multi-stage sampling procedure is no longer associated with this, but disproportionate reports must be excluded. For this reason, the trading structure is currently divided into eleven “dealer groups”. These dealer groups are made up of major customers and an association of structurally similar providers and dealers. A weighting factor is assigned to each grouping ; this is based on the respective market potential and is checked at regular intervals and adjusted if necessary. The weighting factor is applied to the reported sales values ​​of the respective dealer grouping by title. A representative composition of the samples should be guaranteed by a recursive calculation method.

Qualification and addition rules

Article master information

With the exception of indexed products by the Federal Testing Office for Media Harmful to Young People (BPjM), all products whose article master data is available to GfK are evaluated. Using the so-called opt-out procedure, there is the option of opting out of the Top 100 singles for songs , which so far have only been sold as an “unbundled track” from albums and not as an independent single. A renewed registration of these so-called "album tracks" can take place at any time for the following recording week. Furthermore, products that are not published for the first time at the beginning of a chart week can be canceled for the first week for a limited period. The "article master information" must have at least the following information:

  • Name of the artist
  • Date of first publication
  • title
  • Program type
  • Catalog number
  • Type of sound carrier or format
  • Distributor (PHONONET No.)
  • content

Dealer breadth

Only those products that have demonstrably received sales reports from at least three dealer groups qualify for the charts. A dealer grouping is not only the report of a single trading company or a single point of sale, but also major customers or retail chains or groups of trading companies. This is to avoid that high sales revenues are achieved with a small number of providers and unjustified placements due to insufficient representativeness .

Addition rules

The chart placements are usually determined individually for each product. In the case of singles, the technical configurations of the same product are added up , be it due to differences in the form of distribution (CD, download, stream, etc.) or on the product (extended version, live version, remix, etc.). This applies to products whose variations largely match in terms of content. The so-called "title identity" is given if the main components match at least 70%.

Bonus content

The products can be supplemented with bonus content such as interviews, live recordings or music videos. No new product is initially generated from this; this additional content is only used to expand the offer, provided that it takes certain points into account. The bonus content may only serve to upgrade / supplement the actual content and may not represent an independent music product. The aim here is to control the chart qualification in a non-discriminatory manner and to exclude that non-musical main components allow entry into the chart qualification. Bonus content does not affect the chartability of a product. Bonus materials are added and must be checked to see whether the "value component" is justifiable. Bonus titles with a minimum total length of 45 seconds, which are not identical to the existing title, belong to the so-called "original track listing" and are taken into account as such, provided that the chart rules refer to the title list. If bonus content is added to a title that is not itself a music product, the main product does not become a musical product. The genre is defined by the basic content, further content has no influence on this.


Digital products can also be sold with links to web offers that only allow the respective owners to access content via specific addresses and passwords . These are currently the following variants:

  • Audio content (download / stream)
  • Video content (download / stream)
  • Other content (download / stream)

Definition and assignment of different formats


Products are usually considered single, up to a maximum total playing time of 23 minutes. Likewise, the products may not contain more than five titles, one of which is recognizable as the A-side . Double A-sides such as B. Find You're Here / Find You're Gone by Wolfsheim are permitted for the German airplay charts, for download singles one of the two titles must be named as the A-side. In this case, Find You're Here was named as the A-side and hit the top 100 single , while Find You're Gone missed it. Live recordings, remixes and music videos whose content is identical to the single are not taken into account when determining the playing time and number of tracks. If it is bonus content, the content of which differs from the A-side, this content will be taken into account. Titles are only counted towards the number of titles from a minimum playing time of 45 seconds. If a title falls short of this, it will still be taken into account in relation to the total playing time of 23 minutes.

Two singles (“Singles-Set of 2”), which are sold as a sales unit, fall under the definition of a double album . Sales units that exceed more than two singles fall under the definition of "album set". Titles by up to two artists are qualified for the single charts . In the case of publications with a "project character" (such as a concert recording), these also qualify despite the participation of several interpreters. Singles using currently unreleased material may contain tracks by more than two artists. So-called 2-track singles may only contain two titles, their content is irrelevant here. 2-track singles are part of the "singles group" and are taken into account with a factor of 2.3.

