Written by Osama El Shazly – this article reflects its author's sole opinion-I still remember that hot summer night in 1990, when Mohamed Mounir –before being crowned as The King- released a new album "Meshwar – A Walk" and a rumor spread that it was his last. I also remember my tears merge with my shy sweat in front of the cassette salesman when he told me that the album cost 10LE and I only had 5. But as a huge fan, I ran home and begged my mother with sad tears after hearing this rumor so she can give me the rest of the money.But in 1992, Mounir denied this rumor and returned like never before with his album "Al Tol W Allown W Alhoreya – Length, Color and Freedom". As a loyal fan, I tried to enjoy what my favorite singer had to offer and tried to defend this new music that we were not used to hear. Mounir gave up his founders – Ahmed Mounib and Magdy Naguib- after making his last album with them "Meshwar" and said in a magazine once "I can work with any poets and any composers that are unknown. And I will still succeed and blow your minds" But he fell for years after this album that we only listen to its songs from an act of love to him only. Four years later, Mounir returned with cautious baby steps in his album "Momken - Possible" before his actual return in 1998 with "Min Awwel Lamsah – From the First Touch" that awakened that lover for Mounir's songs in me. With him I overcome my teenage days and matured to a young man getting married feeling happy for his favorite singer. On my wedding day, with my bride in my car, I listened to "Khalas Habibty Baena Leba'd – We Are Finally Together my Love" from his album "Al Farha – The Joy".We were always costumed for Mounir leaving us two to three years without a new album. In 2008 he surprised us with "Taam El Beyout – Taste of Homes" after three years and all his old lovers were afraid he would return to that period of failure.And before waiting for another four years, Mounir returned with "Ya Ahl El Arab W Al Tarab – People of Arabia and Songs" but with top of the notch names he worked with. Poets like Abd El Rahman Al Abnoudy, Sayed Hegab and an old song by Hussein El Sayyed. He chose composers with the value of Ammar El Sherey and the talent of Mohamed Rahim. As for the music distributors, he cooperated with artists like Tarek Madkour and the talented Osama Al Hendy. But, unfortunately, the result was disappointing. Mounir returned to make millions happy that will accept anything he sings but he entered the list poet Nabil Khalaf' singers like Ali El Haggar and Mostafa Amar before their disappearance. The album starts with "Oyoun – Eyes" written by Sayed Hegab, composed by Ammar Al Sherey and distributed by Tarek Madkour but we felt he was a Amr Diab look a like! Then comes "Romman" written by a young poet and it’s a duet with "Shando" which is a good song and has a fresh idea. The album song " Ya Ahl El Arab W Al Tarab" seems good even though it contains a line which is hard to figure out "Who is the master of Justice…The Master, I wonder, bowed and kissed his hand" !!! The album continues from one song to another but you are discomforted form the weak music of "Alby Ma Yishbehneesh – My heart is not like me" even though the lyrics are by the great Al Abnoudy! As for "Fee Eneeky – In your Eyes" you are astonished by the Tango distribution that loses the words its value. But then, it is one song with two different musical distributions "Ya Layaly" makes you unwilling to listen to the rest of the album. The only song left in my mind which was before sung by "Sherifa Fadel" was "Haret El Saayeen"! Four years of absence, and Mounir returns pale in his recordings, creative in his concerts and yet disappointing for whatever is left of his career!Dear Mohamed Mounir, is it time for you to retire? But this time, without my tears. You should cherish your history that you insist to ignore. May God have mercy on the late Ahmed Mounib and Magdy Naguib…!