Sigue Sigue Sputnik ‎– Flaunt It

Label:
Parlophone ‎– CDP 7463422
Format:
CD, Album
Country:
Released:
Genre:
Style:

Tracklist

1.1 Love Missile F1-11 (Re-Recording Part II) 4:28
2.0 Advertisement: Tempo Magazine 0:21
2.1 Atari Baby 4:32
3.0 Advertisement: Network 21 0:24
3.1 Sex-Bomb-Boogie 4:34
4.0 Advertisement: Pure Sex 0:13
4.1 Rockit Miss U.S.A. 5:35
5.0 Advertisement: The Sputnik Corporation 0:33
5.1 21st Century Boy 4:41
6.0 Advertisement: ID Magazine 0:29
6.1 Massive Retaliation 4:41
7.0 Advertisement: The Sigue Sigue Sputnik Computer Game 0:21
7.1 Teenage Thunder 4:50
8.0 Advertisement: Studio Line From L'Oreal 0:27
8.1 She's My Man 5:21
9.0 Advertisement: EMI Records 0:16

Companies, etc.

Credits

Notes

All Songs Sputnik Songs (UK) (Part of the Sputnik Corp.)

℗ 1986 Original Recordings Made by EMI Records Ltd.
© 1986 EMI Records Ltd.
Made in UK

CD label has track 2 incorrectly titled as "Atari Bay".

Between-song ads are not listed in the printed tracklist but have separate indexes on the CD, e.g. the Tempo Magazine ad and "Atari Baby" are both part of track 2 but the ad is index 0 and the song is index 1. Different CD players (hardware and software) will handle this in different ways, varying the track duration shown depending on how they count the time in index 0 -- some count it as part of the previous track. Running times below are the actual durations of each segment on this CD. Indexes 1.0 and 9.1 are present but are silent and have durations under one second.

Barcode and Other Identifiers

  • Barcode (Scanned): 077774634229
  • Barcode (Text): 0 77774 63422 9
  • Matrix / Runout: 746342 2:2:3 EMI SWINDON
  • Mould SID Code: ifpi 1430
  • Label Code: LC 0299
  • Rights Society: BIEM/MCPS
  • Other (SPARS Code): DDD

Other Versions (5 of 54) View All

Cat# Artist Title (Format) Label Cat# Country Year
PCS 7305 Sigue Sigue Sputnik Flaunt It(LP, Album) Parlophone PCS 7305 New Zealand 1986 Sell This Version
PCSS 7305, PCS 7305 Sigue Sigue Sputnik Flaunt It(LP, Ltd, M/Print) Parlophone, Parlophone PCSS 7305, PCS 7305 UK 1986 Sell This Version
64 2405814 Sigue Sigue Sputnik Flaunt It(Cass, Album) Parlophone 64 2405814 Italy 1986 Sell This Version
062 24 0581 1, 1C 062-24 0581 1, 24 0581 1 Sigue Sigue Sputnik Flaunt It(LP, Album) Parlophone, Parlophone, Parlophone 062 24 0581 1, 1C 062-24 0581 1, 24 0581 1 Europe 1986 Sell This Version
68444, 51 2405814 Sigue Sigue Sputnik Muéstralo(Cass, Album) EMI, EMI 68444, 51 2405814 Argentina 1986 Sell This Version

Reviews Show All 4 Reviews

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Butterman

Butterman

July 17, 2015
*** WARNING: THIS REVIEW MAY CONTAIN SPOILERS ***
The first time I heard this album was in the mid-late 80s when a girl I was interested in had no idea what electronic music was, and only had SSS's "Flaunt It" as a reference. I was aware of the whole gimmick surrounding this band/product at the time but never heard any of their recordings.

My initial reaction was that of disdain and disaproval at how the project's sound was both a series of already well-established gimmicks and sequencer/sampling usage already executed in better form by a multitude of lesser-known bands of the then underground. I also could not believe how SSS got away suing the same sequenced bassline throughout (almost) the entire album, and passing off what was essentially the same song with slightly different words as different tracks of the record. Back in the late 80s I wasn't much into the music industry parodying its own self by means of masquerading the Elvis Prestley Clones of the 50s/60s and Menudo-esque BoyBands of the 70s-80s (90s-Y2K, anyone?) as new, repackaged, and seemingly improved versions of their former, more succesful versions of themselves.

But if the music industry taught us anything is that they'll deffinately milk everything they can for all it's worth and then some, all for the sake of extra profit and corporate backing (and bankings).

Perhaps when this record came out, not enough people were aware about the nature of the business of music itself, and maybe the "band" was trying to convey as their M.O. at the time was more of a sheer fluke than an actual jab at the increasing junk culture consumerist world we have helped build. Little did they know that the parody they so thickly layed on their debut would not only happen in our lifetime but surpass itself beyond the point where what was not-so-subtle back then is considered a masterpiece by today's standards, where 2015 summer hit singles are essentially ripped off mash-ups of other top-40 singles easly recognizable by anyone over the age of 12 with an attention span of over 52 weeks.

This is the worst review I have ever written, perhaps due to my being highly uninspired by what is considered, almost 30 later, a product worthy of numerous attentions. Strange how some incalculable releases are doomed to be ignored for the rest of commercial history while this release still gathers some attention, some even calling it ahead of its time. But having been exposed to it during that era, as well as much better written/produced/performed electronic music on a wider scale, listening to this today only reminds me of the Pepsi-Toyota-financed Lady-Beyonce corporate amerika of today with the vocal stylings of Alan Vega on the Vanio-Väisänen "VVV" project, and the Tone-Loc "Funky Cold Wild Thing" repeat recipe. If SSS meant "Flaunt It" as a subtle jab at consumerism, then yes they made it a total success and laughed all the way to the proverbial bank. Mission accomplished, I guess!
duprie37

duprie37

August 26, 2010
edited over 5 years ago
In this post-postmodern, or rather, neo-romantic and gadget/sex/product obsessed confused world of 2010, SSS show up to be more than just futurists: their vision was as much prophetic as it was carefully manufactured. Stylistically, the album bleeds "80s" everywhere, not a bad thing; you couldn't actually get the 80s much more exquisitely crystallized than SSS really, though beyond the style it's good to remember the massive shock wave the band caused when they first hit the world in '86; but the funny thing about listening to it in 2010, is that a lot of it is just a little too close now for comfort: the references to commodification and gadgetry: "I am the ultimate product/I love technology" for example. The relentless but emotionless techno-sexual innuendo, startlingly prescient of the internet-porn saturated age we live in. Just as relevant still, the political double-entendre of Love Missile F1-11 seems just as relevant now as ever as it was in 1986, what with North Korea and Castro and Iran. We're on the brink of - nuclear - war? Bring on those missiles.
Sixfeetsevenstl

Sixfeetsevenstl

May 3, 2010
Any one else have the US version for demo/promo only? Jacke # is ST-53033 but LP label # is SPRO-9768. And jacket order is not in the order on LP. No 'commercials' on this version either.
PunkAsFuck

PunkAsFuck

March 1, 2006
edited over 10 years ago
Surprisingly, an excellent disc! Its use of irony is a difficult concept to effectively integrate in an album and, admittedly, hearing samples from Phantom of the Opera and classical music was a bit disconcerting at first, however, after a few listens, I had gotten the feeling that it was unified and not some cheap ploy. Also, their total embracing of selling-out is refreshing, the commercials on the disc are strange and make it feel like Blade Runner distilled onto a CD although this sounds nothing like Vangelis. Moroder and guitars should have teamed up more often.