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.

Sloppy Mush . This review concentrates on the four live tracks.    By December 1970, Miles Davis' fusion was evolving even beyond the Bitches Brew era. The emphasis was more and more in the rhythm, and less and less on coherent solos. Miles Davis stuck a wah-wah pedal on his horn, getting a sound that was thin, whiny and rather annoying. Keith Jarrett and Michael Henderson joined the band, lending the band a unique keyboard sound and a funkier bass respectively.     Live Evil basically consists of several edited jams from the Cellar Door recordings of December 1970.     SIVAD:  The recording begins on a high point; vicious funk punctuated by Airto Moreira's squawking Cuica, and stabbed through with Miles Davis' electric trumpet. This is actually a version of "Directions" by Joe Zawinul, although the tune is so evolved it is basically unrecogniseable. The statements of the theme have been excised with a razor blade. Miles' horn is electric, and its sound is a mixture of Birth of the Cool and Axis: Bold as Love. Truly strange, and frankly not a very nice sound.    Three and a half minutes in, the groove shifts to "Honky Tonk", a minimalistic and not very inspiring theme. The performance is sellotaped together from two separate live performances of the tune (!) and one studio version! Miles sometimes plays with an open horn on this section; and Airto Moreira makes weird wailing noises that sound rather corny. Sloppy and shapeless.      WHAT I SAY:  A feature for Jack de Johnette, a terrific drummer. The groove is extremely harsh and energetic, with Miles soloing with an open horn. Unlike the other tracks, this is actually a complete performance (segueing into "Sanctuary" at the end) and is quite impressive. I really like Jarret's electric piano/organ solo and Johnette's drum solo!      FUNKY TONK/INAMORATA:  In which Teo Macero goes nuts with the scissors. This is actually one big slab of a performance, cut arbitrarily in half to fit both sides of an LP. And it is not one piece of music, but three:  1. "Directions": Yet another performance of Zawinul's piece. Much more conventional than the "Sivad" version, though again with all the statements of the theme cut out. Miles soloes with electric trumpet.    2. Then the groove shifts to a piece which resembles the Mission Impossible theme! So this is where they got that theme. The name of the tune is sometimes called "Funky Tonk", and sometimes "Inamorata". A very long, sloppy, shapeless morass of solos. Again, Jarret's solo is most beautiful.    3.Finally the groove shifts to "It's About That Time" from "In a Silent Way". A performance that does not shift into the second bassline. Halfway through a gloomy voice narrates a weird, associative poem about the mysteries of Music.   At the fade-out, you can hear the groove shifting to "Sanctuary..."    Overall, the album is extremely messy, with a good deal of self-indulgent excess masking some excellent soloing. Atmospheric and very dense.
POS

Christmas with the Rat Pack . Great CD for decorating the house.  It was good to hear some of my favorites singing the holiday songs.  It's very nostalgic
POS

Just a stunning collection of great songs . If someone were to rush up to me and hold a gun to my hand and insist that I recommend one and only one Jesus & Mary Chain album to someone completely unfamiliar with their music with the proviso that it be THE album that would bring that person the most enjoyment, I would be in a complete quandary (though why some insane person would be wielding a pistol in such a nutty undertaking I won't speculate about).  On the one hand, PSYCHOCANDY is unquestionably their masterpiece, not merely a great album, but one of the great precursors of the emergence of alternative music in the nineties.  Yeah, alternative went pop when Nirvana hit it big with NEVERMIND in 1991, but the Jesus & Mary Chain had already copped all the right attitudes and struck all the right chords with PSYCHOCANDY in 1985.  With that album they go down with the Velvet Underground, Television, and Big Star as bands that wield an influence vastly in excess of their collective record sales.      But as great as PSYCHOCANDY is, I'm not sure that 21 SINGLES:  1984-1998 doesn't have better songs.  The collection of singles pulls together not merely the very best songs off PSYCHOCANDY, but a host of great songs off other albums that either weren't as good or weren't very good at all, but nonetheless had a couple of great individual cuts.  For instance, back when I was collecting Jesus & Mary Chain discs, I stopped with PSYCHOCANDY, DARKLANDS, and BARBED WIRE KISSES, two albums and an anthology.  This means that I missed out on some really great cuts that are collected here.  For instance, I was completely blown away by "Head On" the first second I heard it, but because I didn't get AUTOMATIC, it was completely new to me.  Same thing is true of "Blues from a Gun," the very scary "Reverence," "Sometimes Always" (with guest lead vocal by Hope Sandoval of Mazzy Star), and the wonderful pair of cuts from MUNKI, "I Love Rock N Roll" and "I Hate Rock N Roll."  These are just great songs, and they really make me regret that I stopped my collecting of their music when I did.      So, I truly hope gun-toting maniacs stay away from me, but if saner, more everyday folk want who are unacquainted with one of the great bands of the eighties and nineties want to dive into their music, I would strongly recommend both PSYCHOCANDY and 21 SINGLES: 1984-1998.  This music is as crucial as anything that arose during the period

POS