A zingy electric guitar starts the proceedings. A zany rhythm creates mayhem and just when it is coming to a lull, energetic vocals of the great Mohammed Rafi hit your ears and set the dance floor on fire with Aaja Aaja Main Hoon Pyar Tera. Soon, the ever sizzling, ever seductive Asha Bhosle joins the fun and the recipe is complete.
Garishly outlandish settings and costumes of sixties, excellent choreography, on screen chemistry of the lead pair – Shammi Kapoor and Asha Parekh and inimitable musical touch of Pancham- R.D.Burman have made this 1967 Teesri manzil duet a memorable trend-setter that still reverberates through remixes.
When film-maker Nasir Hussain picked up young Pancham as his composer for this film, Shammi Kapoor wasn’t too pleased. For him, choosing such a callow newcomer over the then top music directors like Shankar-Jaikishan and O.P.Nayyar was a major blunder. How R.D. proved all his detractors wrong with a superhit score that included songs like O Mere Sona Re, Deewana Mujhsa Nahi and O Haseena Zulfon Wali is part of the folklore now.
The tune of Aaja Aajawas something so different from the then popular tunes- (Remember those deadly reptitive Aa Aa Aaja Ahaha Aaja- s and that final Aa Aa Aaja Aa Aa Aah?) that Rafi and Asha had a tough time mastering it. In fact their inability to grasp the tune had frustrated Pancham so much that he was to drop it altogether. But both the stalwart singers asked their newcomer composer for some days to practice before finalising the take.
Asha remembers fondly how Lata had encouraged her before that recording by telling, "Remember, at core you are a Mangeshkar. We Mangeshkars don’t accept defeat!" Asha was to follow her Didi's advice to a T. Aaja Aaja got recorded.