[2] Writer Siân Pattenden later reflected on the scenario: "[Jones] would hear tracks by trendy artists working in bedroom studios, which were released by Soul Trader.

[4] Give 'Em Enough Dope Volume One coincided with the development of numerous new electronic genres incorporating sampling and live instrumentation that are represented on the album.

[1] The album's liner notes describe the music: "'Jazz not jazz', 'soul not soul', 'hip not hop', call it what you won't, the atoms keep splitting and new genres are created almost every year.

[6] Jones compiled and co-ordinated the album alone,[5] and in an interview with M Magazine, he described Give 'Em Enough Dope Volume One as "a reaction against the diluted dance music that had started happening.

"[7] Fittingly, despite being categorised as a trip-hop and acid jazz compilation, the album is eclectic; Jones described the music as combining "the deep dub superfreaked sound of Howie B," "the mystical D.O.P.E.

John Bush of AllMusic rated the album four stars out of five and said that, despite containing a variety of styles, "the disparate genres flow well and the sounds are very fresh, making this a great compilation of '90s fusion.

[7] In the Encyclopedia of Contemporary British Culture, Peter Childs noted that the roots of big beat music, which became popular in the late 1990s, could be traced back to Give 'Em Enough Dope Volume One, as well as to the Beastie Boys' album Paul's Boutique (1989).