Task: Sentiment Analysis
Input (English): lost like alice (or, four stars for the original album, zero for the add-ons) . Am I justified in believing that muscular, meritorious pop music -- the kind we shove our hands toward the volume knob for, the kind that thrills us just to be alive for -- is on the cusp of a major comeback, or do the continuous coronations of [...] we've witnessed so far this year mean that we're all sitting shivah for the good stuff and are too stoned on stupidity to recognize it?  The very same signs that appear encouraging from one angle are horrifying from another.  Look no farther than the terrific Anna Nalick, one of a sad handful of artists hobbled this spring by befuddling single choices (let's just say for now that whoever botched the radio plan for that sterling new Dixie Chicks record deserves a daily caning in the town square until no fewer than one of those babbling loudmouth heifers *is* ready to make nice).  Her gorgeous debut album, Wreck of the Day, got off to an okay start last year riding the coattails of first single "Breathe (2 a.m.)," so of course those dolts at Columbia Records went with "In the Rough" as a follow-up (why not that magnificent title track?  Or "Forever Love"?  Or even "Citadel," for cryin' out freakin' loud?!), and of course it tanked.  But then, just like manna straight from the fingertips of God Himself, the geniuses (geniui?) behind TV's gangbusters smash "Grey's Anatomy" used "Breathe" to underscore the heart-pounding climax of their season's most-watched episode, and Nalick was suddenly back in bid-ness.  Top forty was interested again, and Columbia -- ever eager-to-please -- came up with the bright idea of re-releasing Nalick's album with extra tracks, one of them being -- get this, guys -- a newly-recorded version of "Wreck of the Day" that is so balls-out horrendous, you just *know* they're going to make it the third single.  The sorry [...] -- every one of them -- need to be slapped.  Hard
Output (English): POS