1952 – Lata Mangeshkar

Let’s continue with the yearly review of Lata Mangeshkar’s songs. Last month, for the 5th anniversary post, I compiled my favourite semi classical songs by Lata Mangeshkar. And I didn’t publish the yearly review. Today we will have a look at her career in the year 1952 and listen to my favourites.


In the year 1952, she sang approximately 47 songs less than the previous year. She had a total of 177 songs, including 135 solos, 30+ duets with male singers and 5 duets with female singers. And there were 3 other songs including trios and tetrads.
The ratio of solos and duets was around 3.5:1.

Out of the five female duets, one each was with Rajkumari, Shamshad Begum and Suraiya, while there were a couple of duets with Geeta Dutt. Her duet with Rajkumari, Zindagi Badli Mohabbat Ka Maza, has achieved an iconic status now. It’s one of her finest duets with other female playback singers.
As far as duets with male playback singers are concerned, she sang 12 duets with Talat Mahmood, 9 with Rafi, 4 duets with Chitalkar, 2 each with Kishore Kumar, Hemant Kumar and Trilok Kapoor. one duet each with Manna Dey and Mukesh.

Now I’ll go to the list. Today as well I’ll present the song composer wise. Let’s start the journey,

1. Naushad –
Naushad composed for three films in 1952. Except in Deewana, which had Suraiya in the main lead, Lata Mangeshkar was the main female voice. In the movie, Aan, she sang for both Nimmi and Nadira. Shamshad Begum sang for the other characters. Now Shamshad Begum was clearly Naushad’s choice for supporting characters and Lata Mangeshkar was a clear choice for the main lead. And slowly Shamshad Begum completely disappeared from his songs.
Let’s listen to my selection for today’s post,

Aaj Mere Man Mein Sakhi – Aan (1952) with Chorus / Naushad – Shakeel Badayuni
What a beautiful song! Just delightful! Though the film had a few other solos by Lata Mangeshkar, I was determined to open the post with a happy song and could never have got a better song than this.

Jhoole Mein Pawan Ke – Baiju Bawra (1952) with Rafi / Naushad – Shakeel Badayuni
Naushad composed all the songs in semi classical style. And the movie had a bunch of excellent compositions including solos and duets. But this song in Raag Malhar is my most favourite among all. Another attraction for me was a very young and beautiful looking Meena Kumari.

2. C Ramchandra –
The association between Lata Mangeshkar and C Ramchandra was rapidly reaching its peak during the early 1950s. Lata Mangeshkar was his preferred voice for the majority of films. C Ramchandra composed for six films, Chhatrapati Shivaji, Ghungaroo, Hungama, Parchhai, Saqi and Shin Shinaki Bubla Boo. Though Lata Mangeshkar was the main female voice, C Ramchandra also offered songs to Shamshad Begum and Geeta Dutt. He offered songs to Rafi and Talat Mahmood, and in comparison sang a lesser number of songs himself.
For today’s list, I found myself choosing solos and all of these are real masterpieces.

Hum Kitna Roye – Shin Shinaki Bubla Boo (1952) / C Ramchandra – P L Santoshi
What can I say about the song! One of the most beautiful compositions of C Ramchandra and one of the best songs Lata Mangeshkar sang under his baton. Both at their best! The pathos is unparalleled. Just tabla and sarangi as the main supporting instruments.

Ishq Mein Jo Kuchh Na – Saqi (1952) / C Ramchandra – Rajendra Krishan
A typically sweet and melodious sad song by Chitalkar. The duo of Lata Mangeshkar and Chitalkar was at the peak and every song they did together had a Midas touch. All the songs used to be magical! There was really something extraordinary in their songs. And this song’s not an exception of course.

Dard Ke Maare Hue – Hungama (1952) / C Ramchandra – Rajendra Krishan
Lata’s solos have stood the test of time. The song touches the soul, when she sings, ‘कौन सी दुनिया में जाएंगे ये दिल टूटे हुए’. You can just feel her inner sorrows. I remember the film just for the song! Surely the best from the movie.

Katate Hain Dukh Mein Yeh Din – Parchhai (1952) / C Ramchandra – Noor Lukhnawi
Another best from the alliance. The honey dipped voice of Lata Mangeshkar woven in a soulful melody. Heart touching rendition, makes your soul cry.

