The album features the undisputed doyen of the Hindustani classical tradition, Bhimsen Joshi. In this album the artiste has rendered some common and some rarely heard ragas. Volume one of the album begins with raga Asavari Todi. The drut bandish in teentala has been developed by Bhimsen Joshi himself. This performance is a recent one where one can feel the artiste's ability to transcend to a higher level where he seems to be singing for himself or his God, oblivious to anyone's presence. The album moves to raga Hindol Bahar.

This is a confluence of the two ragas, Hindol and Bahar, wher the rendition shows the artiste's command over both the ragas. The volume concludes with Natyageet, which Bhimsen Joshi is extremely popular for. This form of singing developes as the stage music of Maharashtra in the early twentieth century. The second volume begins with raga Jaijaiwanti Nat, yet another combination of two beautiful ragas. This raga has a unique power of its own and Bhimsen Joshi has rendered it with great finnesse.

The album concludes with the much popular and love raga Mian Ki Malhar. One of the most commonly sung ragas of the rainy season, this has depth and majestic demeanour.