Sometimes, he replied to his critics with infinite aplomb, taking the reductio ad absurdum route. His strength was his ability to communicate with people who, like him, never had a privileged economic or educational background. Undeterred, he went on simplifying and demystifying the lyric for the benefit of commoners, for the Ye jo public hai ye sab jaanti hai. Anand Bakshi faced a lot of criticism in his lifetime for reducing the lyric to tukbandi, that is, pure rhyming. We shall forever remember the age of the lyric and its creators with fond nostalgia, especially now that the epoch is over with Anand Bakshi’s death. And it is also untrue that masroof zamana will not recall him or others of his class. There are no better poets than there were in his time and, the listeners decidedly possess less depth of emotion. No longer can it be asserted with conviction: Kal aur aayenge naghmon ki khilti kaliyan chunne wale, Mujhse behtar kahnewale, tumse behtar sun ne wale, Kal koyi mujhko yaad kare, kyon koyi mujhko yaad kare? Masroof zamana mere liye kyon waqt apna barbaad kare? Main pal do pal ka shair hoon, pal do pal meri kahani hai, Pal do pal meri hasti hai, pal do pal meri kahani hai (Tomorrow there will be better selectors to make bouquets of poetry, Better writers than I, better listeners than you, Tomorrow why should anybody remember me? Why should a self-obsessed world waste its time over me? For I am a poet only of the moment, My status is only transitory, my story too is just transitory) Sahir Ludhianvi was wrong. But where is the scope for poetry in them? Regretfully, I have to admit Sahir has finally been proved wrong.
HUM TUM EK KAMRE MEIN BAND HO NEW VERSION FULL
Both Jatin- Lalit and Anu Malik deserve full marks for these compositions.
![hum tum ek kamre mein band ho new version hum tum ek kamre mein band ho new version](https://i.ytimg.com/vi/gx6fMnha-EY/hqdefault.jpg)
![hum tum ek kamre mein band ho new version hum tum ek kamre mein band ho new version](https://i1.sndcdn.com/avatars-000016329642-914r3w-t500x500.jpg)
In fact, they are vivacious and infectiously rhythmic. You don’t need a Sahir, Shakeel or Shailendra to write Kehdo na, kehdo na, you are my Sonia or Mehbooba, mehbooba, mehbooba… When the refrain takes over the structure of a lyric, anything goes. The remaining half of the problem, of course, is that poetry is at a discount, fewer and fewer lyric writers are born, music directors want wordsmiths not words that make you think and catchiness is all that is required of lyricists and composers. Half the problem is that they are not commercially viable because audience demands have altered radically. So, it is not thatwe don’t have some splendid song-writers. The hitherto under-rated Nida Fazli, provided he delves into his fascinating array of past writing, could produce stunners. (How I long for his return to the Haath se chhooke isey rishton ka ilzaam na do and Tum jo kehdo to aaj ki raat chand doobeyga nahin… days). Gulzar, if he suspends his penchant for weaving abstruse, often contrived, imageries can give us great poetry. Javed Akhtar, despite his rampant ommercialism, is occasionally capable of creating some magnificent webs of thought. Of course, some qualifications are in order.
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Its contemporary aesthetic barrenness appears even starker now than ever before. But in the death of the last “traditional” lyricist, India’s popular music industry has lost its remaining link with a magnificent past. Many would say it was brain dead for a long time and an ailing Anand Bakshi only personified a life support system for poetry over the last few years. CHANDAN MITRA pays a tribute to the last of the Mohicans, Anand Bakshi Humse hai zinda wafaa aur hum hi seHai teri mehfil jawaan,Hum jab na honge to ro ro ke duniyaDhoondegi meri nishaan… The lyric is finally dead.
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It is not that we don’t have splendid writers.