{{Infobox album | name = Revolution Dub | type = Album | artist = Lee Perry & the Upsetters | cover = TheUpsetters-RevolutionDub.jpg | alt = | released = 1975 | recorded = 1968–1975<ref name="booklet" /> | venue = | studio = Black Ark, Kingston, Jamaica | genre = Dub | length = 29:19 | label = Cactus | producer = Lee Perry | prev_title = Kung Fu Meets the Dragon | prev_year = 1975 | next_title = Super Ape | next_year = 1976 }} '''''Revolution Dub''''' is a studio album by Jamaican dub producer Lee Perry and his studio band the Upsetters, released in 1975 by Cactus. The album, which features nine pared-down dubs, was the last in a line of releases that year in which Perry began exploring the possible studio techniques at his recently opened studio Black Ark in Kingston, Jamaica. In addition to making early use of a drum machine, the album is characterised by unpredictable drops in the beat, drastic stereo panning and samples of dialogue from television series, particularly British sitcoms, while Perry sings on the album in an eccentric falsetto and portrays different personas, including television characters from ''Kojak'' and ''Doctor on the Go''.
Although it only saw limited release, ''Revolution Dub'' was later reissued several times, including as part of the remastered Trojan Records compilation ''Dub-Triptych'' (2004). Critics and authors have described ''Revolution Dub'' as one of Perry's most important and exemplary albums, although some consider it one of his more overlooked productions. The use of sampled television dialogue has been highlighted by several writers as innovative for predating the sampler and for its unusual context, while the album was later influential on artists including Stevie Wonder and Holger Czukay.
==Background and production== In 1974, producer Lee Perry opened his recording studio, Black Ark Studio, in the backyard of his home in Kingston, Jamaica. Although Black Ark was technologically limited, with its centrepiece being a four-track recorder with effects units like the Echoplex delay device,<ref>{{cite book |last1=Shepherd |first1=John |last2=Witmer |first2=Robert |title=Continuum Encyclopedia of Popular Music of the World Part 1 Media, Industry, Society: Volume I |date=2003 |publisher=Continuum |location=London |isbn=0826463215 |pages=648–649 |url=https://books.google.com/books?id=0tz5YpijuksC&dq=black+ark+studios&pg=PA649 |access-date=31 October 2021}}</ref> Perry used the studio to expand the studio experimentation of his dub music.<ref name="VealBlackArk" /> However, his first albums recorded at the studio, released between 1974 and 1975, were atmospheric, instrumental records which saw the producer, according to writer Michael Veal, "gaining his bearing in his new studio before venturing back onto his sonic limb".<ref name="VealBlackArk" /> Of these albums, ''DIP Presents the Upsetter'' and ''Return of Wax'' (both 1975) were abstract, while ''Kung Fu Meets the Dragon'' (1975) was more melodic,<ref name="Katz" /> and saw Perry's additive, more eccentric approach from earlier works start to reappear as he settled into the new studio.<ref name="VealBlackArk">{{cite book |last1=Veal |first1=Michael |title=Dub: Soundscapes and Shattered Songs in Jamaican Reggae |date=2013 |publisher=Wesleyan University Press |location=Middletown, Connecticut |isbn=9780819574428 |pages=151–152 |chapter=Tracking the 'Living African Heartbeat' |chapter-url=https://books.google.com/books?id=kYtiAgAAQBAJ&dq=Black+Ark+Studios&pg=PA10 |access-date=29 October 2021}}</ref> A further album, ''Musical Bones'' (1975), showcased trombonist Vin Gordon and saw release in very limited quantities.<ref name="Katz" /> After producing Bunny Rugs' album ''To Love Somebody'', in which Perry temporarily renamed the singer Bunny Scott, ''Revolution Dub'' was Perry's final 1975 production.