It's ironic that the best work of Khayyam came at a time when Indian music was beginning to deteriorate in quality as well as popularity. Khayyam's true genius lay in the genre of ghazals, and this era saw an accelerated appreciation for this style and thus the soaring success of the music of Khayyam. Yet on the other hand, many critics attribute the rise of Ghazals to the lyrically affluent music of Khayyam. Whatever the case might be, Khayyam composed a string of wholesome, highly regarded albums from the late '70s onward, including Kabhi Kabhi, Umrao Jaan, and Bazaar. Razia Sultan carried the similar tone of soothing, lilting melodies. It was also to a large extent a comeback for Lata Mangeshkar. Though Mangeshkar had sung for Khayyam earlier, her graceful rendition on "Ae Dil-e-Nadaan" is a milestone in her long, illustrious career. The song is a masterful prosaic interpretation of the soul's wandering infused with sublime yearning. The same theme is found in "Jalta Hai Badan" sung by Mangeshkar and written by Kaifi Azmi, though it takes a very diverse inspirational direction. The film director Kamal Amrohi decided to use an unusual voice for the character of the slave in the film using playback. He decided to have Kabban Mirza, a radio jockey/ announcer on Indian radio station Vivid Bharati, sing two songs in the movie -- "Aaye Zanjeer Ki Jhankar" and "Tera Hijir Mera Naseeb." It turned out that his heavy shivering voice was quite a refreshing change from the others. Razia Sultan represented the peak of the third wave of Indian cinema and when compared to other celebrated works of this time, represents an era of heightened reception towards poetry and melody.
AllMusic Review by Bhasker Gupta