3. Roshan –
Roshan offered her songs for the first time in 1951. And the journey continued in 1952 with five films, Anhonee, Naubahar, Raag Rang, Sanskar and Sheesham. The majority of the songs from all of these films are good, Lata Mangeshkar being the main female voice of the film. Though the films were not much popular then, now the films are mainly remembered for the songs.
I was in great dilemma as to select the songs for today’s list, but finally chose,

Dekho Ji Mera Jiya Churaye Liye Jaye – Naubahar (1952) / Roshan – Shailendra
Listening to this song is a very soothing and peaceful experience. Lata’s divine voice in a simple tune with minimal instrumental support.

Is Dil Ki Haalat Kya Kahiye – Anhonee (1952) / Roshan – Sardar Jafri
The film had Nargis in a double role and Rajkumari was the voice of the courtesan played by Nargis. The good sister, Roop received Lata’s playback. The song is excellent though it appears very late in the movie, when we don’t expect an interruption, let it be a soulful melody. But otherwise, as a song, it’s a perfectly rendered melody.

Dil e Beqaraar So Ja – Raag Rang (1952) with Talat Mahmood / Roshan – Kaif Irfani
The film had great songs, though unfortunately it couldn’t perform well at the box office and the songs too remained in the dark. Still, Lata’s semi classical song, Ae Ri Aali Piya Bina is perhaps the best known song of the movie. Roshan was known for using flute in his songs and this one has really beautiful flute pieces.

Muskurahat Tere Hothon Ki – Sheesham (1952) / Roshan – Indeevar
Roshan was one of those unfortunate composers whose films failed at the box office despite composing great songs. Sheesham was one of Nutan’s earlier films and was full of melodious songs. It’s a pity that the songs didn’t become popular. This song would be enough to support my statement.

4. Shankar Jaikishan –
Lata Mangeshkar became an eternal part of the songs composed by Shankar Jaikishan. She was now the most prominent female playback singer of Hindi cinema. Lata Mangeshkar sang for three films under the baton of the composer duo, Shankar Jaikishan. In the year 1952, they offered just a couple of songs to Geeta Dutt. Both the songs also had Lata Mangeshkar as a co-singer, highlighting the strong bond between the singer and the composer duo. A noteworthy feature was Lata Mangeshkar singing all the nine songs as solos for the film, Poonam. Would be a sort of record. At least off hand I don’t remember any film with all the songs being solos by a single particular singer. She again had only solos in the movie, Daag. The third film, Parbat wasn’t a popular film and I doubt if anyone has a particular favourite from the movie. I’ve chosen one song from each movie. Let’s have a look,

Jhoome Jhoome Dil Mera – Poonam (1952) / Shankar Jaikishan – Hasrat Jaipuri
As I have highlighted already, the film had nine songs, all solos by Lata Mangeshkar. It was difficult for me to select a song. I’m very much fond of this fast paced energetic melody, and so added it.

Preet Yeh Kaisi Bol Ri Duniya – Daag (1952) / Shankar Jaikishan – Shailendra
The movie is remembered first and foremost for Talat Mahmood’s songs, but it had a few of Lata’s solos. Lata Mangeshkar sang for Nimmi and Usha Kiran both. The songs were clearly divided into two categories, sad ones for Nimmi and happy, cheerful ones for Usha Kiran. This song is based on Raag Pahadi and such a touchy rendition by Lata Mangeshkar.

Kya Bataaun Mohabbat Hai Kya – Parbat (1952) with Rafi & Geeta Dutt / Shankar Jaikishan – Shailendra
I never get enough of the song. I know it’s not popular, but I just love it. Trios always fascinate me and so this song has featured on the list of my favourite trios.

5. Ghulam Mohammad –
Ghulam Mohammad was Naushad’s assistant and he was equally impressed with Lata Mangeshkar’s divine voice. I’ll highlight my favourite films for today’s post. Raj Kapoor and Nargis starrer Amber had very good songs, mainly Lata Mangeshkar’s duets with Rafi were very popular and are still popular. In comparison the film, Ajeeb Ladki would be less popular, though I’m sure Lata’s couple of duets with Talat Mahmood are still very popular. Yet another film, Sheesha has my favourite, Lata solo, Khushi Dil Se Hansi Hothon Se. I think now it’s very easy to guess my selection for today’s post,

Hum Tum Yeh Bahar – Amber (1952) with Rafi / Ghulam Mohammad – Shakeel Badayuni
The film had a couple of Lata solos and three duets by Lata Mangeshkar and Rafi. The song is an energetic sweet melody, rendered perfectly by the singers. It’s such a cute romantic song!

After an energetic number, let me add a soulful melody depicting separation of lovers. As I’ve already hinted it’s one of the duets from the film Ajeeb Ladki.

