Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Wo Chaand Sa Chehra Liye Chhat Par Tera Aana

Posted on: April 7, 2017

This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in If this article appears in sites like and etc then it is piracy of the copyright content of and is a punishable offence under the existing laws.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 34
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“वो चाँद सा चेहरा लिए, छत पर तेरा आना

tu raat khadi thi chhat pe
nee main samjha ke chaand nikla

There is something so uniquely desi about this romantic element – ‘chhat pe’ – ‘on the rooftop’ scenario. If it were the western milieu, the thought would be to go as far as the balcony; the scenario being Juliet present at the balcony and Romeo serenading her from the garden below. No where the western writer has thought of ascending to the terrace, bring in the soubriquet of the moon, and then let the verse take over from there. On the subcontinent, so much romance seems to have happened on the terrace, in the pages of prose and in the lines of verse.

The social context will have to be factored in. Homes in this part of the world are built with the purpose of using the terrace for multiple activities. Then, there is this thing about proximity of houses and adjoining terraces. And the mind of the poet takes on the flights of thoughts, and bring down to paper, verses that imagine a variety of encounters between the hearts. Young people come to terrace to study; ladies come to terrace to dry their hair after a bath, or to put out the laundry after a wash; again, ladies would bring food items to layout on the terrace for drying purposes; young men would be on the terrace to fly kites; romantics would come to the terrace in the evenings to watch the moon and to count the star; in the summers, the family would ascend to the terrace in the evenings for a cool breeze, and in winters, they would come on in the afternoons and soak in the sun; and more. In closely knitted neighbourhoods, the terraces are adjacent to each other, and one can go across a street or even across the entire locality, without having to descend to the street level – an opportunity that opens up a lot of options for the romantically inclined; a scenario so well utilized in the recent film ‘Delhi-6’ (2009). Actually, this film is a great slice of everyday life that gets played out above the ground level on a maze of adjoining terraces. And the old city of Delhi is a perfect illustration.

The terrace also serves to be the vantage point for one who is waiting, gazing at the pathways on which someone is expected. And terrace is the place where the birds come, and make themselves heard, foretelling what to expect; e.g. a crow crowing on the terrace would mean a visitor is expected. And the terrace is also where the rain clouds dis-engorge themselves, to the joy of happy hearts and to the woes of a lonely unhappy heart.

In the Hindi film ecosystem, there are many a situation and quite a few songs that have used this location element, in so many memorable ways. Yes, surely, there is a song for each and every scenario listed above, and more I assure you.

It is ‘Dharamputra’ from 1961, and Mala Sinha is reminiscing the past encounters as,

baalon ko sukhaane kei khaatir
kothe pe wo meraa aa jaanaa
aur tumko muqaabil paate hi
kuchh sharmaanaa kuchh bal khaanaa. . .

and the song being “Main Jab Bhi Akeli Hoti Hoon”.

It is ‘Naya Daur’ from 1957, and Vijayantimala and Dilip Kumar are exchanging notes in a shared evening dance,

ho tujhe chand ke bahaane dekhoon
tu chhat par aaja goriye zind meriye. . .
abhi chhedenge gali ke sab ladke
ke chand bairi chhip jaane de zind meriye. . .

and the song being “Uden Jab Jab Zulfen Teri”.

It is ‘Himalay Ki God Mein’ from 1965 and Manoj Kumar is disclosing to Mala Sinha that

oyye tu raat khadi thi chhat pe
nee main samjhaa ke chaand niklaa

to which Mala Sinha responds with the complaint that

buraa ho teraa tujhe dekh ke
kothe se meraa pair fislaa

and the song being “Tu Raat Khadi Thi Chhat Pe”.

It is ‘Dhamki’ from 1945, and Munnawar Sultana is calling out to her beau

apne kothe main khadi
khili chandni raat
bedardi aa ja re

and the song being “Apne Kothe Main Khadi, Khili Chandni Raat”.

It is ‘Naach’ from 1949, and this time it is Suraiya inviting her beau, with the lines

baat takoon main teri kothe chadh ke
aajaa mere baalma bahaana kar ke

and the song being “Baat Takoon Main Teri Kothe Chadh Ke”.

It is ‘Mausam’ from 1975, and it is Sharmila telling Sanjeev Kumar

. . . garmiyon ki raat jo purwaayiaan chale
thhandi safed chaadaron pe jaagen der tak
taaron ko dekhte rahen chhat par pade huye. . .

and the song being “Dil Dhoondhta Hai Phir Wohi”.

It is ‘Thakur Jarnail Singh’ from 1966, and it is Bela Bose crooning on stage in a ‘nautanki’ performance at a village fair

sainyaa se waada thaa naazuk ghadi thi
ban than ke kal main to chhat pe khadi thi
ke bichhuaa ne dank maaraa, haay haay haay raam

and the song being “Sainyyaan Se Waada Tha Naazuk Ghadi Thi”.

It is ‘Mera Saaya’ again from 1966, and this time it is Sadhna in another street dance performance, saying

ghar ki chhat pe main khadi, gali mein dilbar jaani
hanske bole neeche aa, ab neeche aa deewaani
yaa angoothi phenk apni yaa chhallaa de nishaani
ghar ki chhat pe khadi-khadi main huyi sharam se paani

and the song is “Jhumka Gira Re Bareli Ke Bajaar Mein”.

