Film Director Cast in Role as A&R; Exec

You don’t need a diploma to be an A&R; exec. Just keen ears. The lightning rods of the record industry, these high-profile talent scouts have the oddest resumes. They’ve been club deejays. Failed lawyers. Bored accountants. Magicians. Mailroom grads. Ex-band members. Even hotshot rock critics!

Now you can add film directors to the list. Penelope Spheeris, best known for making such daring films as “Suburbia,” “The Boys Next Door” and “Decline of Western Civilization: The Metal Years,” has signed her first band--Grave Danger--to MCA Records as part of the label’s attempt to attract young, hard-rock talent. (MCA has first refusal right for any bands Speeris brings to the label--and in fact did not sign two groups earlier this year who were quickly snapped up by other labels.)

Along with Vicki Hamilton at Geffen, Danny Crash at CBS and Dezi Benjamin at Virgin Records, Spheeris is part of a new breed of talent seekers who function as “out-patient” A&R; scouts, all on the look-out for the most outrageous new metal acts. “We’re these street rats who aren’t like the regular A&R; execs who go to bed by 10:30 p.m. and don’t want to get scratches on their BMWs,” she said. “Going to these crazy clubs--it’s like being on the ground floor of every new trend. You’re seeing social change, for better or worse, up close every night.

“It’s the most fun part of my life--it’s better than a vacation in the Bahamas.”

Naturally, Spheeris is enamored by her band, Grave Danger, which she describes as a Chicago-style blues ‘n’ metal band. Its lead singer is an accomplished gymnast who performs a variety of somersaults on stage (“just think, the first heavy-metal gymnast”). But she’s also dazzled by the tumultuous club environment, which has acted as a fervid spawning ground for innumerable new generations of bands.

One favorite is English Acid, a Santa Monica Boulevard club, which offers live bands Wednesday nights. “It’s a take-off on the late ‘60s with all these black lights, go-go dancers and psychedelic art,” she said. “I heard a band there the other night doing Aretha Franklin’s ‘Chain of Fools’ at full tilt and it was so strange. The audience was rocking out to it, but no one knew the words. They were too young to remember.”

Other popular clubs include Helter Skelter (“a real death-rock trip--everyone wears black fishnet, huge crosses and looks depressed”) and Bordello (“it’s like a strip club--they have go-go dancers who get pretty funky”).

“The fashion is pretty much the ‘sleaze look’ right now--lots of tattoos, long hair, cowboy boots and silver belts. You never know what’s going to happen. The other night I found a $100 on the floor. And let me tell you--I looked around the room and I couldn’t believe any of these kids would have $100.”

In her mid-40s, Spheeris is old enough to feel vaguely maternal toward this scruffy crowd. “I feel so guilty sometimes because they treat me like a goddess of the universe,” she said. “They’re all so respectful and beholden--and they always offer to get you a drink. It’s a little much. Then again, I found a band that actually could quote dialogue from ‘The Boys Next Door.’ I mean--I’m in this dark, crazy club and I finally found someone who liked my movie!”

HE’S A WHAT?: By now, you’ve probably read most of the shocking revelations in Mark Ribowsky’s new Phil Spector biography, “He’s a Rebel.” It’s subtitled “The Truth About Rock’s Legendary Madman,” which pretty much captures the spirit of the book. Ribowsky’s interviews with dozens of Spector cronies and acquaintances depict the celebrated producer as a paranoid, mean-spirited tyrant who bullied songwriters, manipulated his business partners, cheated on his wives and traveled with a pack of bodyguards who--after Spector picked a fight--would complete the job while Spector lounged in his limo. Was Spector’s life really reduced to such a bizarre “carnival of irrationality” that the mercurial producer cut short a recording session with John Lennon by shooting his gun into the ceiling? (“Phil, if you’re gonna kill me, kill me,” Lennon reportedly said. “But don’t (destroy) my ears.”)

The book, which was lauded by Vanity Fair, dissected by People and excerpted in Los Angeles magazine, has received largely favorable reviews. Asked to give his side of the story, the notoriously reclusive Spector has refused. But his attorney, Allen Klein, a longtime industry heavyweight who is mentioned several times in the book, gave his first public assessment of the book this week. After dismissing the portions devoted to him as “completely untrue,” Klein added: “When you’re dealing with this much schmutz and slime, it’s impossible to shovel against the tide. There’s such a plethora of inaccuracies that we’re not going to just go talk to Barbara Walters--we’re putting together a very detailed response.”

Ribowsky’s publisher, E.P. Dutton, has said it stands by the book. Still, Klein insists he’s preparing a lawsuit, though he refused to provide details. “We’re definitely going to sue. We just want to get all our ducks in a row first.” He provided Pop Eye with a statement from songwriter Gerry Goffin, refuting quotes attributed to him in the book, which imply that Spector forced his name on songs he didn’t actually write. Klein said Los Angeles is running a “semi-retraction” in its next issue, with a full-page ad (purchased by Klein) due in the June issue. (Actually the magazine is running a Klein letter with an editor’s note clarifying portions of its excerpt.)

Klein also heatedly responded to sarcastic media accounts of Spector’s erratic behavior--and rambling acceptance speech--at the Rock & Roll Hall of Fame’s recent induction ceremony. “The descriptions were just nonsense. He was very hurt. He was there to be honored, not to be criticized on his personal habits. Maybe Phil had a couple of drinks, but he spoke with intelligence and clarity. If you took a sobriety test at that place--I mean, who in that audience wasn’t drunk or stoned? He was probably the most sober guy there!”

RAPPING UP: The year’s sleekest rap hits come from Def Jam Records, which has just released “Classics Vol. I.” The compilation features LL Cool J’s original “Rock the Bells” (recorded when he was 17!), a pair of Beastie Boys tracks, Slick Rick’s “The Ruler’s Back” and Public Enemy’s ferocious “Rebel Without a Pause” (especially notable for contributing the phrase “cold medina” to the rap lexicon). But the highlight is a hilarious wee-hours rap called “Cold Chillin’ in the Spot,” which features Def Jam founder Russell Simmons on the mike. Clearly improvising, Simmons swaps management strategy with partner Rick Rubin (“I’m gonna rap myself and keep all the money”) and touts a new dance step (“OK, lift up your legs-- both legs--with both hands and wiggle them in the air. Can you do it--you’re lying!”)