Sigue Sigue Sputnik ‎– Flaunt It

Parlophone ‎– CDP 7463422
CD, Album

Companies, etc.



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

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

Barcode and Other Identifiers

  • Barcode (Scanned): 077774634229
  • Barcode (Text): 0 77774 63422 9
  • Matrix / Runout (Variant 1): 746342 2:2:3 EMI SWINDON
  • Matrix / Runout (Variant 2): 746342 2:2:6 EMI SWINDON
  • Mould SID Code (Variant 1): ifpi 1430
  • Mould SID Code (Variant 2): ifpi 1472
  • Label Code: LC 0299
  • Rights Society: BIEM/MCPS
  • SPARS Code: DDD

Other Versions (5 of 64) View All

Cat# Artist Title (Format) Label Cat# Country Year
STCS PCS 7305 Sigue Sigue Sputnik Flaunt It(Cass, Album) Parlophone STCS PCS 7305 India 1986 Sell This Version
2405811 Sigue Sigue Sputnik Flaunt It(LP, Album) EMI 2405811 Spain 1986 Sell This Version
CDP 7463422 Sigue Sigue Sputnik Flaunt It(LP, Album) CBS CDP 7463422 Israel 1986 Sell This Version
PCS 7305 Sigue Sigue Sputnik Flaunt It(LP, Album) Parlophone PCS 7305 UK 1986 Sell This Version
1555351 Sigue Sigue Sputnik Flaunt It(LP, Album) Parlophone 1555351 France 1986 Sell This Version


Reviews Show All 5 Reviews

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September 8, 2017
This band was one of my first band obsessions when I was a teen. It was unique, mysterious, obnoxious, arrogant, and nonsense.

They were an odd duck, but so was everyone at the time. Bands were creating their own culture and lifestyles back then. Culture Club, The Cure, Duran Duran.. They created these worlds on MTV and invited the fans to live there a few minutes at a time. Sigue Sigue created their own world, a hyper-realistic, over-commercialized, cyberpunk world. Sometimes I think it was a warning about what culture could become, and indulgence in it at the same time. Other times I think they were just spoofing something I wasn't hip to. But whatever it was, it was cohesive and even a bit prophetic.

But beyond their image was the music. Their drums were muted and pumping, at a time when electronic music was clangy or soft or slow or poppy. Sigue Sigue had the drive of a good early punk or metal band, like The Ramones or Motorhead. That, combined with random arrangement changes and samples which surprised you when you least expected it, gave it an almost punk feel.


July 17, 2015
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!


August 26, 2010
edited over 2 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 detached, affectless techno-sexual innuendo, startlingly prescient of the internet-porn Grindr/Tinder saturated age we live in. The political double-entendre of Love Missile F1-11 seems just as relevant now 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.


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.


March 1, 2006
edited over 12 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.