album to be recorded at Black Ark, consolidating his earlier instrumental albums at the studio, and features production work from as early as 1968. According to Philip Dodd, Revoltuion Dub and Perry's subsequent production of Max Romeo's War Ina Babylon (1976) saw the producer explore "the technological constraints and possibilities of his tiny, homely studio." For Revolution Dub, Perry created dubs of some of his heaviest productions of the era, including Junior Byles' "The Long Way", Bunny and Rickey's "Bushweed Corntrash" and Jimmy Riley's cover of the Bobby Womack song "Woman's Gotta Have It". The producer used the Echoplex for echo effects and the Roland Space Echo for reverberation techniques. Throughout the album, he also uses samples of television dialogue, including from English actors James Robertson Justice and Leslie Phillips and the sitcom Doctor on the Go, which he achieved by holding a microphone to the television. Steve Barrow writes that the sitcom samples exemplify Perry being "keen on the odd musical metaphor," while The Wire write that the dialogue snipppets represented the zenith of Perry's ongoing "pastiching of mainstream culture." Composition Revolution Dub is less accessible than earlier Perry dub albums like Upsetters 14 Dub Blackboard Jungle (1973), exploring a more pared down dub sound over nine short tracks, while expanding the producer's dub sound further. The record is characterised by unusual audio techniques, including the dialogue samples, drastic stereo panning between left and right channels and nascent usage of an early drum machine, with the overall effect being described as "absurd" and revealing, according to David Katz, a "potentially menacing" counterpoint to the "seemingly innocuous" rhythms. Frequently, bass and drums abruptly disappear to leave only guitar and fragments of singing; Kodwo Eshun, who describes Revolution Dub as "not so much produced as reduced by Perry," writes that the album experiments with 'exoskeletal' song forms, with each song confounding listeners by frequently leaving expected beats implied rather than played, resulting in unpredictable polyrhythms. Throughout the album, Perry adopts numerous personas, and sings in an eccentric, quivering falsetto that Eshun describes as indecipherable. On the opening title track, Perry grunts and murmurs and, in an early experiment with a drum machine, uses the Conn Rhythm Box. His proclamation on the song – "This is dub revolution/Music to rock the nation" – sets the stage for "the musical righteousness that is to follow", according to writer Ryan B. Patrick. "Woman's Dub",