Editing Rubber Soul (section)

===Development of subgenres===
[[File:KFRC Fantasy Fair Dryden Balin Kantner.png|thumb|[[Jefferson Airplane]] performing in June 1967. ''Rubber Soul'' especially resonated with musicians in the emerging [[San Francisco Sound|San Francisco scene]].]]
The album coincided with rock 'n' roll's development into a variety of new styles, a process in which the Beatles' influence ensured them a pre-eminent role.{{sfn|Harrington|2002|pp=190–91}} [[Andrew Loog Oldham]], the Rolling Stones' manager and producer at the time, has described ''Rubber Soul'' as "the album that changed the musical world we lived in then to the one we still live in today".<ref name="Kubernik/RBP" />{{refn|group=nb|[[Stevie Winwood]], who formed the [[psychedelic rock]] band [[Traffic (band)|Traffic]] in 1967, sees ''Rubber Soul'' as the LP that "broke everything open", in that "It crossed music into a whole new dimension and was responsible for kicking off the sixties rock era."{{sfn|Kruth|2015|p=9}}}} "Norwegian Wood" launched what Indian classical musician [[Ravi Shankar]] called "the great sitar explosion",{{sfn|Lavezzoli|2006|p=171}} as the Indian string instrument became a popular feature in [[raga rock]]{{sfn|Gendron|2002|p=345}}{{sfn|Jackson|2015|p=256}} and for many pop artists seeking to add an exotic quality to their music.{{sfn|Schaffner|1978|pp=66–67}} The harpsichord-like solo on "In My Life" led to a wave of [[baroque rock]] recordings.{{sfn|Harrington|2002|p=191}}{{sfn|Gendron|2002|pp=174, 343}} ''Rubber Soul'' was also the release that encouraged many folk-music aficionados to embrace pop.{{sfn|Gould|2007|p=296}} Folk singer [[Roy Harper (singer)|Roy Harper]] recalled: "They'd come onto my turf, got there before me, and they were kings of it, overnight. We'd all been outflanked{{nbsp}}..."<ref name="Alexander/Mojo" />{{refn|group=nb|Harper also said: "After a few times on the turntable, you realised that the goal posts had been moved, forever, and you really wanted to hear the next record – now. You could sense ''Revolver'' just over the horizon. You were hooked."<ref name="Alexander/Mojo" />}}

Author George Case, writing in his book ''Out of Our Heads'', identifies ''Rubber Soul'' as "the authentic beginning of the psychedelic era".{{sfn|Case|2010|p=27}} Music journalist [[Mark Ellen]] similarly credits the album with having "sow[ed] the seeds of psychedelia",<ref name="Kubernik/RBP">{{cite web|first=Harvey|last=Kubernik|title=''Rubber Soul'' 50 Years On|publisher=[[Rock's Backpages]]|date=December 2015|url=http://www.rocksbackpages.com/Library/Article/irubber-souli-50-years-on-|url-access=subscription|access-date=7 November 2019|archive-url=https://web.archive.org/web/20190629230900/https://www.rocksbackpages.com/Library/Article/irubber-souli-50-years-on-|archive-date=29 June 2019|url-status=live}}</ref> while Christgau says that "psychedelia starts here."{{sfn|Smith|2009|p=36}}{{refn|group=nb|According to Christgau, the album also "smashed a lot of alienation", in that "Without reneging on the group's mass cult appeal, it reached into private lives and made hundreds of thousands of secretly lonely people feel as if someone out there shared their brightest insights and most depressing discoveries."{{sfn|Smith|2009|p=36}}}} Writing in ''[[The Sydney Morning Herald]]'' in July 1966, [[Lillian Roxon]] reported on the new trend for psychedelia-themed clubs and events in the US and said that ''Rubber Soul'' was "the classic psychedelic album now played at all the psychedelic discotheques". She attributed pop's recent embrace of psychedelia and "many of the strange new sounds now in records" to the LP's influence.<ref>{{cite news|first=Lillian|last=Roxon|title=Psychedelics: That's the New Fad|newspaper=[[The Sydney Morning Herald]]|date=17 July 1966}} Available at [https://www.rocksbackpages.com/Library/Article/psychedelics-thats-the-new-fad Rock's Backpages] (subscription required).</ref>

In Myers' view, the Capitol release "changed the direction of American rock".<ref name="Mochari/Inc">{{cite web|first=Ilan|last=Mochari|title=What a 50-Year-Old Beatles Album Can Teach You About Creativity|url=https://www.inc.com/ilan-mochari/rubber-soul.html|magazine=[[Inc. (magazine)|Inc]]|date=3 December 2015|access-date=9 November 2019|archive-url=https://web.archive.org/web/20191109170119/https://www.inc.com/ilan-mochari/rubber-soul.html|archive-date=9 November 2019|url-status=live}}</ref> In the ongoing process of reciprocal influence between the band and US folk rock acts, the Beatles went on to inspire the [[San Francisco Sound|San Francisco music scene]].{{sfn|Smith|2009|p=36}} Recalling the album's popularity in the [[Haight-Ashbury]] district of San Francisco, where Jefferson Airplane were based,{{sfn|Womack|2007|pp=197–98}} journalist [[Charles Perry (food writer)|Charles Perry]] said: "You could party hop all night and hear nothing but ''Rubber Soul''."{{sfn|Gould|2007|p=345}} Perry also wrote that "More than ever the Beatles were the soundtrack of the Haight-Ashbury, [[Berkeley, California|Berkeley]] and the whole circuit", where pre-hippie students suspected that the album was inspired by drugs.{{sfn|Sheffield|2017|p=97}}

Citing a quantitative study of [[tempo]]s in music from the 1960s, Walter Everett identifies ''Rubber Soul'' as a work that was "made more to be thought about than danced to", and an album that "began a far-reaching trend" in its slowing-down of the tempos typically used in pop and rock music.{{sfn|Everett|2001|pp=311–12}} While music historians typically credit ''Sgt. Pepper'' as the birth of [[progressive rock]],{{sfn|Hoffmann|2016|pp=261–62}} Everett and Bill Martin recognise ''Rubber Soul'' as the inspiration for many of the bands working in that genre from the early 1970s.{{sfn|Martin|1998|p=41}}{{sfn|Everett|1999|p=95}}{{refn|group=nb|As with ''Revolver'', Everett sees the album as prefiguring progressive rock with its combination of "rich multipart vocals brimming with expressive dissonance treatment, a deep exploration of different guitars and the capos that produced different colors from familiar finger patterns, surprising new timbres and electronic effects, a more soulful pentatonic approach to vocal and instrumental melody tinged by frequent twelve-bar jams that accompanied the more serious recording, and a fairly consistent search for meaningful ideas in lyrics".{{sfn|Everett|1999|p=30}}}}