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". 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). In Reed's initial solo performances, he would include the verse (see for instance "American Poet"), until 1973, when he would routinely leave it out, as the bridge fits less well in a more hard rock version (as heard for instance on "Rock 'n' Roll Animal"). However, the post-Reed, Yule-led band always performed the song with the verse included. A career-spanning retrospective of Reed's recordings with the Velvet Underground and as a solo artist, "NYC Man (The Ultimate Collection 1967–2003)", which Reed compiled himself, uses the shorter version. When asked about the shortened versions of "Sweet Jane" and "New Age" and Reed's long-standing claims that they were re-edited without his consent, Yule claimed that Reed had in fact edited the songs himself. "He edited it. You have to understand at the time, the motivation was... Lou was, and all of us were, intent on one thing and that was to be successful and what you had to do to be successful in music, was you had to have a hit, and a hit had to be uptempo, short, and with no digressions, straight ahead basically, you wanted a hook and something to feed the hook and that was it. 'Sweet Jane' was arranged just exactly the way it is on the original "Loaded" release exactly for that reason—to be a hit! 'Who Loves The Sun' was done exactly that way for that reason—to be a hit."