<ref name="Katz">{{cite web |last1=Katz |first1=David |title=The Ultimate Lee 'Scratch' Perry Guide |url=https://daily.redbullmusicacademy.com/2014/02/lee-scratch-perry-album-guide |website=Red Bull Music Academy |access-date=27 October 2021 |date=4 February 2014}}</ref> Featuring Perry's backing group the Upsetters,<ref name="booklet" /> it was the first pure dub album to be recorded at Black Ark, consolidating his earlier instrumental albums at the studio,<ref name="Barrow">{{cite book |last1=Barrow |first1=Steve |last2=Dalton |first2=Peter |title=The Rough Guide to Reggae |date=2004 |publisher=Rough Guides |location=United Kingdom |isbn=9781843533290 |pages=225–226 |edition=3rd |url=https://books.google.com/books?id=cwE8AQAAIAAJ&q=%22of+wax+and+musical%22 |access-date=29 October 2021}}</ref> and features production work from as early as 1968.<ref name="booklet" />
According to Philip Dodd, ''Revolution 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."<ref name="Dodd">{{cite book |last1=Dodd |first1=Philip |title=The Book of Rock: 500 Acts from ABC to ZZ Top |date=2005 |publisher=Pavilion Books |location=London |isbn=9781862056954 |page=337 |chapter-url=https://books.google.com/books?id=3NNzjIKT_7oC&dq=lee+perry+%22revolution+dub%22&pg=RA11-PA1984 |access-date=29 October 2021 |chapter=Lee 'Scratch' Perry}}</ref> For ''Revolution Dub'', Perry created dubs of some of his heaviest productions of the era,<ref name="Larkin" /> 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".<ref name="Larkin" /><ref name="Wire1998" /> The producer used the Echoplex for echo effects and the Roland Space Echo for reverberation techniques.<ref name="Eshun" /> Throughout the album, he also uses samples of television dialogue,<ref name="Larkin" /> including from English actors James Robertson Justice and Leslie Phillips and the sitcom ''Doctor on the Go'',<ref name="Barrow" /><ref name="Thompson" /><ref name="Wire2005">{{cite magazine |title=Lee 'Screatch' Perry feature |magazine=The Wire |date=2005 |issue=251–256 |page=41 |url=https://books.google.com/books?id=fiRMAAAAYAAJ&q=%22pastiching+of+mainstream%22 |access-date=29 October 2021}}</ref> which he achieved by holding a microphone to the television.<ref name="ThisIsPop">{{cite AV media | date = 2006 | title = The Upsetter: The Life and Music of Lee Scratch Perry | medium = documentary | language = en | publisher = The Upsetter Films }}</ref> Steve Barrow writes that the sitcom samples exemplify Perry being "keen on the odd musical metaphor,"<ref name="Barrow" /> while ''The Wire'' considers the dialogue snippets to represent the zenith of Perry's ongoing "pastiching of mainstream culture."<ref name="Wire2005" />
==Composition== ''Revolution Dub'' is less accessible than earlier Perry dub albums like ''Upsetters 14 Dub Blackboard Jungle'' (1973), exploring a more pared down sound over nine short tracks,<ref name="PopMatters" /> while expanding the producer's dub sound further.<ref name="Katz" /> 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,<ref name="Katz" /><ref name="Patrick" /> with the overall effect being described as "absurd"<ref name="Patrick" /> and revealing, according to David Katz, a "potentially menacing" counterpoint to the "seemingly innocuous" rhythms.<ref name="Katz" /> Frequently, bass and drums abruptly disappear to leave only guitar and fragments of singing;<ref name="Anderson" /> Kodwo Eshun, who describes ''Revolution Dub'' as "not so much produced as reduced by Perry,"<ref name="Henriques">{{cite book |last1=Henriques |first1=Julian |author-link=Julian Henriques|title=Sonic Bodies: Reggae Sound Systems, Performance Techniques, and Ways of Knowing |date=2011 |publisher=Bloomsbury Publishing |location=London |isbn=9781441144294 |page=156 |chapter-url=https://books.google.com/books?id=dQJHAQAAQBAJ&dq=lee+perry+%22revolution+dub%22&pg=PA156 |access-date=29 October 2021 |chapter=Cut, Mix 'n' Rewind}}</ref> 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.<ref name="Eshun" /> Throughout the album, Perry adopts numerous personas,<ref name="Patrick" /> and sings in an eccentric, quivering falsetto that Eshun describes as indecipherable.<ref name="Eshun" />
