GRUPO SEXO FINDS FUN IN FIRST ALBUM

In a back room in the modest offices of Dr. Dream Records in Orange is a chalkboard with a list of acts on the recently formed label. Next to each name is a space where career plans and status reports are noted.

The entry that commands attention immediately is for El Grupo Sexo, the delightfully outrageous and good humored punk-funk-metal band whose debut album, “Mom’s Home,” was released nationally in January. That entry reads: “El Grupo Sexo--CD? Vidio (sic)? Movie? HBO Special? World Tour?”

Concluding that the ambitious-sounding itinerary didn’t go far enough, saxophonist Vince Meghrouni strolled over to the board, picked up a piece of chalk and added, “Big Cash Bonus?”

At this early stage of the band’s career the satire is obvious, and the seven musicians constantly joked about “big wads of cold hard record business cash” during an interview earlier this week at Dr. Dream’s headquarters.

“The worst part about putting out an album,” said saxophonist Tony Atherton, “is that everyone thinks you are big stars and they don’t buy you beer anymore.”

Nevertheless, the record enhances El Grupo Sexo’s position as one of Orange County’s best bets for commercial success, even though its reputation was built on outlandish live shows capable of winning over even the most jaded club audiences. (The group’s next local performance is Sunday at Goodies in Fullerton, on a bill with the Red Hot Chili Peppers.)

Born in 1982 as a quasi-novelty act formed by ex-members of the Front and the Firemen, El Grupo Sexo has forged a wild sense of humor, brash theatricality and elements of punk, funk, soul, jazz and heavy metal into a refreshingly original style. That musical diversity has allowed the group to open for headliners as disparate as the Minutemen, Metallica, the Jesus & Mary Chain and the Lords of the New Church.

The themes of the LP’s 10 songs strike a balance between the band’s two driving philosophies, which lead singer Jason Mann summarized as “wake up and do something” and “shut up and dance.”

“We just try not to take either one too seriously,” Mann said. “I’m glad we included a lyric sheet because maybe some of the songs that sound goofy really aren’t so goofy when you see what they are about.”

Added Meghrouni: “Sometimes being politically aware is appropriate, but you can end up being a jerk if you are just a professional political ranter who finds issues even where there aren’t any.”

“That,” Mann said, “is something that’s always bugged me about the Alarm’s songs. They all sound really committed, but I could never figure out what they were committed to.” Sitting around the Dr. Dream offices, the band members leafed through survey forms returned by music directors and disc jockeys at college radio stations around the country. They took turns quoting comments good and bad about the album, which succeeds remarkably at the difficult task of translating the group’s energy to vinyl.

“Here’s one that says, ‘Lyrically bad--the music wasn’t much better’,” Atherton said.

Bassist John Karasawa read one response from an Athens, Ohio, station that said, “Your record is too blues for us to play.”

“What is this?” asked guitarist Don Carroll with mock astonishment. “Are we really concerned with this? Does it matter what other people think? Here, let me see that.”

Actually, the band members, whose ranks are rounded out by drummer Miles Gillett and trumpeter Dave Otto, agreed that their biggest concern about making the album was whether it lived up to their own expectations.

“We were afraid that we wouldn’t be able to put on the album what we get across live,” Meghrouni said. “We were afraid from the start that the album wouldn’t represent us.”

For that reason, the band rejected the first recording studio they considered because an engineer recommended that they use drum machines, click tracks and other studio devices that the engineer said could “turn (crap) into ice cream,” Meghrouni explained.

“That’s why we went with AMS (Advanced Media Systems in Orange, the recording studio operated by Dr. Dream), because the guy there said, ‘I know what you want--you want to come in, crank it up and play real loud.”

“We have enough confidence in our audience that we figure if we like something, they will, too,” Atherton said.

The band members are already anticipating recording again and have been busy lately writing new songs, which they alternately refer to as “more sterling hits” and “future chart-busters.” They would also like to produce a video that would feature “synchronized swimmers in pudding,” Carroll said.

El Grupo Sexo continues to be self-directed, whimsical entries on the chalkboard at Dr. Dream notwithstanding, handling such tasks as booking its own performances.

“Right now we are working without management or any sort of long-range plan,” Meghrouni said. “The album came out and we lost our minds shortly after that.”

Interjected Atherton: “What do you mean, ‘Right now’? We’re doing things the same way we’ve been doing it since the band’s inception. It’s got us this far.”

LIVE ACTION: Jerry Lee Lewis’ performance Saturday at the Coach House in San Juan Capistrano has been canceled. Ticket refunds are available at the club. Dan Peek’s show next Friday at the Coach House has also been canceled. . . . The Bel-Fires will be at Night Moves in Huntington Beach next Friday. . . . Peter Case will play Mugsy Malone’s in Anaheim on March 14.