And then there’s “Sweet Jane” and “Rock & Roll”. And such variety! From jaunty, Monkees style pop (“ Who Loves The Sun”) to freewheeling rave-ups (“ Oh, Sweet Nuthin’”). The songs – including their roll call of ladies: Jane, Ginny, Miss Linda Lee, Polly May and Joanna Love – represent a refinement of the band’s aesthetic – a healthy middle ground between the avant garde stylings of the first two albums and Reed’s Top 40 sensibilities.
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Every song was looked at with the understanding that there was a need to produce some kind of mainstream hit… Songs were built intellectually rather than by the processes that live performances brought to bear, instinct and trial and error.” “Many of the songs had been played live, but the recorded versions were very different than the road versions. “The sessions for Loaded were extremely different than those which produced the third album,” Yule wrote. Reed, worried about his straining his voice, ceded four lead vocals to Doug Yule. The April to July sessions at Atlantic Studios, New York overlapped with a ten-week homecoming residency at Max’s Kansas City. Writing in The Velvet Underground fanzine in 1996, Doug Yule revealed, “Sesnick, always looking for the advantage, was driving wedges between everyone, trying to keep the bickering going and the communication between us shut off.”īy the time the Velvets convene to record Loaded, you could be forgiven for wondering whether they’d actually finish the album, or simply combust in the studio. I was zero psychological assistance to Lou.” Elsewhere, other equally toxic dramas were being played out. I was so mad at him, for real or imaginary offences, and I just didn’t want to talk. “Maybe I never forgave him for wanting Cale out of the band. “I had hardly spoken to Lou in months,” Morrison admitted to NME’s Mary Harron in 1981. Existing frictions between Reed and Sterling Morrison continued. Moe Tucker, meanwhile, took maternity leave in March her stand-in was Doug Yule’s younger brother, Billy. “Lou went out of his skull and ended up with a warped sense of time and space that lasted several weeks,” journalist Richard Meltzer is quoted by Reed’s biographer, Victor Bockris.Īt the start of 1970, the Velvet Underground signed to Atlantic Records, while still $30,000 in debut to MGM. Increasingly disturbed by the effects of long-term drug use on close friends including Factory compatriot Billy Name, Reed responded by getting even more out of it. His long-running affair with Shelley Corwin, his muse, was in a slow decline. Reed, meanwhile, was having problems of his own. But by August, the band had parted company with MGM – new MD Mike Curb envisaged a more wholesome direction for the label, and suspecting how that might pan out the for his charges, manager Steve Sesnick extricated the group from their contract. They began work on a fourth studio album in May, 1969. The period between the March 1969 release of The Velvet Underground and the start of Loaded’s principal recording sessions in April 1970 was especially fraught for the group.
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So I left them to their album full of hits that I made.” The recording of Loaded was clearly an emotional time for Reed. Looking back on the circumstances around his departure from the Velvet Underground, Lou Reed had this to say in 1972: “I gave them an album loaded with hits and it was loaded with hits to the point where the rest of the people showed their colours.
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