Ek Bewafa Ko Dil Ka Sahara – Ajeeb Ladki (1952) with Talat Mahmood / Ghulam Mohammad – Shakeel Badayuni

6. Madan Mohan –
Lata Mangeshkar’s first film with Madan Mohan was Ada (1951). In 1952, she sang for a couple of films, Ashiana and Nirmohi.
Ashiana was not a popular movie, though it had a few excellent solos by Talat Mahmood and Lata Mangeshkar. Even the popular pair of Nargis and Raj Kapoor couldn’t help it. The second film, Nirmohi, has my favourite, Dukhiyare Naina Dhoondhe Piya Ko. But to limit the number of songs on the list, I didn’t include it in the list.
And for today’s list I’ve chosen,

Tum Chand Ke Saath – Ashiana (1952) Madan Mohan – Rajendra Krishan
After struggling a lot to choose a song, I finally settled for this one. A song that creates a melodious dreamy aura! The other solos by Lata Mangeshkar are equally good.

7. S D Burman –
S D Burman had only a couple of releases in 1952, Jaal and Lal Kunwar. Lata Mangeshkar was a part of Jaal. She was the main female playback singer, though a couple of solos and one duet was sung by Geeta Dutt.

Yeh Raat Yeh Chandni Phir Kahan- Jaal (1952) with Hemant Kumar / S D Burman – Sahir
The song, though a duet, has just the mukhda sung by Hemant Kumar. All the verses are sung by Lata Mangeshkar. It perfectly portrays the intense emotions, grief and dilemma faced by Geeta Bali’s character. Of her other solos, Chori Chori Meri Gali is also my favourite.

8. Husnalal Bhagatram –
After a very successful and popular career, Husnalal Bhagatram faced a sudden downfall. Though the duo was still composing melodious songs, somehow success didn’t continue its journey with them.
For today’s list, let me present a couple of duets,

Lehron Se Poochh Lo – Kafila (1952) with Kishore Kumar / Husnalal Bhagatram – Vrajendra Goud
A very sweet, cute and eternally romantic song. Though Husnalal Bhagatram’s magic was weaning very fast, the songs were still very good. I’ve no idea why their career came to an abrupt end. They were going fine and suddenly they were out of the competition.

Tu Chanda Main Chandni – Raja Harishchandra (1952) with Rafi / Husnalal Bhagatram – Bharat Vyas
I guess, though the film wasn’t successful, this song has managed to survive perfectly well and passed the test of time. A typical Husnalal Bhagatram song. Sweet, melodious and memorable!

9. Hemant Kumar –
Hemant Kumar entered the Hindi film industry with Filmistan’s Anandmath. His main choice for the songs was Geeta Dutt. But for the song, Vande Mataram, he chose Lata Mangeshkar. And the rest is history.

Vande Mataram – Anand Math (1952) with Hemant Kumar & Chorus / Hemant Kumar – Bankim Chandra Chattopadhyay
What can I say about this song? The song set in Raag Bhairavi ignites intense emotions of patriotism. For me this is the best ever version of the poem. Hemant Kumar’s contribution is reduced to just an aalap sung a couple of times. It’s very interesting to note that both the duets by Lata Mangeshkar and Hemant Kumar in the year 1952 had very few lines by Hemant Kumar.

10. Sajjad Husain –
Sajjad Husain composed for just one film in 1952 for various reasons. But for me it was his career best. The film was Madhubala and Dilip Kumar starrer Sangdil. Lata Mangeshkar had just a couple of songs, a solo and a duet. I’ve already covered the duet in my post on Sajjad Husain. So I will add,

Woh To Chale Gaye – Sangdil (1952) / Sajjad – Rajendra Krishan
The song is like a perfectly carved sculpture. Good lyrics, good tune and perfect rendition by Lata Mangeshkar. The song sometimes sounds so pessimistic, the listener automatically feels for the character played by Madhubala. The song is surely one of Lata’s best with Sajjad.

11. Anil Biswas –
Anil Biswas, who had delivered excellent melodies earlier, had just one release in 1952. The film was Do Raha, which had a couple of solos by Lata Mangeshkar.

Ghadiyan Gini Hain Maine – Do Raha (1952) / Anil Biswas – Prem Dhawan
A good song, though it may not be very popular. It evokes mixed emotions, at places aggressive at places melancholy. The film is remembered more for Talat Mahmood’s solos which perhaps overshadowed the other songs of the movie.

