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.

[EX Q]: Technicial Blunder . I cannot imagine what Sony or their sad, sad technicians were thinking - or NOT thinking when they "remastered" this great musical. I HOPE - and one can only hope - whomever it was that "remastered" this music (and I can't imagine why they would call it re-MASTERED) that they got FIRED afterwards or went back to basic recording school. MASTERING a musical CD means that you check your levels and balance - something they either forgot to do or were too busy talking while they should have been listening to what they were doing. Did Sony imagine they'd be able to sell this on it's own merits...that being an attractive, well known, sell-able music CD of a charming musical - while duping the buying public (sadly ME included) that it would be something worth having for any Broadway music collection?? Well I was most assuredly fooled. Even with my cheap (Sony by the way) 2 track tape deck could have come up with better than this rendition. I just cannot abide that some highly technical "master" of recording equipment couldn't fix this before the thing was committed to a glass cd master to be cut in quantity, offered and distributed as a "remastered" version that SHOULD have been BETTER than the original but sadly isn't even close. I thankfully, still have a cassette tape version of this musical from when it was first released many years ago and prefer that to this impossible display of cd "mastering" I have EVER heard - and I've heard a lot of quality remastered CD's - but this isn't one of them. THE ONLY saving grace of this CD is some of the extras that have been included. But not at full price..if you ask me. Think twice or at least understand at the outset what you're getting....a very poorly "rekindled - NOT remastered" CD that has some singers sounding as if the "technicians" forgot to bring up the volume on those tracks. Pretty sad, pretty sad. Disappointing. Love the musical - HATE the lousy CD
[EX A]: NEG

[EX 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.
[EX A]: POS

[EX Q]: Quality Retro . Whatever happened to melody, creativity, individuality and good old beats? Somewhere along the line it has been replace by singers who can't sing, write or play an instrument, songs without melodies and beats as monotonous as a flywheel. Fortunately the Eurythmics are of the former school - turning out original, quality hits that showed a spark of genius at times. ("Sweet Things" is perhaps the most famous song of the decade - deservedly so.) The haunting voice, odd instrumentation and artistic approach to every track makes this one a winner. My grade:
[EX A]:
POS