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.

Ex Input:
This compilation is so wrong . I loved the 90's. Some great things happened to me in the 90's and I have tons of great memories, none of which are associated with anything about this compilation. To be fair, I'm OK with 3, maybe 4 of the songs. Tubthumping and Shine I can deal with. The former was kind of good but severely overplayed for and by the worst kind of people. The latter is not a good song but somehow it has grown on me, plus I think it's funny that the guitar part is stolen directly from the Kinks' &quot;Lola&quot;. I've always thought I'm Too Sexy was funny, bad but funny. And the En Vogue song is actually kind of good, but don't tell anyone I said that. The rest of the album? Crap of the crappiest crap caliber. The Macarena? Mambo no. 5? Whoomp there it is? Those songs should never have even seen the light of day. And O.P.P. was possibly the worst thing about the 90's. Plus does anybody really need to OWN the theme from friends? Why why WHY????!!!!! The only attrocity this CD is missing is that awful Choo Choo Train song. Please make this one go away quickly

Ex Output:
NEG


Ex Input:
Yawn . If you are looking for the fiery songs we all hear on Saturdays throughout the fall, keep looking. The song selection also dates this album. Many of today's power houses are excluded in favor of those who saw their days of glory before my lifetime. It is also insulting to see the Iowa Fight Song credited to Iowa State

Ex Output:
NEG


Ex Input:
Endgame . Two months before Billy Higgins' death, the drummer &amp; Charles Lloyd say their musical farewells with the tapes rolling (courtesy Lloyd's partner Dorothy Darr, who also made a film of proceedings).  They play sax/drums duets (Lloyd mostly on alto, in fitting homage to Ornette Coleman, though he also plays excellent Traneish tenor on three tracks); they perform exotic woodwind/percussion duets, with Lloyd on Tibetan oboe or flute; Higgins plays guimbri (the 3-stringed instrument used in Gnawa music), sings gently (&amp; rather dodgily) in a variety of languages, even plays a blues on the guitar or does a 1960sish paean to love called &quot;Take a Chance&quot;; Lloyd adds short meditations at the piano.  Some of these tracks don't mean much outside the context of this session--the piano solos get a bit too samey, &amp; there's too much voice'n'guitar (though the blues is rather nice).  Others are superb--the two long alto/drums duos (one on each disc) are great stuff, &amp; Lloyd's tenor pieces are also superb (there's a nice Traneish blues on disc 2).  The more exotic pieces are often quite ravishing.  I suppose that many listeners will for sentimental reasons like having all this stuff, the unalloyed good tracks as well as those that only acquire real significance in the face of Higgins' own personal tragedy.  I'm less sentimental when it comes to what goes on my stereo: I could have wished for a carefully selected single CD of the highlights, which would have been a genuinely outstanding disc.  Four stars as a compromise rating seems about right.  This isn't a disc for the casual listener, but for those willing to bear with a few qualitative dips &amp; peaks, it'll prove a rewarding release

Ex Output:

POS