Yellow Hedgerow Dreamscape isn't regarded as canonical PT studio album but a compilation album drawn from his three demo tapes that weren't included on On the Sunday of Life. According to wikipedia it was released on CD in 1994 and again in 2013 - with the latter being self-released by SWilson on his personal Headphone Dust label (which suggests he's not that embarrassed by it) - notable here is it is the only PT album he's released on Headphone Dust. 

If memory serves me correctly SWilson initially handed over all rights to his early PT recordings to Delerium in gratitude for them supporting him and created a Snapper imprint label KScope for all subsequent PT releases (from Stupid Dream onwards), therefore he had no control over any reissues of those early albums. Unfortunately Delerium didn't seem to have the wherewithal to capitalise on PTs later success so never reissued those albums apart from the Stars Die compilation in 2002. The Delerium PT back-catalogue was acquired by Snapper in 2006 and they embarked on re-release schedule that included all the official studio albums but not this "compilation" (those were re-worked again as "The Delerium Years" box set).

1. If they really wish Atom Heart Mother wasn't being sold anymore, then I wish everything they did from The Final Cut onwards wouldn't be sold either. 

2. For all their talk about how much they dislike the piece, I've rarely seen anything about them deconstructing it. The closest I can find is Nick Mason in his memoirs saying that EMI wouldn't let them splice multiple takes, leading to problems with the tempo.

Don't take it to heart, it's my favorite Floyd album too. We all know David would rather sing A great day for freedom and Roger would rather tour The Wall  than acknowledge how much greater they could have been as a band. 

Do you lose the right to be critical of your own past work? In the grander scheme of things, little progress and innovation would happen if you were denied reflection and dissatisfaction with our own status-quo. Regardless of however masterful others consider our work.

I like "Onion" but I have to admit that Rick is not totally wrong. I can understand why he disliks TFTO, too. But I'd disagree with him in that case.

Very true. 

Apart from writing most the keyboard parts you mean? His main role, and unmissable strength, within Yes was in stitching together all the disjointed melodies written by Howe & Anderson (and Squire & White) to form coherent pieces of music and in writing the passages of modulations and segues that made that happen. While Anderson and Howe take most of credit for creating the various melodies, it was Wakeman's knowledge of composition and arrangement that made each one work together. How he does that is masterful, though it does tend to leave a very unmistakable Wakeman-signature on every note he plays. While we regard each of the four "movements" as single pieces of music, they aren't - each one is a collage of separate melodies - IMO no one in Yes (Wakeman aside) was really capable of writing a sustained and continuous 20 minute piece of music, and it's no accident that later 20+ minute epics, either on Yes or solo albums, are as rare as rocking horse poop - all Yes epics are musical collages of disparate bits. [just listen to The Ancient if you're unsure of that - for example what those few bars of ukulele are is doing there is anyone's guess - while that is probably the least "Wakeman" track what little fluidity it has is attributable to Wakeman]. TFTO without Wakeman's input would be dreadful, as would Relayer without Moraz.

Hi,

We're waiting for Stravinsky to tell us that The Rite of Spring, is crap.

AND

We're waiting for Beethoven to tell us that he hates his 9th, and it was a mess and not his!

OR

We will be waiting forever for Mozart to tell us that he learned about music in the bars, while drunk!

... back to our normal programming! ...

Holger Czukay (and maybe others in Can) dislike Future Days.

In a letter that I have somewhere, Holger specified that he did not care for his first two solo albums a whole lot. I think it was mostly because they were so crazy and fun, and did not have the total free form of playing that he wanted. Who knows.

The two main members of Kraftwerk hate the band's first three albums.

Like NEU and some of the others in those days, when you listen to these they have some wonderful textures, but "musicians" love to tear these things down, and say ... he spent 5 minutes turning that knob to make it sound like music!

I guess there is a feeling somewhere, but since we are too damn mechanical, we can't find it on the fingers?

Rober Fripp - Lizard

At least he was honest and specified why he thought it was not a good album ... the nature of it was not cohesive in its design and conception. Maybe the proper title should have been "Cameleon"

Roger Waters - ATM

RW likes to say those kinds of things when the interviews are boring him silly. And specially to progressive folks, that honor a part of his life that he was broke and could not even buy a house, or get his favorite sports car, and another girl for the garage!

Rick Wakeman - TFTO

Like it or not, he was one of the composers and his giving to the piece was excellent, and even when Transatlantic played Part 1, it stood out ... but in the end, RW is just a street kid that made it big with a little education, and he thinks his opinions are better than what we all say because he was a part of it. 

I once told him, that he just likes the academic stories, not the newly created orations and stories for a piece of music, and that is why he rehashes all the ... bombs out there!

Dean wrote: Artists not liking their own work is normal, it drives them to do better.

Yes, No and Maybe. What drives me better, or you (I think) is that little something that you hear in your dream and while you are driving sucking a smoke, or sitting in the beach and ignoring the sea ... and you want to put that together.

