In this task, you are given music product reviews in English language. The goal is to classify the review as "POS" if the overall sentiment of the review is positive or as "NEG" if the overall sentiment of the review is negative.

Bobby Darin: Live in Las Vegas . As a fan of Bobby Darin, it was a treat to hear him perform in the old Las Vegas.  The way entertainment should be in any venue.  Because of the 100th Anniversary of Las Vegas, the album will become part of my collection celebrating this momentous event.  Don't miss this one of a kind CD
POS

More ear candy for lovers of America, Beach Boys, Folgelberg, Eagles, etc... . Larson's last two efforts (Watercolor Sky, Sepia) were both outstanding, polished albums with Hank Linderman at the helm.  This album is more "raw" and stripped down in style.  More of Jeff's contemporary edge comes through on Two Part Confessional, as if Linderman is giving him more production input in the final mixes.  "Looking at December" has more of a solo acoustic singer-songwriter sound than we heard before.  "Maybe Cascade Idaho" fully has that Beach Boys/Brian Wilson sound Jeffery Foskett brings to the table and as such, more of a Foskett than Linderman sound. "A Better Day" sounds more like an America song than Gerry Beckley has done in decades, and since he co-wrote and sang strong backing vocals, it really bears his presence well. "The Way Outside" recalls 1973 Eagles/Walsh/Fogelberg ballads, which Linderman has successfully duplicated with his production style. "Play Through" has a AAA radio sound to it, with expressive acoustic guitars and simple tight e.guitar, drums & bass.  "Only Green" is a beautiful ballad (i.e. Souveniers), and the electic guitar production is remeniscent of Bruce Gaitsch (Richard Marx, Timothy Schmit) on some of his solo work.  A surprise addition comes after the end, as a short instrumental ensues, no doubt the type of thing that usually winds up on the cutting room floor.  All in all a very satisfying group of songs, not a bad one in the lot, which I find amazing in today's music.
POS

Some really curious musical choices hamstring this recording. . There are several questions I have after listening to this CD.    Why are the tempos so crazy?  The opening number plods along like a funeral march, while At The Ballet zips past as if the performers are on crank.  Part of me suspects that cast is performing against a pre-recorded accompaniment track.    Why does everything sound so thin?  These orchestrations were created to achieve maximum resonance in live acoustic settings.  On this CD, it's like every single instrument is separately mic'ed and mixed to within an inch of its life, sometimes to the detriment of the overall sound.  Sometimes, obviously live instruments sound like MIDI.  Usually it's the sound engineer's job to make the opposite happen!    Why are the vocals so "hot"?  In the OBC, there were occasions when the entire chorus would get overwhelmed by reverb and full-sounding orchestra.  Now it's the vocals that tear at the balance.    Who cast this show?  I'm not going to single any one cast member out because it would rude, but -- oh screw it.  You deserve to know.  This Cassie is some serious vocal ugly.  I didn't once wonder along with Zach why she was stuck auditioning on the line, like I did with Ms. Donna McKechnie's fabulous triple threat.    Why not update some of the orchestrations?  I have a deep and abiding respect for Jonathan Tunick (who is among my top three favorite Broadway creative types), but it's 2006.  Wah wah pedals are out.    Overall, although this CD is good for completists, it's not going to knock the OBC recording out of it's slot as the definitive A CHORUS LINE recording.  If you don't have a Chorus Line CD and are trying to decide which one to buy, track down the re-mastered version of the original broadway cast.  It's vintage, but it has a raw warmth that is missing from the revival cast

NEG