[[File:Lee Scratch Perry 2016 (2 von 11).jpg|thumb|left|Lee Perry (pictured in 2016) sings in a falsetto voice on ''Revolution Dub''.]] On the opening title track, Perry grunts and murmurs and, in an early experiment with a drum machine, uses the Conn Rhythm Box.<ref name="Katz" /> 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.<ref name="Patrick" /> "Woman's Dub", a minimal dub of "Woman's Gotta Have It",<ref name="Barrow" /> features distorted snares.<ref name="Veal" /> "Kojak", described by Katz as a "mutant dub" of Bunny Rugs' "Move Out of My Way", features Perry assume the role of the detective from the television series of the same name.<ref name="Katz" /> Eshun describes the track as "an echo chamber of moans in which space staggers and lurches ominously".<ref name="Veal">{{cite book |last1=Veal |first1=Michael |title=Dub: Soundscapes and Shattered Songs in Jamaican Reggae |date=2013 |publisher=Wesleyan University Press |location=Middletown, Connecticut |isbn=9780819574428 |page=253 |chapter-url=https://books.google.com/books?id=kYtiAgAAQBAJ&dq=lee+perry+%22revolution+dub%22&pg=PA287 |access-date=29 October 2021 |chapter=Coda}}</ref> On "Doctor on the Go", which uses the rhythm of "The Long Way", Perry plays a gentle melody on the piano and sings the title repeatedly to a response of canned laughter sampled from ''Doctor on the Go'' itself.<ref name="Wire1998" /><ref name="Eshun" /> At one point, the laugher subsides into incomprehensible chatter, studio applause and the television show's theme tune.<ref name="Eshun">{{cite book |last1=Eshun |first1=Kodwo |title=More Brilliant Than the Sun |date=1998 |publisher=Quartet Books |location=London |isbn=0704380250 |pages=62–66 |url=http://www.kim-cohen.com/Assets/CourseAssets/Texts/Rock&Roll/Eshun_More%20Brilliant%20Than%20The%20Sun%20(1998)%20on%20Lee%20Perry.pdf |access-date=31 October 2021 |chapter=Inner Spatializing the Song}}</ref>
"Bush Weed", a "pseudo-dub" of "Dushweed Corntrash", highlights Perry's humming.<ref name="Katz" /> At various points, the drums are reversed, sustaining the backwards shimmer of the cymbal before the snare hits.<ref name="Eshun" /> "Dreadlock Talking" and "Dub the Rhythm" emphasise Perry's slow, minimalist approach to dub.<ref name="Patrick" /> The latter track is a "slow and ghostly" dub of Clancy Eccles' "Feel the Rhythm" and features Perry's belching, which changes the rhythm "into a celebration of dub indigestion", according to Katz.<ref name="Katz" /> The closing track, "Raindrops", features the sounds of rainfall and a narrator from a nature documentary who announces: "Man has always been a threat to woodland animals."<ref name="Eshun"/> Eshun compares Perry's fragile, trebly voice on the song to Leslie Cheung and highlights his languid tremolo on the song's snare drop.<ref name="Eshun" />
