Love and Dancing is a remix album by English synth-pop band The Human League, released in July 1982 by Virgin Records. Issued under the band name "The League Unlimited Orchestra" as a nod to Barry White's disco-era Love Unlimited Orchestra, the album was principally the idea and work of producer Martin Rushent and contains dub-style, largely instrumental remixes of songs from the band's multi-platinum selling album Dare (1981), along with a version of the track "Hard Times", which had originally been the B-side of the single "Love Action (I Believe in Love)". Rushent was inspired by hip hop turntablist Grandmaster Flash and created Love and Dancing on a mixing board. He created vocal effects by cutting up portions of the Dare tape and manually gluing them together. In total, over 2,600 edits feature on the album. Upon release, Love and Dancing was able to take advantage of the huge success of Dare and also work as a stopgap while the Human League worked on new material. The album received both mixed and positive reviews from music critics and was a commercial success, reached number three in the UK Albums Chart and later being certified Platinum by the BPI. Today, the album is regarded as among the earliest remix albums ever released and has proven influential. In 2002, both Dare and Love and Dancing were remastered and re-issued together in a single package, while a single CD release of the Love and Dancing remaster was released the following year. Background Synth-pop band The Human League's third album Dare (1981), produced by Martin Rushent, reached number one on the UK Albums Chart, and has retrospectively been considered one of the era's defining albums, ranking in critics' lists of the greatest albums of the 1980s and sometimes of all time. Dare also found success in the United States, partly because of New York-based black radio stations airing music from the album. The record's synth bass and Linn Electronics drum machine beats paralleled the electro funk music that had gained popularity on New York stations like Kiss, where according to writer Simon Reynolds, "tracks were undergoing radical remixing and be montaged into seamless segues that lasted half an hour or more." Rushent was already aware of the potential of remixing, having embedded a "dub-like spaciousness" to Human League tracks in parts where the instrumentation drops out. The producer had been listening to hip hop