Released in 2011, The Best Is Yet to Come marks a significant milestone in Laura Fygi's
Fygi, often described as a "storyteller," selected standards that resonated personally with her. The production highlights her sultry, velvety vocals, which have been compared to the intimacy of Julie London but with the "feisty self-reliance" of Peggy Lee. Standard Tracklist The album primarily features selections from the Great American Songbook The Best Is Yet To Come Too Darn Hot I've Got A Crush On You This Can't Be Love Cheek To Cheek That Old Black Magic It's Easy To Remember You And The Night And The Music Old Devil Moon The Good Life Rose, Rose, I Love You (Bonus track sung in Mandarin) Amazon.com FLAC and Audio Quality While the original release was on CD, the
As of 2025, the album is available in lossless quality on: Laura Fygi - The Best Is Yet To Come -FLAC- -2011-
The album draws from several of her key releases, including Turn Out the Lamplight (1995), Live (1996), The Latin Touch (2000), and At Ronnie Scott’s (2007). The result is a 14-track journey that avoids the “random hits” trap.
The standard release contains 12 tracks, while regional editions often include a 13th bonus track. Apple Music The Best Is Yet To Come Too Darn Hot I've Got A Crush On You This Can't Be Love Cheek To Cheek That Old Black Magic It's Easy To Remember You And The Night And The Music Old Devil Moon The Good Life Rose, Rose, I Love You (Mandarin Bonus Track) Amazon.com Critical Reception Released in 2011, The Best Is Yet to
The album's production is also noteworthy, with Fygi working with a range of talented musicians and producers to create a rich and immersive sound. From the lush orchestral arrangements on "Lover's Prayer" to the stripped-down intimacy of "Rain," the album's sonic landscape is varied and engaging.
The essay can be wrapped up with this thought: Serve FLAC via secure CDN with range requests;
For this 12th studio album, Fygi collaborated with co-arrangers and producers Jan Menu and Johan Plomp, both long-time members of her musical circle. The production choices were designed to evoke the classic "big band" era of the 1950s and 60s, drawing stylistic inspiration from icons like Peggy Lee, Frank Sinatra, and Julie London.