==Release and reception== {{Album ratings | rev1 = AllMusic | rev1Score = {{Rating|4|5}}<ref name="Anderson">{{cite web |last1=Anderson |first1=Rick |title=Revolution Dub Review by Rick Anderson |url=https://www.allmusic.com/album/revolution-dub-mw0000106163 |website=AllMusic |access-date=27 October 2021}}</ref> | rev3 = ''Encyclopedia of Popular Music'' | rev3score = {{rating|4|5}}<ref name="Larkin">{{cite book|last1=Larkin|first1=Colin|title=Virgin Encyclopedia of Popular Music|date=1997|publisher=Virgin Books|location=London|isbn=1-85227 745 9|pages=946–947}}</ref> | rev4 = ''Reggae & Caribbean Music'' |rev4Score = 9/10<ref name="Thompson">{{cite book |last1=Thompson |first1=Dave |title=Reggae & Caribbean Music |date=2001 |publisher=Backbeat Books |location=London |isbn=0879306556 |page=213}}</ref> }} ''Revolution Dub'' was released in 1975 in the United Kingdom by Cactus,<ref name="Katz" /> but as with numerous other dub albums by Perry, it was a limited release.<ref name="PopMatters" /><ref name="Pilchak" /> However, the record coincided with what British writer James Hamilton felt was dub's arrival as "the roots music of the moment" after two years of growth in Jamaica.<ref name="Hamilton" /> Author Christian Habekost described the album title as one of several from Perry to match the spirit of dub's unusual style with a reflection of "the cultural trends and fads of the time."<ref name="Habekost">{{cite book |last1=Habekost |first1=Christian |title=Verbal Riddim: The Politics and Aesthetics of African-Caribbean Dub Poetry |date=1993 |publisher=Ropodi |location=Amsterdam |isbn=9789051835496 |page=55 |chapter-url=https://books.google.com/books?id=GNXMnX6ZMEgC&dq=%22many+music+journalists+in+the+usa+and%22&pg=PA55 |access-date=29 October 2021 |chapter=Word Sound and Power}}</ref> Reviewing the album alongside other new dub releases in ''Record Mirror & Disc'', Hamilton wrote that although Perry elected to use dub as a backing for his "relatively normal singing", the album's best track was "Doctor on the Go", which he described as a "subtle pulsating instrumental" with "snatches" of the ''Doctor on the Go'' soundtrack.<ref name="Hamilton">{{cite magazine |last1=Hamilton |first1=James |title=A plain man's guide to Dub (and other burning issues) |magazine=Record Mirror |date=3 January 1976 |page=18 |url=https://worldradiohistory.com/hd2/IDX-UK/Music/Archive-Record-Mirror-IDX/IDX/70s/Record-Mirror-1976-01-03-IDX-17.pdf#search=%22revolution%20dub%22 |access-date=27 October 2021}}</ref><ref>{{cite web |title=January 3, 1976: dub reggae special, Glenn Miller, Cliff Nobles, The Who, Tamiko Jones |url=https://jameshamiltonsdiscopage.com/1976/01/03/january-3-1976/ |website=James Hamilton's Disco Page |date=3 January 1976 |access-date=27 October 2021}}</ref>
In a retrospective review for AllMusic, Rick Anderson wrote that despite its short length, ''Revolution Dub'' is essential as an effective encapsulation of Perry and the Upsetters' music. He considers it to capture Perry "at the peak of his somewhat creepy powers", highlighting his deconstructionist dub techniques, "apocalyptic imprecations" and "off-the-wall witticisms", finding the tracks powerful for juxtaposing Perry's absurd production aesthetic with the Upsetters' "utterly rock-solid grooves, grooves which not even the chief Upsetter himself can dislodge."<ref name="Anderson" /> In ''The Virgin Encyclopedia of Popular Music'', writer Colin Larkin called it an "overlooked but innovative dub album" with heavy production, "bursts" of sampled dialogue and "crazy sing-along rhymes".<ref name="Larkin" /> In his book ''Reggae & Caribbean Music'', Dave Thompson referred to the record as a "golden ring" of dub in which Perry treats Byles, Riley and other artists "to some truly dangerous textures." He wrote: "In 1975, this album provoked widespread disconcerting delirium. Today, it still sounds fresh."<ref name="Thompson" /> The editors of ''The Rough Guide to Reggae'' highlight ''Revolution Dub'' as one of Perry's best records, highlighting the dubs of Byles' "The Long Way" and Riley's "Woman's Gotta Have It" as among its best tracks.<ref name="Barrow" />
