And on this one, I felt it was obvious. But maybe it wasn't.... And finally he sums up, he says, 'That's the Story of My Life.' But then he was faced with something else, which is once you get past you, you got you solved, so that you don't exist... But what really is going on outside you is 'The Murder Mystery... then after that, it was just kind of, well, 'After Hours.' What could you say after 'The Murder Mystery'? Except that 'you close the door, the night could last forever.' Which is true. Reed considered each song to be impersonal "little plays". Apart from the forceful rockers "What Goes On" and "Beginning to See the Light", the album contains reflective, melodic songs that are about various forms of love, such as "Pale Blue Eyes", "Some Kinda Love", "Jesus", "I'm Set Free" and "That's the Story of My Life". Reed and Morrison's twin-guitar playing became the band's most prominent sound, and the album had spare arrangements that lacked distortion. The only song that exhibited the band's avant-garde roots is "The Murder Mystery". The song took two sessions to record, and its poem was later included in The Paris Review. Side one Opening track "Candy Says" is based on transgender actress Candy Darling who was a member of Warhol's Factory. Yule sings a tale of Darling, who hates her body and is in emotional pain. It references Darling's thoughts by ambiguously stating "I've come to hate my body/And all that it requires in this world". Darling reappears in Reed's 1972 song "Walk on the Wild Side". Morrison says that the choice for Yule singing the song was because Reed was worn down by touring. Yule is backed by doo wop harmonies and backing vocals. This was Yule's first time singing in a studio, and the song was sung by Yule at Reed's insistence. "What Goes On" is upbeat and combines multiple lead guitar parts against an organ; this organ, played by Yule, is present in more songs on the record. Kory Grow of Rolling Stone described Reed's guitar solo on the song as "bagpipe-y". Described as the "anomaly" of side one by Rob Jovanovic, it is complete with a "twitchy beat", its sound as a result of Reed increasing the volume of his guitar during recording. R.C. Baker of The Village Voice labeled this song "one of rock 'n' roll's