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.

[3] 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,[4] and saw Perry's additive, more eccentric approach from earlier works start to reappear as he settled into the new studio.

[1] 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.

[4] 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,[4][14] with the overall effect being described as "absurd"[14] and revealing, according to David Katz, a "potentially menacing" counterpoint to the "seemingly innocuous" rhythms.

[17] "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.

[13][18] 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.

[19] 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.

[19][21] 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.

"[15] 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".

[7] 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."

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.

[31] 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.

[36] 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.

[9] 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.