Better is an illusion, and an idea, and has very little to do with anything else, other than the counting of how many scales and chords you know now, when in the old days, you only knew 3 and it STILL helped you put together a piece of music. 

I think that we lose out to the "experience", the childish-ness that goes with wanting to do something ... and now we don't do something ... we compose it!

Sometimes I think we have lost our minds in the whole thing ... reminds me of the Rivette film "La Belle Noiseusse", because it was 4 hours long and people walked out, and could not appreciate a SINGLE STROKE of the paint on the canvas, right in front of you ... and how it felt and how it splashed your imagination.

We've lost the ability to appreciate things, and history, to commerciality, and we continually perpetuate the mechanical, instead of the person.

Dean, your work is as good today, as it was yesterday! 

 

In an interview for a TV documentary Collins said he didn't like drumming in unusual time signatures at the best of times and was constantly urging Rutherford to put the missing beat back into the crazy rhythms he was coming up with.

http://www.dailymail.co.uk/tvshowbiz/article-1045969/Yes-original-Spinal-Tap-says-Rick-Wakeman-Seventies-prog-rock-supergroup.html#ixzz1Ss5rspNu" rel="nofollow - http://www.dailymail.co.uk/tvshowbiz/article-1045969/Yes-original-Spinal-Tap-says-Rick-Wakeman-Seventies-prog-rock-supergroup.html#ixzz1Ss5rspNu

I may be wrong on this, but wasn't the band pressured to have Tout sacked so they could include 80's type synthesisers on Camera Camera. That would be reason alone to hate this album.

Think Wakeman would have been much happier with TOTO if the music had been written to fit a single CD, rather than he having to stretch the pieces that Anderson and Howe had written for the album, to have each of four movements fit one side of an LP. 

Since I agree with his old opinion I won't be buying any remasters of it. So I will just have to take your word that Wakeman is now soft on Tales.

Because it's very difficult to mistype/autocorrect 'TFTO' as 'Christopher Cross' 

I despair sometimes, I really do.

I remember reading that Wilson's new mix softened the Crusty One a bit toward the album. 

I love the album, especially the title track, especially especially Bolero. One of the best melodies I've ever heard.

 

Lizard is my fave Crim, and AHM is in my top 3 Floyd

 

Fripp has grown to like Lizard (or hate it a little less than before) while working with Wilson on the 40th anniv version. He was pleasantly surprised  were his woprds, I think.

Oh dear, that would be a massive loss  although I can understand he might not consider them representative of the way he wanted to project the group, as happened with Kraftwerk.

Well, to be a tad cynical about it: TD didn't own the rights to those albums (and AFAIK still don't) so probably wasn't getting paid royalties from them.

 

Doesn't that happen all the time??

 

every time XYZ published a new album, which he calls his fave and it's the worst piece of crap.... since his previous one...

On a related note, I've heard Martin Barre, at one point in the late 90s, said he was quite fond of Under Wraps.

And I think that it was taken out of context. There is a piece in "Atem" that is shorter and is similar to "Phaedra", but all in all, it was a time when they did what they could with the equipment they had, and the controls that they had. I doubt, they could have done better in "Atem", and that EF dismissed so easily. 

His autobiography, whenever it makes it (supposed to come this April!!!!! Maybe!), should help clarify that, however, EF had a wicked sense of humor that was highly educated and intelligent, and for the most part it would go over most rock journalists, who only knew 4 beats and one type of music and a hit!

Like, it sounds like "washing machine music", and that guy, obviously, NEVER, EVER, heard a washing machine to make the proper comparison! He must have known music, though, if he thought a washing machine had some music in it, right?

On general, most of the stuff written on "progressive music" these days, and the "experimental music" of the late 60's and 70's is derogatory, and not aware of the state of the equipment, and how these were developing. Most of these folks did the best they could with what they had ....  and the fact remains ... that most of them were FAR more creative with less, THEN, than they became later with MUCH MORE.

Just shows you how lazy some folks can be, when they do not see, or appreciate the difference.

Frank Zappa, was not always very fond of his early work, but at the very least, he appreciated one thing about it ... the ability to create it and come up with something totally unusual. That side of him, never really left, even though he got to (somewhat" more serious music later.

About as dumb as Wakeman hating TFTO.

Don't these fools have ears???

Two of the best albums ever dissed by their creators. 

Shocking.

And then there's Tony Banks...

And Pink Floyd hates Atom Heart Mother

Didn't he once say he thought Invisible Touch was their best album?

Didn't Genesis perform LLDIB on stage in France and like, three people turned up to watch. Shortly after that Peter Gabriel left the band.

So putting myself in Tony Banks's shoes, if I made an album that made millions, it might colour my judgement as to which is better.

Grantchester Meadows Ummagumma  Waters - I must say that The Final Cut means a hell of a lot more to me than Ummagumma ever did.  Wright - 'Ummagumma' is a Cambridge expression for 'f*ck'.  Waters - Ummagumma, yeah. What a disaster.