Unang Putok is the debut studio album of Filipino dance-pop group the SexBomb Girls, released on July 26, 2002, through BMG Records (Pilipinas) Inc., under its Musiko Records imprint and produced by Lito Camo and Papa V. The album marked the group's transition from television dancers on the noontime show Eat Bulaga! to recording artists with widespread commercial success.[1]
The album contains ten tracks, with "Bakit Papa?" as its carrier single. The album was a commercial success in the Philippine market, achieving quadruple platinum certification (4× Platinum) from the Philippine Association of the Record Industry (PARI).[2]
Background and release
Prior to the release of Unang Putok, the SexBomb Girls were primarily known as a troupe of backup dancers on the long-running Philippine noontime variety show Eat Bulaga! on GMA Network.[3] Formed in 1999 by choreographer Joy Cancio, the group gained early attention for their high-energy routines and interactive chants such as “Get! Get! Aw!” and “Laban o Bawi”, becoming regulars on the show's popular segments and gradually building a massive fan following among television audiences.[4][3]
The first attempt of creating a singing compartment for SexBomb occurred in 2001 with Rochelle Pangilinan (the group leader), Jopay Paguia, Evette Pabalan, Weng Ibarra, Izzy Trazona, Sugar Mercado and Aibee Chiongson.[5] However, due to Chiongson and Mercado's departure from the group, this first attempt dissolved quickly. In 2002, their management again attempted to form two groups separating the singers and dancers, hence, The SexBomb Singers and The SexBomb Dancers were formed. The SexBomb Dancers was headed by Aira Bermudez while The SexBomb Singers was headed by main leader Rochelle Pangilinan.[6][3] The final singers consist of Rochelle Pangilinan, Evette Pabalan, Jopay Paguia, Weng Ibarra, Monic Icban and Izzy Trazona. However, collectively the group is still called as The SexBomb Girls including all release and promotional materials and projects of The SexBomb Singers.[5][3]
As commentators note, the group's move from background dancers to novelty recording artists was a key shift that amplified their cultural impact beyond Eat Bulaga! and laid the groundwork for their debut album.[4] The album was produced by songwriter Lito Camo and Papa V and was released in the Philippines on July 26, 2002, with "Bakit Papa?" as their lead single.[7]
The album's lead single, “Bakit Papa?”, was released ahead of the full album and quickly gained traction through frequent exposure on Eat Bulaga!, where it was regularly performed with accompanying choreography. The song's repetitive hook and call-and-response structure made it particularly suited to mass participation, contributing to its rapid spread among television viewers and live audiences.[8]
is a cover of the 1962 song originally recorded by American pop singer Connie Francis. The original version was a commercially successful release in the early 1960s and has since been covered and adapted by various artists internationally. The SexBomb Girls’ rendition reinterprets the song in a dance-pop and novelty-pop style with the verses rewritten into Tagalog language.[9]
is a cover version of the classic pop song originally recorded by the Dutch group Shocking Blue and later popularized internationally by Bananarama. The SexBomb Girls’ rendition showcases Tagalog lyrics.[10]
is a cover of the 1958 instrumental hit originally recorded by The Champs. The song was adapted into a dance-oriented novelty track, retaining the recognizable hook.[13]
"Di Ko Na Mapipigilan"
is a Tagalog cover of the Eurobeat song “Stop the Music” by Sophie, supporting the interpretation of it as an adaptation rather than an original composition.[14]
Commercial performance
Unang Putok itself was a major commercial success, earning quadruple platinum certification (4× Platinum) from the Philippine Association of the Record Industry (PARI) or sales of over 120,000 units — a significant achievement for a debut pop album in the early 2000s.[8][15][16] This performance established the group as recording artists in their own right and signaled a successful transition from their origins as dancers to fully featured performers in the Original Pilipino Music scene.[17]
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