You will be given a definition of a task first, then some input of the task.
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.

The start of a string of brilliant works . This is, perhaps, The Rolling Stones' masterpiece. After the disaster that was "His Satanic Majesty's Request" the band clearly decided to stop slavishly copying trends (and, one might add, following in The Beatles' footsteps). Brian Jones appears only sporadically, it's his last album with the band. The Stones brought in Jimmy Miller to produce, after having learned the hard way that they work best when they have someone besides Mick and Keith at the mixing board. Nicky Hopkins' contribution to this album can't be understated. Rumor has it that Ry Cooder participated in the sessions. "Sympathy For The Devil" kicks things off. For an inside look at the evolution of this iconic song see Jean Luc Godard's "One Plus One" (aka "Sympathy For The Devil"). This song was scary and groundbreaking back in 1967 - now that we've all heard it 1,000+ times it seems far too familiar. In my opinion this is one of Mick's best lyrics. "No Expectations" is a beautiful song, with lovely piano work by Hopkins. The lyric is a bit trite, but it works. Believe it or not this was the first single - it's perhaps the weakest song on the album. "Dear Doctor" is really, really funny. The Stones were fans of country music, but here they take on the form as a cliche. "For the gal I'm to marry / Is a bow-legged sow / I've been soakin' up drink like a sponge." This is a hoot. "Stray Cat Blues" - another reviewer stated that this is a homage to fans of the band. Jeez, I hope not! This is very creepy stuff. Mick's growls in the intro are absolutely filthy ("Yeah, just don't care..."). He sings this like an utter pervert, which is the point. "Well I can see that you're 15 years old / But I don't want your ID." By now it's obvious to the listener that The Stones have reinvented themselves - where did this sound come from? It's unlike anything we've heard on previous Stones albums. "Jigsaw Puzzle" - many fans don't care for this song. It's a bit of a throwback, somewhat reminiscent of "Something Happened To Me Yesterday" and a few others from the previous incarnations of the band. Mick's lyric is a bit overwritten, but the final verse in particular is quite good. The band jams out well here - Keith, Wyman and Hopkins play off one another brilliantly, particularly in the coda. It's a fine side-ender. "Street Fighting Man" - some of this was recorded in a living room. The basic drums are Charlie banging on telephone directory books. Some of the guitars were recorded on a cheap tape deck. The sitar is Brian; more amazing Hopkins piano here. This was, I believe, the start of Keith using the famous "open G" tuning he has employed since. A solid song, but I've always thought it a bit over-rated. "Prodigal Son" - country blues, based on the Bible story. Mick's lyric is perfect, as is his vocal delivery. No contemporary British band could sound as authentically American when doing this style of blues. "Parachute Woman" - more blues, but now we move from the Delta to the Big City. Bill Wyman has often referred to this is his all-time favorite Stones track. The sound is (purposefully?) muddy, and it feels perhaps a bit off-hand at first listen - but give it a chance. This is powerful stuff. "Factory Girl" - an underrated gem. It's a beautiful song with a lilting melody, a fun yet poignant lyric, and a wonderful performance by all. "Waitin' for a girl who's got stains all down her dress / waitin' for a girl and my feet are gettin' wet / she ain't come out yet / waitin' for a factory girl" - that's as fine a depiction of working class life as I've yet come across. "Salt Of The Earth" - the first verse is Keith Richard's first lead vocal on record. This is a stirring song, an apt followup to "Factory Girl." I wasn't at all surprised that this was a song Mick and Keith chose to perform at "The Concert For NYC." The vamp in the last 1/3 or so of this song is brilliant musicianship. If one is familiar with The Rolling Stones only as a "hit" group, this album could be disappointing - there's no obvious Top Ten hit here. But if you appreciate music, and if you know anything about the history of this group, you will appreciate the fact that this was a groundbreaking album. There isn't a bad track here. Each is brilliant in its own way. And, of course, this was the first of five great albums produced by The Stones - "Beggar's Banquet," "Let It Bleed," "Get Yer Ya Ya's Out," "Sticky Fingers," and "Exile On Main Street." They had never before reached these heights - and never would again. The Rolling Stones are regarded by most fans and critics as contemporaries of The Beatles and Bob Dylan ("The Holy Trinity" of the 60's) on the strength of the five albums noted above. They had a lot of hits before "Beggar's Banquet," but if that was all they'd done they would be regarded as equals to The Animals or The Yardbirds, etal. They became rock royalty when they produced "Beggar's Banquet.
Output:
POS