DJ Grandmaster Flash and played his music to front man Phil Oakey, who also enjoyed it. After seeing the DJ in New York, Rushent felt he could recreate his scratching style with tape scrubbing. With this in mind, he suggested creating a dub remix of the second single from Dare, "Love Action (I Believe in Love)", by chopping the song up and adding effects. This would allow Virgin Records to release it on the B-side of the single, as the label was eager to rush-release singles from Dare, leaving the Human League and Rushent without time to record new B-sides. Besides the "Love Action" remix, the producer ultimately created three or four other similar dub remixes to other songs from Dare. Further inspired by the music he would hear in clubs across New York, he ultimately proposed to the Human League that he create an instrumental remix album of Dare, hoping that it would exemplify his production skills and "establish a new benchmark for electronic dance pop." Nonetheless, both the band and Virgin Records originally relented against the idea of the remix album, not wanting to pay for or release it. Rushent had to fight their opposition in order to create the album. Oakey remained unsure about the project and left Rushent to make the release on his own. Neil Mason of Louder Than War wrote that "Cruel", an instrumental version of "I Don't Depend on You" (a 1979 single released by The Human League under the alternative name The Men) that was released as that single's B-side, laid the formula that would ultimately lead to Love and Dancing. Love and Dancing is sometimes viewed as a stopgap in the Human League's discography, released to keep the band in the public profile while the band recorded new material. Band member Jo Callis has disputed this, saying: "I think that was going to happen anyway. Soft Cell had done something similar around that time releasing a remixed album. Martin Rushent had this concept about remixing, taking a track apart and putting it back together. It was a new idea and concept and it seemed a good idea to everybody to try it out. So the concept of the Love and Dancing would have happened regardless." Production and composition Reynolds writes that it "took thousands of man-hours of intensive sonic surgery" for Rushent to create Love and Dancing. The producer spent about