The album was later reissued by the labels Crocodisc and Lagoon and saw release on CD.<ref name="PopMatters" /><ref name="Anderson" /> A larger audience was introduced to ''Revolution Dub'' with the release of ''Dub-Triptych'' (2004),<ref name="Pilchak">{{cite book |last1=Pilchak |first1=Angela M. |title=Contemporary Musicians: Profiles of the People in Music |date=2005 |publisher=Gale Research |location=Detroit, Michigan |isbn=0787680672 |pages=120–121 |url=https://books.google.com/books?id=tAk5AQAAIAAJ&q=%22revolution+dub%22 |access-date=29 October 2021}}</ref> a Trojan Records compilation that sequenced ''Revolution Dub'' with two other acclaimed dub albums by Lee Perry, ''Cloak & Dagger'' and ''14 Dub Blackboard Jungle'' (both 1973), on two discs.<ref>{{cite web |title=Reissues |url=https://www.theguardian.com/observer/omm/reviews/story/0,13875,1197442,00.html |website=The Observer |access-date=12 November 2021 |date=25 April 2004}}</ref> ''PopMatters'' said that, although ''Revolution Dub'' was already available on CD, its inclusion on ''Dub-Triptych'' appeared more legitimate as the set's "high standard of production" countered the "lack of quality control over Perry's massive oeuvre," and that the improved sound quality made the new version preferable.<ref name="PopMatters" /> A clean version of "Dub Revolution" appeared on the Perry's Island Jamaica compilation, ''Arkology'' (1997),<ref>{{cite magazine |last1=Mack |first1=Bob |title=Revolutions |magazine=Vibe |date=October 1997 |volume=5 |issue=8 |page=72 |url=https://books.google.com/books?id=oSsEAAAAMBAJ&dq=perry+revolution+dub&pg=PA172 |access-date=29 October 2021}}</ref> while a compilation of other Black Ark dubs from the era, ''Upsetter in Dub'', was released the same year.<ref name="Barrow" /><ref name="Bradley">{{cite book |last1=Bradley |first1=Lloyd |title=Bass Culture: When Reggae was King |date=2000 |publisher=Viking Press |location=New York |isbn=9780670855636 |page=328 |url=https://books.google.com/books?id=mQSCmWUfxsgC&dq=%22compilation+of+tracks+from+that+era%22&pg=PT341 |access-date=29 October 2021}}</ref>
==Legacy== ''Revolution Dub'' has been described as one of Perry's most important recordings.<ref name="Dodd" /><ref name="Cooper">{{cite web |last1=Cooper |first1=Neil |title=Obituary: Lee 'Scratch' Perry, whose dense stew of sound changed music forever |url=https://www.heraldscotland.com/news/19559548.obituary-lee-scratch-perry-whose-dense-stew-sound-changed-music-forever/ |website=Herald Scotland |access-date=29 October 2021 |date=4 September 2021}}</ref><ref>{{cite book |last1=Howard |first1=David N. |title=Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings |date=2004 |publisher=Hal Leonard Corporation |location=Milwaukee, Wisconsin |isbn=9780634055607 |page=232 |chapter-url=https://books.google.com/books?id=qXhwR_2Ka2UC&dq=lee+perry+%22revolution+dub%22&pg=PA232 |access-date=29 October 2021 |chapter=Key Recordings}}</ref> In 2016, ''Exclaim!'' included ''Revolution Dub'' in their "Essential Guide" to Perry's work, where Patrick called it a "an oddly satisfying trip,"<ref name="Patrick">{{cite web |last1=Patrick |first1=Ryan B. |title=An Essential Guide to Lee 'Scratch' Perry |url=https://exclaim.ca/music/article/an_essential_guide_to_lee_scratch_perry |website=Exclaim! |access-date=27 October 2021 |date=27 September 2016}}</ref> while ''Variety'' listed the "haunting, hypnotic" album among "Perry's most mesmerizing moments".<ref name="William">{{cite web |last1=William |first1=Chris |last2=Morris |first2=Chris |title=Reggae Legend Lee 'Scratch' Perry Dies at 85 |url=https://variety.com/2021/music/obituaries-people-news/lee-scratch-perry-dead-reggae-dub-jamaican-pioneer-1235051300/ |website=Variety |access-date=27 October 2021 |date=29 September 2021}}</ref> However, ''PopMatters''{{'}}s editors wrote that, despite the album's important role in dub's evolution, and in Perry's "rise to dub-master", it had become "somewhat unjustly ignored" in the producer's repertoire.