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.

This Album Blows Arse Cheeks . I'm a huge fan of the Beatles. I'm also a huge fan of the modern artists that did this album. ..and the Backbeat movie was ok too. So I figure, how can I go wrong. I'll buy the record. Well simply put, the album sounds like a bunch of generic poo. Why in the world did they have Thurston Moore on here? Hmm, we need somebody to stand there and strum basic chords .. let's bring in someone who normally plays sound-effects guitar with magnets and drumsticks. Obviously the point was to put together a modern supergroup (underground supergroup anyway) to cover a supergroup. Problem = it doesn't sound like The Beatles OR like these familiar modern artists. It just falls somewhere boringly inbetween, though that might be exactly what some people would want. DAVE GROHL CANNOT SING. Yeah that's right I said it. Gumby was a better rockstar then this guy. ..well i mean that sarcastically but thinking about it, Gumby was actually a really cool rockstar. But back on topic, Dave Grohl needs to stick to things he's good at like chewing gum, beating the snot out of drum-sets, and growing big sweaty moustaches. I've heard cardboard boxes blowing in the wind that sounded more exciting then this record. If Amazon.com had the feature, I'd give it a negative star just for having the guy from Soul Asylum on it.
NEG

MOST INCREDIBLE . Now I do not pretend to know everything there is to know about Tears for Fears...but....I LOVE THIS CD! From START TO FINISH! IT is truely a conceptual masterpiece! I was fortunate enough to see this performed LIVE in Detroit at St. Andrews Music Hall....incredible band incredible musicians...but ROLAND wrote it all! He is truely a master...and minus CURT too he is still as good as ever! ITS A DARN SHAME that this did not get airplay and the concert only showed up as a small tiny ad in the corner of the local jam rag...but THE SHOW WAS INCREDIBLE the ALBUM has given to many a spin in my car CD player...it was in rotation there for about an entire year and often times repeated! References to LENNON and MCCARTNEY are made and i think they are RIGHT ON CUE! Roland is a true pop genius! WHO CAN REALLY ROCK OUT TOO! Who ever said POP SONGS had to be boring eh? Just see this band perform one time if you are lucky enough! Somewhere i see he appologized to Radiohead for playing the song CREEP but i saw him perform it with complete perfection! The stage was extended with speakers galore and sound equipment to fill a HUGE VENUE in a small tiny club! The lights and music and show were incredible and this cd is a GREAT one to own! CONCEPTUAL and PERFECTION in a POP RECORD! GIVE THIS BAND MORE CREDIT! THE poor website for this album set desolate for more than several years no activity! Shame ITS A LOW DOWN DIRTY CRYING SHAME .....music has no support for the fine artists such as Tears For Fears...however ROLAND and CURT you have my FOREVER SUPPORT You are BOTH TRUE GENIUS's
POS

Deeply devout music from our greatest Christian composer . This disc contains three works by Russian-Tatar composer Sofia Gubaidulina, an artist of deep religious sentiment as is apparent in these titles: "In croce", "Silenzio", and "Sieben Worte". The common instruments in these works are the cello and the bayan. The latter is a type of Russian accordian played here by Elsbeth Moser, who performed in the Western premier of "Sieben Worte" and to whom Gubaidulina dedicated "Silenzio." Cello is played by Maria Kliegel, who has performed under the approval of Rostropovich. "In Croce" was originally written in 1979 as a piece for organ and cello, but it is represented here in a 1991 arrangement for cello and bayan by Elsbeth Moser which Gubaidulina has approved. It is an exploration of "vertical" music (the organ or bayan) intersected by the "horizontal" (cello), thus forming the cruciform symbolism so common in Gubaidulina's work. Personally, I prefer the performance of the cello and organ version by Ivashkin and Hicks released by Chandos, for the organ just seems to work better than the bayan. Still, Kliegel's cello work here is deeply moving and worth hearing, less restrained than Ivashkin's but perhaps more passionately religious. "Silenzio" is a fragile, insubstantial piece for bayan, violin, and cello in which the vast majority of the work is played pianissimo. It consists of five "miniatures" which all maintain the same rhythmic proportion 7-2-5 in varying ways. It is an interesting experiment, but it results in the least interesting item on this disc, and it's technical brilliance comes at the expense of religious power. "Sieben Worte (Seven Words)" for cello, bayan, and strings, is a crucial piece in this disc, and in Gubaidulina's oeuvre in general. I have said before that the composer's "Johannes-Passion" may be the greatest work of Christian piety of our time, but "Sieben Worte" follows not very long behind. It is an acknowledgement of the tradition of religious composition, and contains quotations from Heinrich Schuetz and clear influence from Haydn. Nonetheless, the bulk of the piece shows the originality of Gubaidulina through and through and has an elaborate technical basis on the cello which is too long to quote here, but which is included in the liner notes. The strings of the Camerata Transsylvanica (ironically based in Budapest after the emigration of its members) under Gyorgy Selmeczi are intense and unfaltering. As is unfortunately usual with Naxos discs, the weak point is the liner notes. The English and German are, inexplicably, two different commentaries instead of a common text translated from one or the other. Keith Anderson's English commentary is quite interesting but poorly edited and unprofessional. Teresa Pieschacon Raphael's German commentary tells something about Gubaidulina's place in the Soviet music community which English readers too should have been able to enjoy. Though Naxos was kind enough to provide commentaries in two languages, the profile of the performers is only in English. These three pieces, especially the last, make an excellent introduction to the work of this superlative composer, and at an economic price. This is one of the finest works in my collection, and I sincerely and passionately recommend it to just about anyone
POS