12. Other Composers –
In addition to the list, Lata Mangeshkar also sang for other composers.
She sang for a couple of films for Manna Dey, Chamki (with 3 solos and one duet) and Tamasha (2 solos). Basant Prakash also had a couple of films with her, Badnaam (4 solos) and Saloni (4 solos).
S N Tripathi had just a single solo for the film, Alladin Aur Jadui Chirag, as did Hansraj Behl for the film, Jaggu.
A R Qureshi composed for her in Raj Kapoor and Nargis starrer, Bewafa with 3 solos. Bhola Shreshtha composed a few solos for her for the film, Najariya.

For today’s list I have chosen four songs with four different composers. Let’s listen to the songs.

Hai Kahin Par Shadmani – Aandhiyan (1952) / Ustad Ali Akbar Khan – Pandit Narendra Sharma
Navkeatan’s Aandhiyan is mainly remembered for the Lata solo, which had three parts. The link shared has all the parts. The beautiful and meaningful lyrics and the sarod pieces in the song make it a memorable song.

Abhi Kuchh Raat Baqi Hai – Betaab (1952) / S D Batish – Roopbani
S D Batish had just one Lata Mangeshkar solo in the year. But for me the song is one of her best songs. Listen to the tune, the orchestration, and to top it all, Lata’s perfect rendition with apt expressions. She has less number of seductive songs to her credit.

Baharon Ke Dole Mein – Annadata (1952) / Mohammad Shafi – Hasrat Jaipuri
Mohammad Shafi composed for her for the first time and the film had 6 of her solos. Though all the songs are good, for me this is the best among all. I just love her energy, the carefree attitude and the lyrics of the song. If you’re not aware of the song, please listen to it.

Kari Kari Andhiyari Raat Mein – Jalpari (1952) / Govind Ram – Bharat Vyas
Pandit Govind Ram had offered her songs right from the late 40s and she had just one film with him in 1952. She sang three solos for the film. The song may not be very popular, but it’s certainly melodious and enjoyable.

Please add your Lata Mangeshkar favourites from the year 1952.

Disclaimer –
Mehfil Mein Meri, claims no credit for any image, screenshots or songs posted on this site. Images on this blog are posted to make the text interesting. The images and screenshots are the copyright of their original owners. The song links are shared from YouTube, only for the listening convenience of music lovers. The copyright of these songs rests with the respective owners, producers and music companies.

22 Replies to “1952 – Lata Mangeshkar”

  1. Nice post. Selection must be difficult and will be for next ten years atleast. Glad to find song from Aandhiyan Hai kahin par shaadmani again after blogs on association of classical music stalwarts with hindi film music. Unfortunately this association was too brief with most of stalwarts.

    Liked by 1 person

    1. Thank you for your appreciation.
      Yes, it was difficult indeed. But not in the way I had expected. It’s just that I’ve to limit the number of films, which in turn would decide the number of songs, as I’ve decided to select one song per film.
      The song from Aandhiyan is good. I like it too.


  2. I was eagerly awaiting this post. You have once again exhibited your skills in deep research and selection of songs from the pearly plenty. I will enjoy them at leisure at late night when the rest of the household is asleep. I have seen almost all the movies and am very familiar with the songs and hope to add a few in a day or two.
    Ashiana may have splendid songs but a weak story line and was bound to be a failure. Madan Mohan’s fate it was always to be associated with such B grade films.

    Liked by 1 person

    1. Thank you Rangan ji. I’m glad you enjoyed the list. I’ll wait for your additions.
      Yes, Madan Mohan had many films with good to excellent songs, but the film was flop. It sounds strange as it was an era when lots of films got audience just because of the wonderful songs and bad story.


  3. Dear Anup ji,

    It must have taken hours of midnight oil burning to complete such a Herculean task. Well composed, is the least one can say, but hats off to you for a stupendous performance. I would like to second what Dr. Ravindra ji has said about including the song from “AANDHIYAN”.

    I wonder why you skipped hurriedly over Madan Mohan.

    There must be many like me who feel this song from “ASHIYANA” more worthy of inclusion

    (मेरा क़रार ले जा ……)

    And here is a song from “POONAM” where Lata ji has sung for both Kamini Kaushal and Asha Mathur – would you count that as a Solo?

    (तक़दीर का शिकवा कौन करे ……)

    And there is one other song, but I am keeping that for ASAD-2 🙂

    Keep up the good work.

    With warm regards


    Liked by 1 person

    1. Parthaji,
      Thank you for your appreciation. It took a lot of efforts indeed.
      I’ve reserved ‘Mera Qaraar Leja’ for a future post. So didn’t include it here.
      Taqdeer ka shikwa would be a perfect fit for one of my old posts (Not quite usual songs), if you remember it.