<ref name="PopMatters">{{cite web |last1=PopMatters Staff |title=Lee Perry & The Upsetters: Dub-Triptych |url=https://www.popmatters.com/perrylee-dubtriptych-2496030034.html |website=PopMatters |access-date=27 October 2021 |date=19 July 2004}}</ref> Lloyd Bradley writes that ''Revolution Dub'' and the material gathered on ''Upstter in Dub'' were "little more than overture" to the Upsetters' next release, ''Super Ape'' (1976),<ref name="Bradley" /> which saw Perry update the equipment at Black Ark to create a more experimental recording for Island Records.<ref name="Barrow" /><ref name="Russell">{{cite web |last1=Russell |first1=Will |title=My Favourite Things: Lee Scratch Perry and Super Ape |url=https://www.hotpress.com/music/favourite-things-lee-scratch-perry-super-ape-22811021 |date=6 April 2020 |work=Hot Press |access-date=27 October 2021}}</ref> However, Nigel Williamson of ''Music & Media'' considers both ''Revolution Dub'' and ''Super Ape'' to be "ground-breaking albums".<ref>{{cite magazine |last1=Williamson |first1=Nigel |title='Godfather' Perry's still more than up to scratch |magazine=Music & Media |date=2 August 2003 |volume=22 |issue=32 |page=5 |url=https://worldradiohistory.com/hd2/IDX-UK/Music/Archive-Music-Media-IDX/IDX/00s/03/MM-2003-07-26-OCR-Page-0025.pdf#search=%22revolution%20dub%22 |access-date=27 October 2021}}</ref>
[[File:StevieWonderGrammyAwards.jpg|thumb|right|150px|Stevie Wonder took influence from ''Revolution Dub'' for "Master Blaster (Jammin')" (1980).]] The album is considered innovative for sampling television before the invention of the sampler,<ref name="Eshun" /><ref name="Russell" /> with Will Russell of ''Hot Press'' describing it as a "sampling revolution".<ref name="Russell" /> In 1998, ''The Wire'' included ''Revolution Dub'' in their list of "100 Records That Set the World on Fire (While No One Was Listening)". In addition to finding it to boast some of Perry's "most potent dubs ever", the staff praised the pioneering use of television dialogue fragments as "material completely foreign to popular music", and wrote how the collision between British sitcom samples and Junior Byles' lament "The Long Way" "took reggae into retaliatory culture-shock experimentation.<ref name="Wire1998">{{cite magazine |title=100 Records That Set the World on Fire (While No One Was Listening) |magazine=The Wire |issue=175 |date=September 1998}}</ref> In their list of 50 of the best dub albums, ''Matador Network'' wrote that ''Revolution Dub'' was a concise take on the genre with some of Perry's best ever work.<ref>{{cite web |last1=Rimmer |first1=Ben |last2=Sullivan |first2=Paul |title=Champion sounds: 50 of the world's most heavyweight dub albums |url=https://matadornetwork.com/nights/50-killer-dub-albums-from-proto-dub-to-second-wave/ |website=Matador Network |access-date=27 October 2021 |date=2 August 2010}}</ref> In the Portable Press guide ''Encyclo-Weedia'', the record is listed among the best stoner albums and is highlighted for its sparseness, minimal grooves and distinctive sense of space.<ref name="Encyclo-Weedia">{{cite book |title=Encyclo-Weedia: 420 Smokes - The Ultimate Stoner Lifestyle Guide |date=2021 |publisher=HarperCollins Publishers |location=New York |isbn=9781645176725 |page=21 |url=https://books.google.com/books?id=pKYsEAAAQBAJ&dq=lee+perry+%22revolution+dub%22&pg=PA21 |access-date=29 October 2021}}</ref>
