In the years since, the album has gained a second life among the “lossless revival” movement. Younger listeners, discovering FLAC through Bandcamp or Qobuz, often stumble upon Laura Fygi as a gateway artist—someone who bridges classic jazz songwriting with modern, polished production. If you own the CD, you can rip it to FLAC yourself (using Exact Audio Copy or dBpoweramp) and effectively have the same -2011- master. But if you only have an MP3 or an AAC stream, upgrading to Laura Fygi - The Best Is Yet To Come -FLAC- -2011- is a revelation.
For audiophiles and collectors, however, one specific format of this release stands above the rest: . This combination—artist, album, lossless codec, and release year—has become a coveted search string for those who want to experience Fygi’s nuanced vocals and the meticulous studio production in their purest form. The Album: Tracklist and Musical Landscape The Best Is Yet To Come is not a traditional jazz album, nor is it mainstream pop. It exists in a lush, elegant middle ground—often called “adult contemporary” or “sophisticated pop.” The tracklist is a carefully curated journey through 14 songs that span genres and eras, each reimagined with Fygi’s signature blend of restraint and tender intimacy.
The album charted moderately in the Netherlands and Japan (where Fygi has a devoted cult following). It did not produce radio hits; it was never intended to. Instead, it became a staple of high-end audio show demos. At the Munich High-End show in 2012, several exhibitors used “The Best Is Yet To Come” (title track) in FLAC format to demonstrate high-resolution speakers. The reason? Fygi’s voice is female, jazz-adjacent, and free of sibilance—a perfect torture test for a tweeter. Laura Fygi - The Best Is Yet To Come -FLAC- -2011-
The album is not about sonic fireworks or deep bass drops. It is about subtlety, nuance, and emotional truth. And those qualities are fragile—easily lost in lossy compression. Hearing Laura Fygi’s voice in FLAC is like removing a light fabric from a painting. The colors become richer, the brushstrokes clearer, the artist’s intent intact.
In 2011, streaming was still in its infancy (Spotify launched in the US only in July 2011). The predominant digital format was still the 256kbps or 320kbps MP3, often purchased from iTunes or Amazon. CD sales were declining, but audiophile communities on forums like What Hi-Fi? and Head-Fi were evangelizing FLAC. High-resolution downloads were becoming available from sites like HDTracks and Qobuz, though they were niche. In the years since, the album has gained
By 2011, Laura Fygi was already a seasoned star, having sold over 1.5 million albums worldwide. Yet, with The Best Is Yet To Come , she wasn’t just releasing another collection of cover songs. She was making a statement. The album’s title—borrowed from the classic Harold Arlen and Johnny Mercer standard—is both a nod to the Great American Songbook and a personal manifesto. At an age when many singers begin to slow down, Fygi declared vitality, elegance, and a forward-looking optimism.
The FLAC version, when played through a DAC like a Chord or Topping, reveals that the 2011 master was engineered with care. The reverb on Fygi’s voice—particularly on “The Windmills of Your Mind”—is not a wash of noise but a distinct acoustic space. Given the specificity of the keyword, many users are likely searching for this release on torrent or file-sharing sites. However, as an advocate for artists and sound engineers, it is important to note that legitimate FLAC copies of The Best Is Yet To Come exist. But if you only have an MP3 or
Introduction: The Dutch Diva of Sophisticated Pop In the pantheon of contemporary jazz and cabaret singers, few possess the velvet warmth and emotional directness of Laura Fygi. Born in the Netherlands to a Dutch father and an Egyptian mother, Fygi has built a three-decade-long career on bridging the gap between American jazz standards, Brazilian bossa nova, and French chanson.