By the way, saw the movie last night. Boy was that kind of lame. Especially the ending.

I put a review of No Escape in the Review section, check it out I hope it helps.

‘The Haunting’, though a rather disappointing movie, showcased perfectly Goldsmith’s tremendous compositional talent. Though the score was somewhat reminiscent of earlier Goldsmith works, ‘The Haunting’ saw Goldsmith draw on his immense experience and apply some of those musical devices that have served him so well in the past. The result was a score brimming with inspiration, whilst incorporating the strongest elements of his past work. Thus, Goldsmith created something fresh, but also reminded us of some of his previous successes.

The album opens with ‘The Carousel’, itself a wonderfully quirky calliope piece, with just the right amount of menace bubbling under the surface. Still on the opening track, the fairground music ends and sonorous brass heralds one of Goldsmith’s most beautiful creations. The ‘house’ theme is a successful combination of the ethereal elements of ‘Basic Instinct’ and ‘Star Trek : The Motion Picture’ – and yet it is different. Not better, nor worse, than those earlier classics, just different. It’s mysterious, and yet comfortable, serene, and yet troubled, warm, and yet aloof – these contradictions are the hallmarks of great music.

This ‘house’ theme crops up throughout the album, in various guises, each of which is an absolute pleasure. Meanwhile, there’s plenty of electronic and acoustic ambience to characterize the haunted house, but it’s all fascinating stuff. From the pounding synthesizers to the gentle celeste, Goldsmith creates a rich and interesting soundscape throughout the album. The varied and subtle use of synthesizers is the life-blood of ‘The Haunting’.

A number of tender and warm interludes also appear during the course of the album, each wittily scored for delicate strings, harp and woodwind.

The piece de resistance however, comes with the six minute cue ‘Finally Home’. This track cements the framework of the entire album, and is a stunning display of orchestral might. The music, incorporating the full orchestra, plus electronics, builds to one crescendo after another, and in my opinion is one the best passages of music Goldsmith has written – and he’s written a hell of a lot of great music!

I mention this because I am ever more hesitant to buy these short discs when great big ones come out a year or two (or less) later.