Commercial downloads / music streaming

Digital forms of music distribution such as downloads and streams are integrated into the determination of the charts, provided that their distribution is comparable to the physical one. This applies above all to so-called "commercial downloads" insofar as these are purchased individually. Music streams that qualify for chart determination are included in the determination with a certain value. This value is checked every six months and is based on the following calculation: number of premium accounts × average value per premium subscription ÷ number of streams of premium users. Due to the increasing rumors of suspected manipulation through music streaming, a rule change took place on August 2, 2019 (chart week 32/2019). For the first two weeks of the chart after the album is released, all other tracks on the album, with the exception of single releases and the so-called “focus track”, are excluded from the single charts .

Video formats

The TOP 100 charts relate to musical content as a basis, which can be offered on the one hand in audio format and on the other hand in video format . That is why pure audio recordings, music videos and "combination products" (products in which image / recordings of different formats / content are offered together) are combined for the TOP 100 charts. In the case of a "feature film video music" combination product, the playing time of the film video content or music content decides on the chart allocation. If the playing time of the musical product amounts to more than 50% of the total playing time, it qualifies for the music charts, otherwise it qualifies for the feature film charts . In addition, separate music video charts are also published as genre charts.

Data storage media

Due to the fact that the German music charts are independent in their format of publication, rewritable data carriers ( SD cards , USB sticks , etc.) are also permitted for chart determination, provided their storage capacity is not greater than two gigabytes . Data carriers that can be rewritten are assessed as additions according to their material utility from the consumer's point of view. If it is ensured through technical measures that a data carrier cannot be rewritten, it will not be counted as an accessory.

Chart manipulation

David Brandes

In 2005, songs by the German singer Gracia Baur were excluded from the charts because the BVMI audit committee recognized attempted manipulation. In April 2005, the suspicion of chart manipulation by their producer David Brandes , who, according to a report on the Sat.1 broadcasting Act 05/12 , is said to have specifically commissioned buyers to purchase large quantities of his products from a well-known electronics wholesale chain, was initially confirmed . An artificially good chart placement should be achieved through the massive buy-ups. The Federation of the Phonographic Industry (BPW) and the market research company Media Control decided for this reason, on 11 April 2005, the Single Run & Hide ruled out and three more singles and two albums for three months from the charts. An album ( Blue Tattoo ) and a single ( I Know ) by Vanilla Ninja and the single Heaven Is a Place on Earth by Virus Incorporation were also affected . David Brandes admitted in the talk show Johannes B. Kerner on April 19, 2005 that he had 2,000 copies bought in the first three weeks after Run & Hide was published . Brandes claims that this is common practice in the industry and that he would put his artist at a competitive disadvantage if he hadn't. However, he rejected the number from Media Control, according to which he is said to have purchased 31,000 CDs. Gracia herself denies the allegations that she knew about the purchases. Immediately after this broadcast, Media Control decided to ban the Brandes titles from the charts for another three months. Although the qualification for the Eurovision Song Contest 2005 remained legally unaffected by the chart manipulation, large parts of the German music industry demanded Gracia's resignation. However, she refused and continued - in contrast to Vanilla Ninja - the collaboration with Brandes.

Dave Ramone

In 2016 the song Love on Repeat by Dave Ramone (feat. Minelli ) suffered the same fate. Two weeks after the single was released, the BVMI audit committee found suspicious sales and removed the song from the rating. As a result of the review, attempted chart manipulation was recognized and the single was banned from the charts for eight weeks.

