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.

Q: amazing results . i had a very colicky baby from 2 weeks old to 10 weeks old and this was the best cd of all the ones i tried (classical, lullabye, ocean sounds, television, etc) to calm my baby and most importantly, to keep him sleeping longer. the last track was his favorite, the sound of the rain. he sleeps so much longer now that i play that track on "repeat" all night long. and i can get things done during his naps because the rain sound covers up the noise of me in the kitchen, etc. And, when he is really cranky and there's nothing else i can do for him, i can put him down in his bed and play the whole cd from start to finish and it calms him and puts him to sleep 75% of the time, which is a huge improvement from other attempts.

A: POS
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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.

A: POS
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Q: True Love at First Hear . LOS LONELY BOYS, the self-titled album by three twenty something brothers from Texas, is jam packed with indescribably beautiful music that's one part rock & roll, one part country, one part Chicano, one part lullaby and 200 parts stone-cold gorgeous.    Because I'm a big hip hop fan who loves Pavoratti, I don't often find myself in this aisle of the music store. (And by the way what aisle is this?) But a friend gave me this CD and after letting it sit, collecting dust for over a year, I popped it into the stereo on a whim.  What a wonderful surprise.    Almost like love at first hear, I found myself bopping along to literally every tune, as though I had grown on this music.      These guys are amazing singers, musicians and song writers.  Bilingual, they often switch back and forth from English lyrics to Spanish ad libs. Plus it contains two versions of More Than Love, one in English and the other in Spanish -- which reminds the listener of their Texican roots.      Double sided, this CD features 12 songs on one side and 8 videos on the other.  Some are acoustic and reveal just how talented (not to mention charming) this band is.    Because I know so little about country, rock & rock and Mexican-twinged music, it is almost impossible for me to accurately liken this band's sound to anyone else's, but if forced to I'd say Sting.   Not because it sounds like Sting's music, but because it has that same soothing lullaby feel that comforts and convinces you've heard these songs all of your life.  Plus the writing is smart and the rhythms infectious.    -- Regina McMenami

A:
POS
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