the Beatles, and particularly Harrison, as a nascent songwriter, to address more sophisticated concepts than the standard love song. In addition, since March that year, Harrison's outlook had been transformed by his and John Lennon's experiences with the hallucinogenic drug LSD; in a 1987 interview, he said that the drug had revealed to him the futility of the band's widespread fame. Author George Case groups "Think for Yourself" with two Lennon–McCartney compositions from the Beatles' Rubber Soul album – "I'm Looking Through You" and "The Word" – as examples of how the band's focus had progressed "from excited songs of juvenile love to adult meditations on independence, estrangement and brotherhood". In Ringo Starr's later recollection, Rubber Soul was the Beatles' "departure record", written and recorded during a period when, largely through the influence of marijuana, "We were expanding in all areas of our lives, opening up to a lot of different attitudes." Composition Musical form "Think for Yourself" has a 4/4 time signature and is set to a moderate rock beat. After a two-bar introduction, the structure comprises three combinations of verse and chorus, with the final chorus being repeated in full, followed by what musicologist Alan Pollack terms a "petit-reprise of the last phrase" to close the song. The chorus sections contrast rhythmically with the verses, providing a more upbeat mood. The song's musical key is a combination of G major and G minor. Pollack comments that whereas Lennon and Paul McCartney had regularly employed a major key and its parallel minor to provide an element of contrast in their songs, Harrison's composition ensures that the two modes are "blended", so creating a form that is "neither quite really Major nor minor". In the description of musicologist Dominic Pedler, while G major appears to be the central key, the song's musical premise involves permanent tonic key ambiguity and "restless root movement" through extensive borrowing from the parallel minor key. The G7 chord over the introduction suggests a tonic key of G major and a musical mode of G Mixolydian, yet the verse opens with A minor, the ii chord in Roman numeral analysis, which suggests A Dorian mode, and the subsequent change to D minor then suggests A Aeolian mode, in which the chord represents iv. The immediate shift to a B chord (III in G major) followed by a C chord (IV in G major) creates further ambiguity,