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 Q]: 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.
[EX A]: POS

[EX Q]: Manuel makes this a masterpiece . Without the soulful voice of Richard Manuel, this album would be drowning in MOR. But he lifts the music into an indescribably emotional area - Right as Rain, Georgia on my mind particularly. He performed almost the same miracle on Northern Lights, Southern Cross. Maybe Islands contains markedly inferior songs and some lacklustre performances, but it is nowhere near as bad as it has been painted. Listen to Richard...
[EX A]: POS

[EX Q]: Sorry... . ...but every song on the album sounds the same. And I happen to like them. Disappointed
[EX A]:
NEG