In the late 1970s, soul singer Stevie Wonder was shown ''Revolution Dub'' by his British manager, Keith Harris, and was greatly impressed by Perry's sonic experimentation and scratching styles.<ref name="White">{{cite book |last1=White |first1=Adam |last2=Bronson |first2=Fred |title=The Billboard Book of Number One Rhythm & Blues Hits |date=1993 |publisher=Billboard Books |location=New York |isbn=9780823082858 |page=278 |url=https://books.google.com/books?id=w0xLAAAAYAAJ&q=lee+perry+%22revolution+dub%22 |access-date=29 October 2021}}</ref><ref name="Werner" /><ref name="Davis "/> The album became one of the singer's favourite reggae albums,<ref name="Werner">{{cite book |last1=Werner |first1=Craig |title=Higher Ground Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul |date=2007 |publisher=Crown |location=New York City |isbn=9780307420879 |chapter-url=https://books.google.com/books?id=Y5uyLgEfk34C&dq=lee+perry+%22revolution+dub%22&pg=PT208 |access-date=29 October 2021 |chapter=Chapter Four}}</ref> and he combined its influence with that of Bob Marley into his reggae-styled 1980 hit "Master Blaster (Jammin')".<ref name="Davis">{{cite book |last1=Davis |first1=Sharon |title=Stevie Wonder: The Rhythms of Wonder |date=2006 |publisher=Pavilion Books |location=London |isbn=9781861059659 |page=141 |chapter-url=https://books.google.com/books?id=VXSaGI4-SZ8C&dq=lee+perry+%22revolution+dub%22&pg=PA141 |access-date=29 October 2021 |chapter=Master Blaster (Jammin')}}</ref><ref name="Gulla">{{cite book |last1=Gulla |first1=Bob |title=Icons of R&B and Soul: An Encyclopedia of the Artists who Revolutionized Rhythm · Volume 1 |date=2008 |publisher=Greenwood Press |location=Westport, Connecticut |isbn=9780313340444 |page=323 |chapter-url=https://books.google.com/books?id=pLgqFaYmgw8C&dq=lee+perry+%22revolution+dub%22&pg=PA323 |access-date=29 October 2021 |chapter=Stevie Wonder}}</ref> German musician Holger Czukay, who taped excerpts of shortwave radio for vocals in his own music, recognised Perry as his first "brother in music" for his radical use of television snippets on ''Revolution Dub'' and cited the album as one which "changed his life", also citing the music's extreme "emptiness" as unusual in pop music.<ref>{{cite magazine |title=Rebellious Jukebox |magazine=Melody Maker |page=12 |date=27 November 1993}}</ref> According to Jon Langford of rock band the Mekons, ''Revolution Dub'' was one of three albums that members of his group and Gang of Four listened to in "constant rotation" in their shared student home in Leeds.<ref>{{cite book |last1=Dooley |first1=James |title=Red Set: A History of Gang of Four |date=2018 |publisher=Repeater Books |location=London |isbn=978-1912248032 |url=https://books.google.com/books?id=HVk1DwAAQBAJ&dq=red+set+a+history+of+gang+of+four+revolution+dub&pg=PT73 |access-date=12 November 2021}}</ref> Eshun describes the snare drum work on "Bush Weed" as anticipating 4Hero's "The Paranormal in 4 Forms" (1994).<ref name="Eshun" /> ''33⅓'' author R. J. Wheaton cites it among several canonical dub albums whose large influence on 1990s trip hop is apparent through its lengthy basslines, cavernous space and languid tempos.<ref>{{cite book |last1=Wheaton |first1=R.J. |title=Trip-Hop |date=2022 |publisher=Bloomsbury Publishing |location=London |isbn=9781501373626 |page=15 |chapter= Dub-hop}}</ref>
==Track listing== All tracks composed by Lee "Scratch" Perry.
===Side one=== #"Dub Revolution" – 4:26 #"Woman's Dub" – 3:28 #"Kojak" – 3:45 #"Doctor on the Go" – 3:59 #"Bush Weed" – 3:48
===Side two=== #"Dreadlock Talking" – 3:26 #"Own Man" – 1:42 #"Dub the Rhythm" – 3:02 #"Rain Drops" – 3:03
==Personnel== Adapted from the liner notes of ''Revolution Dub''<ref name="booklet">{{cite AV media notes| title = Revolution Dub| others= Lee Perry & The Upsetters| year = 1975| type = liner| publisher = Cactus}}</ref>
*Lee Perry – composer, producer *Creole Music – publishing
==References== {{Reflist}}
{{Lee "Scratch" Perry}} {{Authority control}} Category:The Upsetters albums Category:1975 albums Category:Dub albums Category:Albums produced by Lee "Scratch" Perry