All or nothing records

The Y collective published a documentation in May 2019, which, among other things, addresses suspected chart manipulation among rappers. The reporter Ilhan Coşkun led u. a. an interview with a masked person named "Kai". He claimed that he was manipulating the charts for some German rappers and then illustrated how this worked. According to him, the rappers themselves might not know about it, but their managers do. The reason why he was unpacking was that certain people had "messed up" with his girlfriend and "unhooked" her. The documentation, which had over a million views on Youtube in a very short time, developed into a major topic within the German rap scene, to which some rappers also took a position. Since managers were mentioned in the interview and the names Sero el Mero and Mero were mentioned later, the rapper Xatar , label boss ( Alles or Nix Records ) of the two rappers, responded to the two rappers in a twelve-minute statement Allegations against him and his artists. In it, Xatar assured that neither he nor his people had ever bought “fake clicks” or “fake streams”. According to the rapper, the allegations are baseless and nothing is proven in the documentation, but "just something told through the flower". With "Kai" he assumes that this is in truth not a real hacker . Towards the end of the video he offered him and Coşkun a face-to-face meeting with a live stream . Alimkhan Arsanov from the YouTube channel Mois , which maintains contacts with many well-known German rappers, invited Xatar to an interview after a personal phone call, which appeared one day later. In it, Xatar asked himself a few questions, most of which related to the allegations of manipulation. He repeated that he was innocent, justified this on several arguments and explained why, in his opinion, it would "make no sense" for him to buy "clicks" for artists like Mero. In the course of the discussion, a meme arose around "Kai" and Mero , which can often be found in the comment columns under Mero's music videos.

Further single chart evaluations

Current chart evaluations

Top 15 German-speaking singles

The top 15 German-speaking singles are determined like the single Top 100 . All titles with German-language song lyrics are rated.

Top 20 dance charts

The dance charts are determined like the single Top 100 . All titles in the electronic dance music genre are counted . A placement in the dance charts is completely independent of a listing in the Top 100 charts . A title can therefore place itself in the single top 100 as well as in the repertoire charts. The allocation of products to the various repertoire charts is essentially based on the repertoire markings of the companies at PHONONET.

Top 20 single trending

The single trending charts are determined like the single top 100 and contain the first 20 titles that did not make it into the single top 100 . Only songs can be placed that never made it into the official hit parade. If a title was able to place itself in the top 100 charts in the past , a further placement in the single trending charts is excluded.

Top 100 download singles charts

The download charts are determined like the single top 100 . In contrast to the Single Top 100, there is a minimum dealer width of two and not three dealer groups as in the Top 100 charts . It is not possible to cancel individual titles.

Top 100 midweek single charts

The Midweekcharts how the Single Top 100 determined from Friday to Monday. Due to the fact that traders deliver their reports late, the database can differ slightly from that of the Top 100 charts .

Top 100 Most Wanted Singles

The most wanted charts how the Single Top 100 calculated monthly. Five independent rankings provide information about the currently most popular "oldies, evergreens and cult hits". The top 100 titles from the 1960s, 1970s, 1980s, 1990s and 2000s are listed separately.

Top 100 single year charts

The annual charts are determined annually like the single top 100 . At the end of each year, an overall evaluation is made from the sales (and for several years also the download and streaming equivalents) over the past twelve months. The charter broker publishes these annual charts at the beginning of the new year. These chart lists have been available for singles since 1959. Since 2018, publication is no longer based on the calendar year. The annual charts have been published since the beginning of December.

Top 100 streaming singles charts

In contrast to the single top 100 , the streaming charts also include advertising-financed streams. As for determining the single charts, streams from a minimum listening time of 31 seconds are included in the rating. The streaming charts are piece-based, i.e. determined according to their number and not value-based like the single charts. In contrast to the Single Top 100, there is a minimum dealer width of two and not three dealer groups as in the Top 100 charts. It is not possible to cancel individual titles.

Top 150 Daily Trend Charts

The Daily trend charts , with the exception of Sunday as the Single Top 100 daily basis. Due to the fact that traders deliver their reports late, the database can differ slightly from that of the Top 100 charts . The investigations are carried out daily for the previous day. Since streaming providers are currently still late in delivering their reports, they are included in the daily trend charts with a delay of one day .

