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]: Ladies and Gents.... . It doesn't get any worse than this. If you have any doubts as to whether Def Jazz is "worth" the trouble-- don't bother. To even call this repulsive mess Jazz is a slap in the face to a genre that has stood fine on it's own without the help of so called fusion Rap/Jazz albums. To the reviewer who named this the best Jazz album ever:         SHAME ON YOU!!!!!!
[EX A]: NEG

[EX Q]: Another Williams masterpiece . If you watch--and listen to--enough movies, you can almost name the composer of certain scores, they're so similar.  John Barry's scores to &quot;Dances with Wolves,&quot; &quot;Out of Africa,&quot; and  &quot;Somewhere in Time&quot; (except for the Rachmaninoff), are like that.   James Horner's scores are a little better differentiated.  But the two  best, able to write evocative scores that capture the essence of the film's  story and make us FEEL it--without leaving us thinking we've heard this  before--are Jerry Goldsmith (e.g., &quot;The Sandpebbles&quot;) and John  Williams.  Here, like Goldsmith's score to &quot;The Wind and the  Lion,&quot; Williams is able to take a truly exotic motif--the musical  forms of West Africa--and mix it with truly American, if a little  Copland-esqe-sounding, music.  And that's the whole idea.  People were  violently ripped from their homes and transported to, for them, a place no  less alien and bizarre than Africa was to white Europeans and Americans.   And yet the United States was a place that declared &quot;All men are  created equal.&quot;  The contemplative, high-principle-sounding music to  &quot;Mr. Adams Takes the Case,&quot; is as stirring as the exotic  &quot;Dry Your Tears, Afrika,&quot; but in a completely different way. That  John Williams is able to do that in score after score is what makes him one  of the all-time greatest in a genre that hasn't been around all that long.   My only wish is that film score composers would more often produce true,  symphonic suites from their film scores that can be played by orchestras as  stand-alone, concert pieces.  I hope this music becomes such a suite.  Like  the subject matter of the movie--the eternal human quest for freedom and  equality--it would become timeless
[EX A]: POS

[EX Q]: Jimmy: Please Stick with the Postal Service! . As a big fan of the Postal Service (their "Give Up" easily makes the cut on my top 10 albums), I had high expectations for this Dntel record, as Jimmy Tamberello is one half of the Postal Service. BIG mistake. Listen to the samples: if you like what you hear, then buy it; if you don't like what you hear, don't make my mistake of thinking that the songs get better beyond the 30 seconds given.  Worthwhile songs on this CD:  1)"(This Is) The Dream of Evan and Chan" (The Postal Service remix is available on iTunes, and is a better version than what's on the CD), sung by Ben Gibbard of Death Cab and Postal Service.  2)"Last Songs" is if anything, relaxing.  I recommend getting these two songs on iTunes and leaving it at that, save some money.  The CD's too expensive for two decent songs.    Jimmy Tamberello has another digital project that he works called Figurine and (more recently) James Figurine, it's essentially a catchier, poppier version of Dntel, more in line with Postal Service
[EX A]:
NEG