instruction:
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.
question:
A review and a question . First my review:    The recorded legacy of MJH falls into roughly five categories.     (1) his early 1928 recordings on the OKEH label which comprise around 20 tracks. Although they are quite listenable and of historical interest and importance they are not the most enjoyable of his recordings. (2) recordings from 1963 that are available on the Rounder label. The sound quality of these recordings is somewhat disappointing. For that reason alone I don't listen to them much except for the fact that they were heavily relied upon by people who transcribed his songs for instructional materials. (3) The Library of Congress recordings (also from 1963). These are perhaps the best. The sound quality is excellent and there is an informality to the sessions which makes it like having MJH as a house guest for the weekend determined to play you every song he knows. (4) The (these) Vanguard Recordings, which I think were recorded between 1967 and 1969. These rival and sometimes surpass the Library of Congress Recordings as far as the material goes. There is also a palpable sadness as you can detect a man near the end of his life aware of the fact that he may very well be making his final recordings. The audio engineers did a terrible job at Vanguard for a good deal of these recordings. How can you screw up recording just one guy with a guitar? If you try hard enough you can set the levels WAY off. That is how. (5) there is also a Live MJH CD from Vanguard. It's sound quality is pretty good and it is endearing to hear MJH talk to an audience, but I find it less compelling material wise than the studio recordings.    Listening to MJH makes you want to piick up the guitar and learn to play like him. The good thing about this is that if you really want to you probably can. Many of his songs have been transcribed and broken down in intructional books and DVDs. After going through a "beginning fingerpicking" DVD by Stefan Grossman you are probably ready to take on MJH.    Go for it!    And now for my question:    It's not obvious to me from the Vanguard website whether the boxed set is actually a newer digital remaster than the original digital re-masters from the mid 80s. As far as digital remasters go those ones were a bit of a disaster. When you put the disc into your player you would have to crank the volume on your stereo. As you might expect, the careless lack of attention to levels setting in the remastering process resulted in a mushy sounding guitar. I seem to remember that was also a problem with the vinyl Vanguard LPs, particularly the first one. Hopefully these CDs really  are *new* remasters because most CDs re-mastered these days are remastered quite well.    My music management software for encoding MP3s has the capability of looking up CDs in an online database. Whenever I present it with copies of the old mid 1980s vanguard CDs it recognizes them as possibly being from the boxed set, so I hesitate to spring for the "new remasters" without really knowing if they are indeed recently remastered. Perhaps someone else could clear this up
answer:
POS


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A.J. is a Super Songwriter - Duh! . Absolutely great collection of Alan Jackson's best, without the filler.  A must-have.   By the way, is everyone laughing yet at the 9/2/01 reviewer who suggested that Alan Jackson's "songwriting skills need work"?!
answer:
POS


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A hallmark album for a superb band to showcase its contemporary bluegrass . Playing Time - 39:05 -- Don Rigsby doesn't even turn the big 4-0 until February 28 of 2008. Already he has two decades of professional bluegrass experience with such top groups as Longview, Bluegrass Cardinals, J.D. Crowe & the New South, Lonesome River Band and Rock Country. He's also released four highly-acclaimed solo albums and was twice named SPBGMA's male vocalist for the year. When Rock Country disbanded, Don was faced with two choices - work for someone else, or form his own band. He chose the latter and, unlike previous solo albums from Rigsby (on the Sugar Hill label) that enlisted friends and session players, he has recorded "Hillbilly Heartache" with his own group (Midnight Call) that includes himself singing lead and playing mandolin, along with Dale Vanderpool (banjo), Shayne Bartley (guitar), Jesse Wells (fiddle), and Robert Maynard (bass). It was a good move to do it all themselves this time because it's a crackerjack band.     In a few instances, (Make God Laugh, Red Bird, Prisoner on the Highway), their vocal arrangements also call for Rigsby to jump up to tenor on the choruses. "He Loves To Hear You Shout" (written by Dixie and Tom T. Hall) is a very nicely presented vocal quartet for the group with Rigsby, Vanderpool, Bartley and Wells doing the vocalizing.     While best known for his mandolin picking, Don's a versatile multi-instrumentalist, and it's a treat to hear him also provide some snippets of guitar, mandele, and fiddle. Two songs ("These Golden Fields" and "Any Bar in Birmingham") incorporate some of Don's light percussion. The former, about farming, features Don's high-lead singing with two harmonies below, as well as Wells' octave violin for a different mood. Obviously, quite a bit of forethought went into producing these songs in the best possible manner for us. In a few, the banjo is muted, and on the closing number, "I Am The Man, Thomas") Jesse Wells lays down his fiddle to provide clawhammer banjo as the only accompaniment for Don's voice.     Midnight Call's repertoire is drawn from some excellent songwriters (Shawn Camp, Marty Rabon, Jim Lauderdale, Mark Brinkman, Larry Shell, Kim Williams, Tim Stafford, and others). Bobby Cyrus is a co-writer of "Big Jim." I'm curious as to whether Big Jim is a fictional folkloric character or whether there was actually a man who sacrificed himself for others. You may recall that it was Cyrus who penned the reflective "Carved Our Names in Stone" that was sung solo by Rigsby on his last solo album, The Midnight Call. Farmers, family, life and love get ample coverage in the songs. For his song of home, he belts out an inspired rendition of Bill Monroe's "Kentucky Waltz." Another tale from that region is an intoxicating "Daddy Was A Moonshine Man." A standard instrumental, "Forked Deer" gallops along, but I hope their future projects introduce us to new tunes. Sung solo, "Old Green Chevrolet" relates a tale of a traveling preacher bringing the gospel to mountain folks, and I missed a little harmony on the choruses.     With "Hillbilly Heartache," evocative messages get us thinking, smiling, contemplating, and even laughing when the intoxicating "Daddy Was A Moonshine Man" cues up. This Kentuckian clearly has strong mountain roots, and he knows what it takes to produce a very compelling bluegrass album. His reputation and dedication to traditional music, and his innovative vision for the future, are well documented. While he may have stretched boundaries a bit in the past, "Hillbilly Heartache" is simply a hallmark album for a superb band to showcase its contemporary bluegrass. (Joe Ross, staff writer, Bluegrass Now)
answer:

POS