Listening to these remixes in a lossy format like MP3 (especially at 128 or 192 kbps) is akin to viewing a restored painting through a dirty lens. The compression algorithms that strip away “inaudible” frequencies are, in fact, stripping away the very details the remixers worked to highlight: the decay of a reverb tail, the tactile click of a shaker loop, the sub-bass rumble that underpins “The Boy in the Bubble” (The Plastic Remix). Lossy compression can render these elements as a muddy, fatiguing blur.
Furthermore, FLAC allows for transcoding. If you need an AAC file for your phone, you can convert from FLAC and maintain excellent quality. But you can never reverse an MP3 back into a FLAC. Owning the FLAC gives you the master key. paul simon graceland the remixes 2018 flac
Listening to the reveals production details you cannot hear on YouTube or Spotify: Listening to these remixes in a lossy format
If you are listening to this on standard MP3 or streaming, you are missing half the picture. The 2018 remasters and remixes utilize the full dynamic range, particularly the low-end frequencies that were somewhat tamed in the 80s original mix. Furthermore, FLAC allows for transcoding