Former chart evaluations

Top 20 Schlager single charts

The hit charts were determined in the period from 2001 to 2003 according to the rules of the single top 100 . All titles in the German Schlager genre were rated . A listing in the hit charts was completely independent of a listing in the Top 100 charts . A title was able to place itself in the single top 100 as well as in the repertoire charts. The allocation of products to the various repertoire charts was essentially based on the repertoire markings of the companies at PHONONET.

Number 1 award

Following the example of the Official Charts Company , which compiles the British music charts , GfK, in cooperation with the German Music Industry Association, introduced a so-called number 1 award as a further marketing measure . This has been awarded for the Official German Album Charts since the spring of 2016 and for the Official German Single Charts since the end of 2017 . The performers are only recognized once for the number one success of a published work and not for every multiple weekly placement of the same at the top of the chart. It doesn't matter whether a plant goes straight to number one or climbs up from a lower position. Bausa received its first single award for its number one success Was du Liebe nennst on December 7, 2017. Since 2018, an annual single award has been presented, which goes to the top of the annual single charts each year. The first annual single award went to Dynoro and Gigi D'Agostino for their collaboration In My Mind .

Special features and special successes in chart history

Number one successes

Top 10 Achievements

Chart successes


Currently (as of August 30, 2020) , 143 titles have managed to be listed for at least one year (12 months / 52 weeks) since 1959. In addition, only seven titles managed to be placed for at least two years (24 months / 104 weeks). The following titles were able to place themselves in the charts for at least 70 weeks (the year marks the first entry into the charts) . Of these, thirteen were listed in first place for at least a week. With 140 chart weeks, the title Last Christmas by the British pop duo Wham! most frequently noted.

Such "long-running hits" used to be very rare, but in the age of downloads, where singles no longer need a physical equivalent in order to charter, they are more common. The more frequent occurrence of "long-running hits" is also favored by the abolition of old chart rules, according to which certain songs were previously excluded from the charts after a while. Between 1997 and 2010 there was a threshold clause that only allowed a limited time for chart titles in the lower half of the Top 100. Titles were deleted from the charts after nine weeks or two weeks after leaving the top 50. On March 19, 2010 this threshold clause was abolished. With the inclusion of music streaming since 2013, the duration of the chart also increased.

A special feature are the songs Last Christmas , All I Want for Christmas Is You and Wonderful Dream (Holidays Are Coming) : They were initially only in the charts for a few weeks, but regularly reappear in the hit lists for a few weeks at Christmas time.

More Achievements

  • Kollegah holds the record for most singles in the charts. So far, he has recorded 110 songs (as of June 10, 2020) in the single charts . The German rapper Bushido has 97 songs, the German rapper Bonez MC 92, the Austrian rapper RAF Camora 88 singles and the British musician Paul McCartney 83 (including the Beatles and Wings ) in the top 100 .
  • Two weeks after his death, Michael Jackson achieved a novelty when at the beginning of July 2009 a total of 24 of his titles were able to place in the top 100 as a returnee: Thriller placed best with ninth place, in the top 20 the songs Earth Song (# 12), Beat It (# 14) and Billie Jean (# 18).
  • In the week of May 24, 2014, the German rapper Kollegah managed to place himself in the top 100 with 18 titles . 17 tracks came from his newly released album King , they had all been released as single downloads for the single charts . Kollegah was able to almost repeat this record with the titles of his next album Zuhaltenertape Vol. 4 in mid-December 2015, when a total of 17 of the 20 album titles were simultaneously placed in the single charts through 16 new entries .
  • In September 2011 David Guetta placed nine singles in the charts simultaneously as author, performer and producer.
  • In 2012, Cro was represented in the singles charts with eleven titles at the same time . In addition to nine solo projects, the titles Horst & Monika ( Die Orsons feat. Cro) and Fühlt sich wieiegen an ( Max Herre feat. Cro) made it into the single charts .
  • In 2015 Bushido reached placements in the German single charts with twelve songs at the same time .
  • The two German rappers RAF Camora and Bonez MC are so far the only artists in the history of the German music charts who managed to occupy the top three of the charts with three songs at the same time. Behind 500 PS on the top spot in the charts of October 12, 2018, the songs Kokain and Number suppressed also came in second and third. They are also the first musicians who have managed to place eight songs in the top 10 and 13 songs in the top 20 of the single charts at the same time.
  • The German rapper with Russian-Ukrainian roots Capital Bra is the most streamed artist of all time in Germany. By May 2019, it had over 1.4 billion paid and advertising-based music streams in this country, replacing the previous leader Ed Sheeran . In addition, Capital Bra is the most streamed artist in seven days. His songs were viewed over 66 million times in the 16th calendar week of 2019.
  • Capital Bra and Samra's single Tilidin is the most streamed song in one day (3.1 million views). Mero previously held the record for his single Hobby Hobby (2.7 million views).
  • Capital Bra and Samra's single Tilidin is the most streamed song within a week (15 million views). Previously, Capital Bra also held the record with Cherry Lady (11.5 million views).
  • The single Kein Wort by rappers Juju and Loredana (feat. Miksu & Macloud ) is the most streamed track by an artist on the day of its release.

