Editing Rubber Soul (section)

===Overview===
Pop historian Andrew Grant Jackson describes ''Rubber Soul'' as a "synthesis of folk, rock, soul, baroque, proto-psychedelia, and the sitar".{{sfn|Jackson|2015|p=255}} According to author Joe Harrington, the album contained the Beatles' first "psychedelic experiments", heralding the transformational effect of LSD on many of the original British Invasion acts.{{sfn|Harrington|2002|pp=190–91}} Author Bernard Gendron dismisses the commonly held view that ''Rubber Soul'' is a folk rock album; he cites its incorporation of baroque and Eastern sounds as examples of the Beatles' "nascent experimentalism and eclectic power of appropriation", aspects that he says suggest an artistic approach that transcends the genre.{{sfn|Gendron|2002|p=183}}{{refn|group=nb|In Gendron's view, "[The Beatles'] accreditory debt to Dylan and the folk rock movement was much less musical than it was discursive." He nevertheless sees ''Rubber Soul'' as the Beatles paying the "ultimate compliment" to the folk rock scene, which benefited from the band's "seal of approval".{{sfn|Gendron|2002|p=183}}}} According to ''The Encyclopedia of Country Music'', building on the Beatles' 1964 track "[[I Don't Want to Spoil the Party]]", the album can be seen in retrospect as an early example of [[country rock]], anticipating the Byrds' ''[[Sweetheart of the Rodeo]]'' album.{{sfn|Kingsbury|McCall|Rumble|2012|p=106}}

Further to Lennon's more introspective outlook in 1964, particularly on ''[[Beatles for Sale]]'', the lyrics on ''Rubber Soul'' represent a pronounced development in sophistication, thoughtfulness and ambiguity.{{sfn|Philo|2015|pp=85, 88}} According to music critic [[Greil Marcus]], "the Beatles were still writing about love, but this was a new kind of love: contingent, scary and vital", and so, while the music was "seduction, not assault", the "emotional touch" was tougher than before.{{sfn|Marcus|1992|p=221}} Author James Decker considers it significant that ''Rubber Soul'' "took its narrative cues more from folk crossovers such as Bob Dylan and the Byrds than from the Beatles' pop cohorts".{{sfn|Decker|2009|p=75}} In particular, the relationships between the sexes moved from simpler boy-girl love songs to more nuanced and negative portrayals.{{sfn|Bray|2014|pp=269–70}} In this way, Lennon and McCartney offered candid insights into their personal lives.{{sfn|Ingham|2006|p=35}}