Reed also felt snubbed by being listed third in the credits on the album and by the large photo of Yule playing piano and by all the songwriting credits improperly going to the band, rather than Reed himself. However, the post-Reed, Doug Yule-led Velvets always performed the song with the verse re-inserted. In Reed’s initial solo performances, he would include the verse (see for instance American Poet), until 1973, when he would routinely leave that verse out, as the bridge fits less well in a more hard-rock version (as heard for instance on Rock ‘n’ Roll Animal). In the original recording, this part was intended to provide a perfectly flowing bridge to a full-fledged plagal cadence two-chord version of the chorus (earlier choruses in the song have a 4 chord riff). One of Reed’s sore points resulting from that unauthorized re-editing was that the “heavenly wine and roses” melody was cut out of “Sweet Jane”. After its release, Reed discovered that the album had been re-edited and resequenced without his consent. Reed left the Velvet Underground on Augbut Loaded wasn’t released until a month later, in September. Reed was critical of the album’s final mix. And I think that the third album to a great extent shows a lot of that in that a lot of those songs were designed as singles and if you listen to them you can hear the derivation, like this is sort of a Phil Spector-ish kind of song, or this is that type of person song.” Doug Yule said, “On Loaded there was a big push to produce a hit single, there was that mentality, which one of these is a single, how does it sound when we cut it down to 3½ minutes, so that was a major topic for the group at that point. The album’s title refers to Atlantic’s request that the band produce an album “loaded with hits”. Loaded was a commercial effort aimed at radio play, another step away from the Warhol-influenced days.
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