Summer hit of the year

On August 13, 2014, GfK Entertainment named the official “Summer Hit of the Year” in Germany for the first time, with the choice of Prayer in C (Robin Schulz Remix) by German DJ Robin Schulz and French folk pop duo Lilly Wood & the Prick . In the same year, the summer hits were presented retrospectively until 2009, although no agreement could be reached for 2012 and initially four titles were determined. With the presentation for the “Summer Hit of 2016”, the list was expanded retrospectively to 1990. For 2012, an agreement has now been reached on I Follow Rivers by the Swedish singer Lykke Li .

GfK Entertainment cites the following criteria for a summer hit: “It has a catchy melody, is suitable for dancing, spreads the holiday mood, was at number one in the charts, was not known from any major event, is played up and down in clubs and is made by an artist who could not celebrate any major chart success in the previous years. In addition, there are high hits on music streaming portals and in the social media area. "

List of the official summer hits in the German single charts


In 2009 Tim Renner , former managing director of Universal Music Germany , criticized the principle of the German music charts. He told Der Spiegel as follows: “Charts are completely irrelevant today. The music industry is chasing a mechanism that no longer corresponds to the market. "

After the German single charts had been one of the most important "indicators" for radio stations for many years, some of which based their title lists on them, the single charts lost "massively" their importance for this at the end of the 2010s. Nowadays there is hardly a music director waiting for the weekly edition of the “Official Charts”. Since the integration of music streaming, almost half of the items listed had titles from the “ German Hip-Hop ” segment - within the top 10 there were up to nine titles in some cases. A genre that, with a few exceptions (such as Bremen Next or 98.8 Kiss FM ), achieved less good ratings from listeners in internal music tests of radio stations . The remaining titles or genres placed within the single charts do not provide any really sensational findings for the program design because of their long-term presence. Tanja Ötvös, Head of Music at Radio Hamburg, said the following about the problem: “ We have canceled the GfK single charts . In addition to our own market research, which has absolute priority, we use the Spotify and Shazam charts for orientation . We also take a look at iTunes sales, but keep finding that the titles placed there are less often in our rotation. For some time now, we have also had an airplay chart broadcast on Saturday evening from 5 pm to 7 pm, which is based on the Official Airplay charts from MusicTrace ”. One example is the development at SWR3 . There the segment “Title from the current charts” had a share of 37% in 2016, in 2019 it was 16%. In contrast, the proportion of current songs that are not represented in the single charts rose from eight to 25%.

See also


  • Ehnert, Günter: HIT BILANZ German Chart Singles 1956–1980 , Taurus Press, Norderstedt , ISBN 3-922542-24-7
  • Ehnert, Günter: HIT BILANZ German chart singles 1956–1980. TOP 10 , Taurus Press, Norderstedt, 1999, ISBN 3-922542-41-7
  • Moser, Rolf and Scheuermann, Andreas: Handbook of the music industry. Keller, 2003, ISBN 3-7808-0188-4 .

Web links

Individual evidence

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