The album, directed by Amit Bandyopadhyay, includes 14 Nazrul songs. Incidentally this is the 14th album of Nazrul songs released by Bengal Foundation.

Luva Nahid Chowdhury, director of the Foundation said in her speech, "In the course of upholding songs that we can call our own, Bengal is proud to present a quality album of Nazrul songs. We hope Sabiha's vocal skills and distinct style of rendition will entice the audience."

Chief guest at the event, Nazrul Professor Rafiqul Islam said, "1920s, 30s and 40s saw Nazrul songs dominating the media. However during the 40s, as a result of the partition, famine, riots and Nazrul's ailment, the songs went through major distortion. Fortunately in the 60s a revival of Nazrul songs occurred. During the 70s a new breed of talented artistes that included Sheikh Lutfur Rahman, Sohrab Hossain, Bedaruddin Ahmed and Shudheen Das popularised Nazrul songs in their true form. Sabiha, a student of Sohrab Hossain, has extensive training in classical music and her voice features the splendor of Nazrul songs profusely."

The album was then unwrapped by the chief guest. The artiste said, "Although quite a few of my well-wishers have requested me to work on a new album, it hasn't been quite possible in the last few years. I'm glad that Bengal made the effort to produce this album. I hope Nazrul songs will reach a new level of popularity among music admirers in our country and abroad."

Sabiha then performed some songs from the album. She started with Esho bondhu firey esho, followed by Amar noyon-e noyon rakhi. The rendition of Masjid-eri pashey amay kobor diyo bhai reminds one of Nazrul's 'eternal resting place' next to Dhaka University Mosque. The artiste also performed Amar kon kool-e aaj bhidlo tori, a widely known Anjali laho mor and Brojogopi kheley hori. The latter is highly influenced by North Indian classical tunes and delineates Raashleela (frolicking of Krishna and Radha).

Sabiha also performed some Harano diner gaan -- Amar jibon nodir opar-e, Amar haath dhorey tumi, Ghum ghum chand, Ami cheyechhi tomaye and Nishiraat banka chaand akash-e.

The instruments used for Sangat (accompaniment), tabla, mandira, violin and keyboard didn't disrupt the artiste's rendition. Sabiha seemed to be quite comfortable with the keyboard, as she played it while rendering the last few songs.