Raj Kapoor/Shankar-Jaikishan
With Shailendra and Jaikishan gone, Raj suffered an emotional blow and also had additional reasons - Mera Naam Joker and Kal Aaj Aur Kal had crashed and Lata was not singing for him since their row over Sangam. The hottest names of the day were signed on the same day in 1972 - Laxmikant-Pyarelal for Bobby and R.D.Burman for Randhir Kapoor’s film Dharam Karam.
Manoj Kumar/Kalyanji-Anandji
The industry was surprised when Manoj switched to L-P with Shor after the brilliance of Kalyanji-Anandji’s Upkar and Purab Aur Pacchim. But it was all done in a cordial atmosphere - after the first Shor recording, K-A’s ex-proteges and Manoj along with the singers went to lunch at Kalyanji’s house.
Manoj Kumar/Laxmikant-Pyarelal
Three films later, Manoj switched equally surprisingly from L-P to Uttam Singh-Jagdish Khanna - the reasons were never disclosed.Manoj later returned to K-A with Kalyug Aur Ramayan in 1987 and to L-P in the 1999 Jai Hind. But the magic had waned for both composers and Manoj.
Feroz Khan/Kalyanji-Anandji
Feroz Khan’s foolproof, flop-proof (Apradh, Dharmatma, Qurbani, Janbaaz) and very trendy association with K-A came to a sudden halt with L-P’s entry into Dayavan (1988). Many reasons were cited: K-A’s market dip, L-P’s high status then and even the fact that L-P were ruling in the South remakes, which Dayavan was. Though a few songs were hits, the film bombed. After that, Feroz kept changing music directors, with indifferent results till his last film.
Sooraj R.Barjatya/Raamlaxman
One tepid Hum Saath Saath Hain (1999) was enough for Sooraj to drop Raamlaxman despite whoppers like Maine Pyaar Kiya (1989) and Hum Aapke Hain Koun!... (1994). He went to then-market-leader Anu Malik for Main Prem Ki Deewani Hoon and then Ravindra Jain with Vivah. But Raamlaxman’s career was over.
Dev Anand/S.D.Burman
Dada Burman was incensed that Dev dared to approach him for only the traditional/normal songs of Hare Rama Hare Krishna (1972) and wanted son R.D. for the trendy ones and angrily told the actor that RD could do the traditional ones too.
Manmohan Desai/Laxmikant-Pyarelal
After nine consecutive musical and commercial hits, it seemed inexplicable that Desai broke the infallible team to go to a fledgling Anu Malik. But it is said that Desai felt affronted with L-P’s lack of special treatment. However, he was back to L-P in a film announced before his death that finally became Deewana Mastana.
Nasir Husain/R.D.Burman
A seemingly-shocking drop was R.D. Burman’s from the Nasir Husain camp with Qayamat Se Qayamat Tak. But Mansoor Khan was taking over the directorial reigns and was uncomfortable about working with “RD Uncle” because the latter had seen him from babyhood!
Sanjay Leela Bhansali/Ismail Darbar (1999-2002)
Two hits and musical gems (Hum Dil De Chuke Sanam and Devdas) and still there was no place for Ismail Darbar in Black or Saawariya. Explanation: Probably their fiery temperaments and a professional personality clash, even if they are friends in personal life.
Subhash Ghai/Laxmikant-Pyarelal
But it was the Subhash Ghai-L-P split that made the most news. Ghai wanted Rahman for a new film and L-P for Ganga. But Ganga was reportedly made as Pardes with Nadeem-Shravan and Rahman came in for Taal. L-P never returned to the fold. Unconfirmed buzz gives two causes of the split: Ghai wanted to move on and had problems with Pyarelal; and that Pyarelal found Ghai ‘interfering’ and despite Laxmikant’s and Anand Bakshi’s mediation refused to work with Ghai again.
