of the original British Invasion acts. 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. 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. 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. 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. 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". In particular, the relationships between the sexes moved from simpler boy-girl love songs to more nuanced and negative portrayals. In this way, Lennon and McCartney offered candid insights into their respective personal lives. Side one "Drive My Car" The album opens with a pair of lead guitar parts that are soon rendered off-metre by the arrival of McCartney's bass. "Drive My Car" is a McCartney composition with substantial contribution from Lennon with the lyrics. Harrison, as the Beatles' most knowledgeable soul-music enthusiast, contributed heavily to the recording by suggesting they arrange the song with a dual guitar–bass riff in the style of Otis Redding's contemporary single "Respect". In their joint lead vocals, McCartney and Lennon sing dissonant harmonies, a quality that is furthered by Harrison's entrance and signifies what Everett terms a "new jazzy sophistication … in the vocal arrangement". The lyrics convey an actress's desire to become a film star and her promise to the narrator that he can be her chauffeur. According to Riley, the song satirises the "ethics of materialism" and serves as a "parody of the Beatles' celebrity status and the status-seekers they meet". Author and critic Kenneth Womack describes the lyrics as being "loaded with sexual innuendo", and he says