Spike Lee Is So ‘X’cited, He’s Releasing 2 Soundtracks

Spike Lee has usually shown excellent taste for contemporary music in his films--from the hip-hop celebration of “School Daze” to rap group Public Enemy’s “Fight the Power” in “Do the Right Thing” to an album’s worth of Stevie Wonder tunes in “Jungle Fever.”

So, you might think he felt restricted having to use period music for his new, much-awaited “Malcolm X,” the story of the forceful black-power leader who was assassinated in 1965.

Not at all.

In fact, Lee is so pleased with the music in the film that he’s releasing two soundtrack albums.

The first, “The ‘Malcolm X’ Score,” is jazz trumpeter Terence Blanchard’s instrumental score for the film. The album, on Lee’s 40 Acres and a Mule label, is due Nov. 10. The other, title “Music From the Motion Picture Soundtrack ‘Malcolm X,’ ” on Qwest Records and due Nov. 17, contains various vintage recordings used by Lee in the film--a virtual celebration of pre-’70s black music.

The material ranges from Big Joe Turner’s rollicking “Roll ‘Em Pete” (1938) and Louis Jordan’s lively “Beans and Cornbread” (1949) to Lionel Hampton’s bouncy “Flying Home” (1939) and Jr. Walker & the All-Stars’ “Shotgun” (1965).

Lee’s delighted to showcase some of his favorite music from the past. “Black music has taken a step backward over the last few years,” he says. “I just think in terms of lyrical content, the introduction of synthesizers and drum machines, music is not as good as it used to be.

“A lot of this has to do with black radio, which doesn’t tend to play much rap. Their scope is so limited--their idea of what they think black music encompasses.”

Lee, however, does use a new song by rap group Arrested Development over the film’s closing credits. Titled “Revolution,” the hard-hitting song will be released as a single Nov. 4, two weeks in advance of the film’s Nov. 20 opening.

Why did he pick the group, whose “Tennessee” is one of the most acclaimed hit singles of the year? Unlike the heavily political Public Enemy, Arrested Development--largely because of the wistful hit single--has generally been described by critics as a “neo-hippie, peace and love” outfit.

“There was some preliminary discussions with (Public Enemy’s) Chuck D. about doing a song, but it just didn’t happen,” Lee says.

“And Arrested Development are like children of Malcolm. Malcolm was assassinated before they were born, but he’s their spiritual leader. . . . And if you talk to (group leader) Speech, you know that a lot of the group’s image is something the media has put on them.”