      And I’ll wait for the ASAD 2 song


    2. I think one/two lines could be added regarding Lata singing all the songs alone in a film like Poonam – 8 songs to establish how she was becoming the most wanted singer…
      But overall it’s a great work of compilation supported with authentic data.
      Lalit Jadhav


  4. I will be adding a few songs from films of that year sung by Lata Mangeshkar which also deserve a place in your post, but probably omitted for want of space.

    Parchain : naina laga ke sukh le gayo

    Nau Bahar : Unke bhulave pe – lyrics Shailendra

    Ashiana : mere piya se koyi jake keh de (lyrics Rajendra Krishan)

    More songs can be added, but a line has to be drawn somewhere.

    Liked by 1 person

  5. Dear Anup ji,

    I should have posted this comment earlier, but somewhere between all those Sports events and your Posts, it was overlooked.

    I am referring to that melodious composition “TUM KYA JANO” from Shin Shinaki Boobla Boo. No, I am not referring to PL Santoshi’s craze for Rehana.

    As you would be knowing, Lata ji was the common link between stalwarts such as CHITALKAR and HEMANT KUMAR and it was certainly with CR’s tacit agreement that HK used this tune in a Bangla Film “SURYOTORON” released in 1958

    For those not in the know, the story of “SURYOTORON” was based on Ayn Rand’s famous Novel “The Fountainhead” which in turn was partly inspired by the life of renowned American Architect FRANK LLOYD WRIGHT. It is said that Hemanto fell in love with the song “TUM KYA JANO” and it was intermediary and “good friend” to both, Lata who persuaded C Ramchandra to permit Hemanto to use the tune.

    With warm regards


    Liked by 1 person

  6. Nice opportunity to listen to some lesser-heard songs as well as the classics. Thank you for introducing me to some “new” golden songs! I am especially liking “Ek Bewafa Ko Dil Ka Sahara Samajh.” It has almost a blues sound at times.

    Songs of “Aan” are probably well-known, but I will put this one here, as it is one of my very favorites:

    And I will add one of Lata’s songs from “Tamasha” as well, which I was just mentioning over on the Khemchand Prakash post:

    I like the film in part because Meena Kumari has a light, cheerful character in it. In this song, though, she is back in her more typical melancholic avatar. . . the lighter songs are voiced by Asha instead. I really like the rhythm of “Kyun Ankhiyaan Bhar Aayi;” it is similar to what we call “balady iqagh” in Arab music.

    Liked by 1 person

    1. Thank you for your appreciation Shelomit.
      I’m glad to see you adding some beautiful melodies from 1952.
      Aan had very impressive score.
      I have not watched Tamasha yet, but now I’m interested in it.
      I don’t know much about blues sound and Balady iraq.
      Would you add a few details in a simplified language?


      1. I realize I still owed you a response on this comment! Apologies for the delay. Like usual, I am covering for my meager knowledge of Hindustani music by using terms that are more familiar to me ( ;

        The “major” scale is the most commonly used scale in Western classical music. Blues music uses a similar scale, except that mi, sol, and ti (the third, fifth, and seventh degrees of the scale, so like sa, ga, ni?) can appear either in their normal positions or somewhat flattened. Often the performer will start the note in its typical place, and then pull the pitch downward over the duration of the note, especially if the melodic figure as a whole is also downward. Here is an example of a Tin Pan Alley-type song sung in this type of scale: https://www.youtube.com/watch?v=626pNZB8xXE When he sings the word “spending” in the first few lines of the song you can hear how the note waffles up and down.

        Iqaghat in Arab music are set rhythmic patterns, like talas in Hindustani music. The beats in “balady iqagh” go heavy-heavy-silent-light-heavy-silent-light-silent. It is a simple pattern that one hears in Egyptian folk music a lot, as well as in light classical music. This page has several different audio examples: https://www.maqamworld.com/en/iqaa/baladi.php

        Liked by 1 person

      2. Oh! I’m quite silly. As soon as I send the comment, I think of an example of a filmi song that very specifically uses the blues scale, and it is quite an obvious one: “O Meri Baby Doll.” (Pretty much all early rock and roll, which is clearly the inspiration here, uses the same scale also.) In the chorus, the words “doll” and “bol” are on the third scale degree or note mi. Occasionally Rafi sings them in in their high/major position, but much more frequently in the lower position instead or sliding from high to low.

        Liked by 1 person

        1. Shelomit,
          Thank you for the detailed reply. I won’t say I’ve understood the thing clearly, but with repeated listening I might be able to get it.
          Because I don’t know anything about it at all. So I would take time.

          Liked by 1 person

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