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.
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Question: Just for laughs, a little dissention... . I bought this LP when it first came out. I'd drowned my happy soul in "Out of the Cool" and got lost for months in the moods of "Individualism". Add to that his "Guitar Forms" LP with Kenny Burrell and the "Sketches" album, I was ready for more of the pure Evanescence, and not ready for Gil Evans to do what most self-respecting composers do -- shift gears. No, change cars. In mid-drive. This album was a huge change to me, and I tried to follow him but couldn't. Kind of like trying to follow Stravinsky from his neo-classical phase to his atonal phase. Maybe he (Gil Evans) made it, maybe the other reviewers are right, and it's all great stuff, but it lost me. No magic, no startles, no surprises that I could suck into my soul and thrive on. So, be warned, be cautious. It's a change, and it signals a change that he continued on for the rest of his career, and if you loved "Individualism", you might not make the jump. Then again, maybe you will. I just have to go on record to say all this, as one Evans fan who is disappointed

Answer: NEG

Question: 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 "Dances with Wolves," "Out of Africa," and "Somewhere in Time" (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., "The Sandpebbles") and John Williams. Here, like Goldsmith's score to "The Wind and the Lion," 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 "All men are created equal." The contemplative, high-principle-sounding music to "Mr. Adams Takes the Case," is as stirring as the exotic "Dry Your Tears, Afrika," 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

Answer: POS

Question: Words cannot express . Where to begin? To put it as briefly as possible, if you're an adventurous music listener you will not be disappointed by Blueberry Boat. This is the most inventive work I've heard since Radiohead's Kid A. (No small feat). Every style you could imagine is carefully melded into one, including the most wonderfully bizzare lyrics I have ever heard. No sense discussing every track ad nauseam, each individual will form their own opinions. I can only give this my highest and most urgent recommendation. Pay no mind to the impatient simps who give this album one star and call it "the worst of all time." Sit down with Blueberry Boat; listen to it as many times as you have to. Those who *get* this musical gift from the Friedbergers will fall in love. Give it a chance and you may be pleasantly surprised

Answer:
POS