ten days making the album, remixing the material on a mixing board with the multitrack recording of Dare being fed into the device. He also operated a Harmonizer on the first send and placed numerous phasers and delay lines that he would proceed to "flick about" into his set up. Rushent recalled: "I'd do a section and if I liked it I'd make a tape cut and splice it in." He created complex vocal effects by hand, cutting up small portions of tape and gluing them together until he had achieved "the stuttering 't-t-t-t' effect." When asked by Reynolds if he used samplers, he elaborated: Dave Allen acted as Rushent's sound engineer during the sessions. His role was generally of a technical nature, and he later quipped: "Martin was/is a genius though, I was merely Sancho Panza." By the end of the remixing process, the master tape of Love and Dancing had 2,200 main edits and some 400 further, smaller edits for the stuttering repetition effects. This amount of splicing was so excessive – with an edit every half a second – that the master tape came very close to disintegrating. Rushent recalled: "You couldn't fast-forward it or fast-rewind it, so the first thing I did was copy the album on to another tape, before the original master fell apart." Overall, Love and Dancing consists of Rushent's special dub remixes of eight tracks, seven of these from Dare and the other, "Hard Times", originally appearing as the B-side to the "Love Action" single. Brainwashed wrote that the album's "liberal use of echo and a complement of wacky sound effects and instrumental fills [are] immediately reminiscent of the early dub approach to remixing." Many of the tracks are at 120 beats per minute. Paul Morley of NME said that Rushent's production contains "plenty of moving parts, noises falling upwards, a way forward and backwards that is full of abrupt encounters – sudden interfaces, then emptiness." Music critics Daryl Easlea and Joel McIver of Record Collector described the album as being "full of stop-start beats, unpalatable noises and clunky, chunky deconstructions of [the Human League's] finest pop moments." Colin Irwin of Melody Maker described the album as "an instrumental soundscape." Release and reception Upon the completion of Love and Dancing, the band decided to sell it at a relatively cheap price, believing the release to be "unfair to the fans." Band member