It is ‘Dukh Sukh’ from 1942, and Sitara is beckoning to her beau, with the words

oonchi atariyaa akeli hoon saajan
chanda kahe torey kit gaye raajan
in se kahoon kyaa bataa ja ho o
o pardesi panchhi

and the song is “Mori Atariyaa Pe Aa Ja Ho, O Pardesi Panchhi”.

It is ‘Mehmaan’ from 1942, and Shamim is complaining

aayi atariya pe sone, na sone diya
taaron ki chhainyyan mein, haay mann loot liya

and the song is “Aayee Atariya Pe Sone, Na Sone Diya”.

It is ‘Aankhen’ from 1950, and Nalini Jaiwant is pressing her hopes on the sounds of crows, crowing on the terrace,

mori atariya pe kaaga bole
mora jiya dole
koyi aa raha hai

and the song is “Mori Atariya Pe Kaaga Boley”.

It is ‘Actor’ from 1951, and the situation, and the song itself, is very much replicated from ‘Aankhen’, with the words

mori atariya pe bulbul bole
jiya mora dole
piya aayenge

and even the melody is very much the same. The song is “Mori Atariya Pe Bulbul Boley”.

It is ‘Bhaabhi’ from 1957, and it is Shyama who is now remonstrating with the monsoon clouds, with the words

kaare kaare baadra
jaa re jaa re baadra
meri atariya na shor machaa

and the song is “Kaare Kaare Baadra, Jaa Re Jaa Re Baadra”.

Ah well, apologies, this write up is turning up as a treatise on the rooftop melodies in Hindi films. I take a break and return to the song of this series, being uploaded today.

The film is ‘Qawwaali Ki Raat’ from 1964. The protagonist is Kamaljeet, presenting a nazm as a stage performance.  Kumkum, wearing a hijaab is sitting in the ladies section, behind the sheer purdah.

The film is produced under the banner of Durgesh Productions, Bombay, and jointly directed by Durgesh Kumar and Santoshi.  Besides the lead pair introduced above, the star cast includes Deven Verma, Mumtaz, Murad, Aruna Irani, Jagdeep, Mohan Choti, Kamal Mehra, Johnny Whisky, Jerry, Jankidas, Tuntun, Mirza Musharraf, Baalam, and the heavyweight wrestlers King Kong and Baron von Heisey, amongst others.

There are 11 songs in this film, which include three very memorable and iconic qawwaalis. All the songs are penned by Shewan Rizvi, and the music is by Iqbal Qureshi. Rafi Sb’s voice appears in 8 of these songs, but as it turns out, this is the only solo song sung by him for this film.

And so, bringing up another memorable memory from the decades of the golden era. Rafi Sb’s voice – matchless, priceless.  Listen and enjoy.



Song – Wo Chaand Sa Chehra Liye Chhat Par Tera Aana (Qawwaali Ki Raat) (1964) Singer – Mohammed Rafi, Lyrics – Shewan Rizvi, MD – Iqbal Qureshi


wo chaand sa chehra liye
chhat par tera aana
wo chaand sa chehra liye
chhat par tera aana
jalwon se tere chaand ka bhi
munh ko chhupaana
wo chaand sa chehra liye
chhat par tera aana

milte hi nazar wo teri
palkon ka jhapakna
gustakh nigaahon per meri
tera chamakna
ghabra ke adab se wo mera
sar ko jhukaana
wo chaand sa chehra liye
chhat par tera aana

uljhe huye baalon ko liye
chhat se utarna
aaine ke aage wo tera
aa ke sanwarna
aur meri ghazal padh ke tujhe
neend na aana
wo chaand sa chehra liye
chhat par tera aana

bechain tassavur mein
guzarne lagin raaten
honay lagin chhup chhup ke
telefoon pe baaten
kuchh yaad to hoga tujhe
wo mera fasaana
wo chaand sa chehra liye
chhat par tera aana
jalwon se tere chaand ka bhi
munh ko chhupaana
wo chaand sa chehra liye
chhat par tera aana

Hindi script lyrics (Provided by Sudhir)

वो चाँद सा चेहरा लिए
छत पर तेरा आना
वो चाँद सा चेहरा लिए
छत पर तेरा आना
जल्वों से तेरे चाँद का भी
मुंह को छुपाना
वो चाँद सा चेहरा लिए
छत पर तेरा आना

मिलते ही नज़र वो तेरी
पलकों का झपकना
गुस्ताख़ निगाहों पे मेरी
तेरा चमकना
घबरा के आदाब से वो मेरा
सर को झुकाना
वो चाँद सा चेहरा लिए
छत पर तेरा आना

उलझे हुये बालों को लिए
छत से उतरना
आईने के आगे वो तेरा
आ के संवारना
और मेरी ग़ज़ल पढ़ के तुझे
नींद ना आना
वो चाँद सा चेहरा लिए
छत पर तेरा आना

बेचैन तस्सवुर में
गुज़रने लगीं रातें
होने लगीं छुप छुप के
टेलेफ़ून पे बातें
कुछ याद तो होगा तुझे
वो मेरा फसाना
वो चाँद सा चेहरा लिए
छत पर तेरा आना
जल्वों से तेरे चाँद का भी
मुंह को छुपाना
वो चाँद सा चेहरा लिए
छत पर तेरा आना

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