The Velvet Underground–Live At Max's Kansas City MINT 1972 PRESS MISPRINT???

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The Velvet Underground–Live At Max's Kansas City (Cotillion –SD 9500) MONO pressing from 1972. Vinyl is MINT (looks unplayed) and jacket is VG++ with very slight wear. 
Note: this has a unique label design in which the word MONO is printed in black ink overtop STEREO on both left sides. There are both copies with MONO and copies with STEREO on the left label, but this odd variation with MONO over STEREO is not documented on Discogs, nor have I ever seen a copy like this before.
Low starting bid ... Don’t miss out on this Velvets rarity!
Hand-etched matrix number in deadwax on side one: CTN-13951-A  Hand-etched matrix number in deadwax on side two: CTN-13952-A 
Tracklist I'm Waiting For The Man 4:00 Sweet Jane 4:52 Lonesome Cowboy Bill 3:41 Beginning To See The Light 5:00 I'll Be Your Mirror 1:55 Pale Blue Eyes 5:38 Sunday Morning 2:43 New Age 5:58 Femme Fatale 2:29 After Hours 2:05
The occasion was a summer-long gig at Max’s, a gathering spot for artists, poets, hustlers, queens and princes as well as musicians — in short the perfect place for the Velvet to boogie. The Velvets were working on material for what was to be their final album, Loaded, and the sets at Max’s consisted of both old favorites and some of the new songs.
This album (in some ways the first authorized bootleg) exists only because scene-chronicler Brigid Polk wanted to make a tape of the band for herself. She took her Sony 124 down to the club a couple of times, and on August 23rd recorded an hour and a half cassette, which makes up the bulk of the album. (Other tunes come from earlier weeks in the gig.) Strangely enough that was the last night Lou Reed was ever to play with the group; management hassles had developed and he split.
The sound is remarkably good (comparable to your better Rubber Dubber productions), and the ambience is full-blown Max’s. The album opens with Reed inviting the audience to dance, introducing a “tender folk ballad of love between man and subway,” then stomping into “Waiting For The Man.” As with most cuts on the album, the lyrics are a bit submerged, and it helps to have heard the originals. Both “Sweet Jane” and “Lonesome Cowboy Bill” suffer by comparison to the studio versions, but there’s an energy charge here that connects in some extra-musical sense … the only comparison that comes to mind is the Stones Got Live If You Want It album, where you could almost smell the sweat and electricity. (above taken from a Rolling Stone review from August 3, 1972)
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